La Monte Young famously wrote: “Tuning is a function of time.” When precisely tuned sounds are given time and space to sound, an intoxicating synthesis of timbre, spectrum, fusion, periodicity and, especially, roughness reveals itself with increasing clarity.

In this collection of pieces, SuperCollider becomes an orchestra creating focussed conditions for experiencing this synthesis. Each piece’s point of departure is a signal of brown noise, which is carefully filtered, modulated, modified, sculpted and tuned in various ways to generate timbres that sometimes remind of strings, at other times of organ pipes – though more often than not, the sound is unmistakably electric.

1. Port (Rondo for Marcus Pal) (2020) – 26:46
in 37-limit just intonation, SuperCollider

2. Cone (2019) – 11:16
in 19-limit just intonation, SuperCollider

3. Rassla (2023) – 17:03
in 13-limit just intonation, SuperCollider

In Swedish, “rassla” means to clatter, rattle, rustle.

Released February 3, 2023

“Structure in music is its divisibility into successive parts from phrases to long sections. Form is content, the continuity.” — John Cage

Sonatas and Interludes for prepared piano by John Cage, composed 1946–48.

Live performance at the University of Victoria, Canada (15 February 2015)
Thomas Nicholson, prepared Steinway/Boston GP-193

Released September 30, 2020