This is a work in progress, a fractal AC piece in C major with 4/4 timing. Sort of. The C major scale is chosen from 53-TET, and the 4/4 beats are divided up strangely to demonstrate the capabilities of my rhythm programming system, which is done in Python, inspired by Jacob Joaquim's dseq language. The fractal is applied in various ways, most obviously to the sequencing of the pluck instrument, but also to provide tonal variation to rhythm instruments.

FMILY is my latest piece, and is a just intonation experiment using a single operator FM synth, done with blue. This is my first piece composed using only Jython, both Pmask and my own code.

This is the first little piece I did to get back into blue, and mainly features Fossil a simple automation-controlled foscili synth. With Fossil I was trying to create a synth that could do something similar to the early FM pieces by fellow Canadian Barry Truax. Well, the song is not much like his pieces, but the idea of the continuous control automation style synth is something I did want to try.

I will pop up a copy of Fossil on blueshare.

Dreaming of Spring is contrapuntally based song, written in 15TET for two Pseudo-Horns and one Pseudo-Bell. Done with Csound and blue.

This is a just intonation composition exploring some of the harmonic potential of a tuning consisting of 1/1, 7/6, 6/5, 4/3, 5/4, 7/5, 3/2, 8/5, 5/3, 7/4, 9/5, 11/6. Composed with Csound and blue.

Seven Black Cats is a microtonal song using instruments adapted for blue from Jacob Joaquin's EAST tutorial.

Huee is a short piece in 10et done with blue.

Prelude; Henon; Gruneberg; Distance; Prelude

The initial idea from which this work spread was a short sequence of notes taken from a mapping of the Henon (chaos) differential equation onto pitch and duration. Certain themes in it suggested to me a piece, which developed into the current manifestation, although it has changed a great deal. The title is an echo of the well known quotation from Thoreau and the repetitive canon like structure of this differential equation. The work is in three movements, the second and third played without a break, with an introductory and closing fanfare.

I've been working on a sound track for a movie that has yet to be made about the Donner Party. This work is in support of the scene when the Donner's are told that they basically have to hack their own path through the Wasatch Mountains, since their guide, Hastings, is a fraud. The shortcut they were enticed to take, the Hastings Cutoff, is bogus. They are told to send someone ahead for further instructions while the main party is to wait until they get back.