This quartet is polymicrotonal with tuning systems: 17:19:21:23:25:28:31 in first violin; Arabic 12-tone Pythagorean in second violin; 7-limit tritone in viola; and 19/53tet in cello. The synth is 12tet, so it's actually a five-part poly piece rather than my standard 4 parts. The tempi are in loops and are in the ratios:

10.25:3.25:6:23:4.25, for v1, v2, viola, cello, and synth, respectively. No score yet, coming soon. 2025.

The seventeenth incarnation of the string quartet series will be a small collection of short Polytempic polymicrotonal pieces with or without additional synth or other instruments. This piece is therefore a Synth Quintet; however, I view the synth part as an "equal democratic" participant and not a soloist.

This track may as well be experimental since the midi file standard import/export algorithms can seriously mangle a Polytempic midi file composed in finale. This version was curtailed and given a blank time change to 4/4 and one tempo. It is so opposite to my original work, I thought I'd post it. The orchestra is BBCSO Discovery and can't do microtones, and the piece is also not Polytempic, so here it is "sanitized" by the limits of commercial music applications, to which I am an outlier.

Fresh new Etude in new software, vst, controllers, synthesis, etc. Brooding over Trump cuts...preparing to die a la Beaudelaire Rimbaud. Despair ennui and death.

Composed for solo oboe, this piece places the music in tight Polytempic canon at a ratio of 116:115 while the Harp is tuned to 19tet and the Guitar is in 1/4 comma meantone. Rearranged September 23, 2025

This is a rearrangement and strict parallel chordal enhancement of string quartet 5, with 2 violins, viola, and piano slightly detuned in areas with 14tet, but not much. I'm still trying to find decent string samples. These are from SINE and the piano is Apple's Logic DLS keyboard sample. Composed initially in 2017, redux September 2025

The winds are in quarter tones, the brass are sixth tones, the percussion is normal, and the strings are 8th tones. The choirs also modulate to and from 12tet throughout the work. There have also been added parts as I revise and edit. Yes, if you hear chants you know, I used them and they are all indicated and cited in the score. Nothing is STOLEN. I don't HAVE TO STEAL. enjoy.

This is my fourth symphony, and I am using new software that sounds better. The new software is not microtonal friendly, therefore, there will be two versions: standard and poly microtonal. This version is in 12tet and it is still highly polytempic. Each choir of the orchestra is moving separately in Fuxian contrapuntal motions, such as, contrary, parallel, similar and oblique, with respect to tempi changes in the choirs.

Another fact about this piece is that it uses many fragments of Gregorian chant from the Liber Usualis and is scattered throughout the single movement piece. The chants are of various lengths and are brief. The form could be considered a type of "variation" form; even if the chants are not literally repeated, they do act as a type of chaconne, over which the symphony plays and explores.

As of today, Sep. 4th, 2025, a finished mix is uploaded and will remain the finished midi version of this piece in 12tet using NotePerformer.

Microtonal Computer Music Etude w drums #20 by Startup Podcast for Peter

Imagine being in the jungles of myanmar and coming across the rare saber-toothed tiger of the jungles near the Naf River

Varese, Bozzio, Zappa microtonal bliss