Dictator Trump has taken over and is killing everyone while the republinazis clap with joy. Kristalnacht for alles ...2025.

This is a polymicrotonal piece for flute, violin, cello and piano with some extended techniques and microtones count as extended techniques. Or I'll kick your fuckin ass.

1have Meow meow In me

Some sounds from various sources. 2025

This bit of Tuesday fun is a new piece created in Reaper, new, with Oddsound microtuner, and a plethora of vst instruments, and some contrabass to round out the bottom. composed in the year of 2025.

This Brass Septet features only acoustic, but polymicrotonal, brass instruments. There's a range of different tuning methods employed here, from Wendy Carlos Alpha, Beta, Gamma, to Just 7, to Pythagorean, and even Partch's 43. The trumpets are quick and squiggly rhythmically which pushed the microtonal changes with portamento into a rather insect sounding result, which I decided to keep, as a novel mistake, turned discovery. It will annoy many listeners, but I am beyond caring now. The bottom is nice and round, just like Jennifer Lopez. And if that's sexist, I still don't care.

This music has been another journey into the marriage of the human brain and technology, and what one is willing to keep or edit out. There are many passages here that are unplayable; nevertheless, I am keeping it, as I believe there are either electronic trumpets or piccolo trumpets that can or may be able to replicate it. The harmony is all Pantonal, neither atonal nor tonal, and is driven mostly by voice leading and horizontal motion rather than verticalities. Therefore, there are no chord progressions, per se, yet, due to the voice leading, there are small pockets of centricity that approach tonality. This music, uncharacteristically, is not microtonal. The technology I am using allows me to explore ideas that are beyond human performance. Since we are in AI territory, anyway, I am keeping most of the score for a future robot ensemble driven by AI performance algorithms that will be able to negotiate these rhythms. Composed 2025.

five parts in a 99-98-97-96-95 ratio with tempo changes, and trumpet 1 in 17-19-21-23-25-28-31 partials tuning; trumpet 2 in Pythagorean, Horn in Just 7 limit, Trombone in quarter tones, and Tuba in 19/53tet. This piece has other related versions, but this is the final poly version. For now. Composed 2025. Score in process.

My second brass quintet since the first, composed in 2002. This brass quintet will be in several versions but mainly in either standard tuning, or polymicrotonality. These works are not following a tonal plan, nor are they atonal. They are somewhere else. There are no chord progressions, but there is always voice leading, borrowed over the last millennium. Consider this version 2a

Two brass quintets play in close tempi, but not phased, while polymicrotonal modulations in quarter tones, third tones, eighth tones and sixth tones interrupt the somber meditation on loss of a country. 2025

2 Trumpets, Horn in F, Trombone, Tuba in 99-98-97-96-95 ratio tempi relationships with "large" quarter and eighth tone modulations. Quasi tripartite form in a Schoenbergian sense in that there is no tonic-dominant axis for formal constraints, yet the microtonal modulations act in place to delineate form. Simple retrograde is employed to a general singular "diatonic" line multiplied and displaced by the pdlytempo. This is not phase music. This is still polytempo but at micro rhythmic gradations. Each tempo is marked by a .5 beat difference between the five parts. There is no convergence, only separation, like our country. Frankly, like the world today.