This piece is in 11 and 13 limit just intonation and in two tempos, completely independent of each other, performed by Michael H Dixon, horn, and Greg Van Der Struik, trombone, from Australia. This was a Zoom performance on MU, hosted by Johnny Reinhard, Nov. 6th 2021

"Skullen a Coldie" works by centric use of various sets that constantly change through the piece. Each brass instrument has its own sets and they both share pitches, however a few cents off, due to the individuality of the tunings. The tunings have their own unique microtones that are exploited, both structurally and linearly: it's neither tonal nor atonal, but a blend. No one leads and no one follows, so it's not dux/comes; it's not a fugue, yet the polytempo provides perfect ligatural separation of beats culminating in a perpetually pushed forward linear voice leading that comes naturally due to the asymmetrical nature of polytempo. The tempo changes delineate several organic connected sections of the parts that do not coincide, thus changing the moods of each voice independently: tranquil vs agitato, e.g., and there are independent tempo changes that further create a feeling of contrapuntal separation. Then there are also repeated gestures based on pitch/rhythmic behaviors in each instrument, noticeably throughout the piece, a la idee fixe, and there are harkenings of both Chopinesque and Wagneresque stylings in each part/voice that are semi-humorously referenced smack in the middle of thickened textures--as there is also a counterpoint of textures. Each instrument has vocalizations sung into the instrument to generate multiphonics for effect, so as to add an extra dimension of texture. In terms of articulation, there are independent sections of staccato/legato that are separate and alternate between the voices that add to the spatial distancing of each part, which can be heard even in Zoom.

Piano Collection 16- In Treatment by Startup Podcast for Peter

This is not a fugue.

A linear exploration of quartertones, to third tones, to eighth tones as one tuning modulates to the next, in Cowellesque time signatures and giocoso scorrevole

Large meterless tuplets in different sizes create polytempic landscape with four tunings: 24, 26, 30, and 31 TET combine at blistering speed to shatter your consciousness into pure fragments and shards of nothingness. 2019

large swaths of measures, without time sigs, engulfed in vast tuplets, each with their own zip code and tempo. In 16, 17, 18, and 19 tet. Composed late 2018-january 2019

String Quartet V is part of my string quartet series, written for actual string quartet, but realized in PianoTeq and .scl Scala microtonal scales for full four-part polymicrotonal system interaction. This piece features 5, 7, 8, and 9 edos modulating to 17, 18, 20, and 21, respectively. The tempos are also fully independent and have separate tempo changes. Until real string players begin playing these works, pianoteq will be used for online synthestration representation of the original work. Composed August-October, 2018

Felix DelTredici performs I'm a Force of Nature with alacrity, fluidity, and an effortless virtuosity only found in the greatest of players. Concert from AFMM, 2018, New York, held by Johnny Reinhard in April, of 2018. This piece explores all types of extended techniques for trombone, in general, microtones, multiphonics, and dramaturgy.

Johnny Reinhard, bassoon, and Dan Auerbach, violin, perform my piece SUMMER IN HELSINKI at the Sibelius Acadamy, Aug 28th, 2017, in 128/octave overtone tuning.

In four staves, partitioned into sound spaces, 128 tet, complex