The Sagittal Songbook

The Sagittal Songbook

Xenharmonic Songs for One to Five Voices

compiled and edited by

Jacob A. Barton

WET GLOVE PRESS

Copyleft 2013 by Wet Glove Press and individual composers and lyricists

The Sagittal Songbook is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.
To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/us/.

Engraved using Sibelius 4 with the Sagibelius plugin and font, available at sagittal.org. Other fonts used include
Helsinki by the Sibelius team, Treasure Map Deadhand by Graham Meade, Fontleroy Brown by Nick Curtis, and
Servus Text Display by David Engelby. The latter three are available at dafont.com.

Wet Glove Press

Urbana, Illinois
 CONTENTS

Foreword . . . . . . . . . . . . . . xi
Editor’s Preface . . . . . . . . . . . . . . xv
Conventions Used In This Book . . . . . . . . . . . . . .xvii

Title Composer Tuning

One for All Ryan Stickney 11-limit JI .............. 3
Harmonic Series Rounds Andrew Heathwaite 5/7/11/13-limit JI .............. 4
The Red Wheelbarrow Paul Kotheimer 7-limit JI .............. 6
This Blue Distinction Paul Kotheimer 7-limit JI .............. 8
Prayer of Thanks Andrew Heathwaite 7-limit JI, 41-EDO . . . . . . . . . . . . . . 9
Microscopic Germs Dan Sedgwick 24-EDO .............. 11
I Giorni Dell’Undicesimo Armonico Fabrizio Fulvio Fausto Fiale 24-EDO .............. 12
This Damned Vine Andrew Heathwaite 11-limit JI .............. 16
Depends on the Tornado Paul Kotheimer 13-limit JI .............. 17
Mercy Paul Kotheimer 13-limit JI .............. 18
The Introduction of Negativism Andrew Heathwaite 23-limit JI .............. 19
Is What You See What You See? Andrew Heathwaite 13-limit JI .............. 20
I Am Short Andrew Heathwaite 7-limit JI .............. 21
Remem Andrew Heathwaite 17-limit JI .............. 22
Goes to Eleven Paul Kotheimer 11-limit JI .............. 24
Land Urchin Jacob Barton 11-limit JI .............. 30
Mystery Curve Dan Sedgwick & Marji Gere 19-limit JI, 31-EDO .............. 33
Magic Spiral Exercise Jacob Barton 31-EDO .............. 36
Orwellian Spiral Canon No. 1 Jacob Barton 31-EDO .............. 37
Alphabet 31 Jacob Barton 31-EDO .............. 40
Sanga Melbis Thomas Scheurich 31-EDO .............. 42
Orwellian Spiral Canon No. 2 Jacob Barton 31-EDO .............. 47
Trice Mark Enslin 12-EDO .............. 50
Gus Dan Sedgwick & Marji Gere 12-EDO .............. 53
Shelly Dan Sedgwick & Marji Gere Meantone .............. 54
Backflip Andrew Heathwaite 7-limit JI .............. 55
Clouds Andrew Heathwaite 13-limit JI, 72-EDO . . . . . . . . . . . . . . 58
Fetus Float Foot Andrew Heathwaite Dekany .............. 61
J.I. B-P H2O Paul Kotheimer 7-limit JI, BP .............. 63
Love Song Elaine Walker BP .............. 64
The Sky Is Thin Kevin Foster BP .............. 67
Let Me Pick Some Andrew Heathwaite 88¢ET .............. 70
O Mulberry Andrew Heathwaite 88¢ET .............. 72
One Drop of Rain Andrew Heathwaite 22-EDO .............. 73
A New City Paul Kotheimer 11-EDO .............. 76
Lament Jason Conklin 11-EDO .............. 78
Conversation Is Andrew Heathwaite 11-EDO .............. 80
where words are said to mean Andrew Heathwaite 22-EDO .............. 80
Jarband’s Nude Rainbow JARband 17-EDO .............. 81
Multiverse Jacob Barton 17-EDO .............. 85
Alleluia Aaron Krister Johnson 17-EDO .............. 86
Gift of Insides/One Quick Away Andrew Heathwaite 17-EDO .............. 90
The Villain’s Song Thomas Scheurich 17-EDO .............. 94
Walking, Again, The Mountain Chris Vaisvil 17-EDO .............. 99
APPENDIX
Just Intonation Flashcards . . . . . . . . . . . . . . 104
EDO Charts . . . . . . . . . . . . . . 106
"Vision" is not an independent variable in a culture.
Our vision comes from the way we live, not vice versa.
Jason Godesky

Could someone write poetry,

if they had to go through all the steps of making the pencil first?
Kraig Grady
 ! xi!

FOREWORD
It was Henry Wadsworth Longfellow who famously observed that "music is the universal language of mankind."
Had he had been magically transported to the 20th century, he probably would have remarked that many serial
and avant-garde composers were doing their utmost to prove him wrong. As "serious" composers began to
realize that traditional harmonic resources were nearing exhaustion, they began to abandon common-practice
harmony in an effort to write music that was new and original. Unfortunately, this new music was largely
incomprehensible to those outside their circle, and they eventually lost most of their audience to various styles of
"popular" music that emerged from a broader, largely American, culture.
The post-World-War-II emergence of the United States as a superpower intensified the export of Western
technology and American "pop" culture to the rest of the world. With the resulting fusion of musical resources
and styles, a case could be made that, where East meets West, the East very often gets the short end of the deal, as
traditional instruments are displaced by Western keyboards and guitars, and ethnic tunings are replaced by the
12-tone equal-tempered scale.
Working against this tide of events is a small but highly dedicated world-wide "xenharmonic" community of
composers and musicians who have been exploring alternative (or non-12) tunings. In the West, the objective in
the last part of the 19th century was to improve the intonation of the equal-tempered scale with historical
tunings such as just intonation, meantone temperament, and various well-temperaments. When composers began
abandoning traditional harmonic norms in the early 20th century, the main objective of the xenharmonic
community became the exploitation of new melodic and harmonic resources that would resolve the "harmony
crisis". In the rest of the world the principal objective has been to document and preserve musical scales and styles
threatened with corruption or extinction by the 12-equal "steamroller".
xii! !

The individualism characteristic of most members of the xenharmonic movement has resulted in the exploration
of literally hundreds of alternative tunings. Most of these tunings allow either the expansion or replacement of
common-practice harmony with the introduction of new musical intervals and/or new tonal relationships using
such intervals to generate sequences of tones. While such a great number of tuning options practically guarantees
an inexhaustible supply of new melodic and harmonic resources, it also poses the problem of a great number of
strange, new, and uncommon musical "dialects" that cannot be collectively comprehended or appreciated as
easily as the traditional common-practice harmonic system.
With multiple tunings came multiple systems of notation, which have resulted in multiple problems. A symbol
might have two entirely different meanings in different tunings (or even in the same tuning using different
systems of notation), or different symbols in different notations might be used to notate the same thing. For a
worst-case example, one need look no further than the quartertones of 24-EDO (24 equal divisions of the
octave), which have been notated literally dozens of different ways. Having mastered one new notation, there is
then the prospect of starting over again to learn a different notation in order to use another tuning, and still
another notation for another tuning, etc.
If music in alternative tunings is to be included in the "universal language of mankind", then it ought to available in
the form of a univer sal wr it t en language. This would require a single generalized microtonal notation
capable of notating any tuning of any sort; however, at the beginning of the 21st century there was no microtonal
musical notation well suited to this purpose. Notations for temperaments and EDO's generally used accidentals
representing various fractions of a whole tone, while JI (just intonation) was better served by accidentals
representing pitch alterations associated with prime-number harmonic factors or ratios. Whole-tone fractions,
although giving a clear indication of the size of alteration, are virtually meaningless for notating JI. Conversely, JI
notation often does not give an immediate indication of the amount of pitch alteration if two or more accidentals
are used to modify a single note, especially if the accidentals alter pitch in opposite directions, making it too
cumbersome for temperaments and EDO's.
 ! xiii!

The Sagittal notation system was designed, over a period of several years by Dave Keenan and myself, to address
all of the foregoing problems by combining four excellent features found in other notations (as outlined in the
Sagittal paper at sagittal.org). Its symbols are all defined as rational intervals that give a clear indication of prime-
number content, so they are highly suitable for notating JI. To notate a temperament or EDO, a subset of symbols
is selected from the entire set of accidentals so that intervals with the best approximations to simple ratios will be
notated in the same way as those ratios. As a result, Sagittal symbols have univer sal definitions that are
independent of whatever tuning they may be called upon to notate. Since two or more Sagittal symbols are never
needed to modify a single notehead, the notation is clear in meaning and uncluttered in appearance.
The simplest Sagittal symbols are constructed using "flags" which are then logically combined to produce more
complex symbols that represent ratios equal (or very nearly equal) to the product of the smaller (single-flag)
symbol ratios. The physical size of a symbol is thus a good indication of the relative size of its pitch alteration.
Each Sagittal symbol resembles a kind of arrow (sagitta in Latin) that clearly points the direction of pitch
alteration, and symbols with equal-but-opposite alteration are vertically mirrored.
The entire Sagittal symbol set contains enough symbols to notate tunings with many hundreds of tones per
octave, so it's powerful enough to satisfy the requirements of composers of electronic music who wish to have a
score in a meaningful human-readable format. And since most tunings require only a small subset of those
symbols, it's not necessary to learn all of the symbols at the outset, only those required for the tuning(s) to be
used, and relatively simple tunings require relatively few symbols.
The publication of this volume marks the first instance of a collection of music printed in the Sagittal univer sal
wr it t en language for the univer sal micr ot onal "inst r ument ". This instrument is also the ideal
microtonal instrument, capable of producing tones in virtually any tuning and available to virtually anyone with
even a smattering of musical ability, at any time and place, at no cost. This instrument would have to be, of
course, the human voice!
xiv!!

As with any instrument of flexible pitch, practice is required to produce musical pitches and intervals accurately,
and if a tuning contains intervals that seem strange and new, then this practice must involve exercises and
repetition to develop familiarity with the new tonal material. Lest repetition breed boredom (and familiarity
breed contempt), why not have exercises that are fun? And if at times they're a bit more challenging, inasmuch as
misery loves company, why not have exercises that can be done as a group activity? This is precisely what is
found in some of the selections of the Sagittal Songbook: whimsical canons and rounds, tailor-made for that
purpose. On a different tack, "Jarband's Nude Rainbow" takes the singer in order through all of the intervals of 17-
EDO. And just to prove that this collection isn't anti-12, there are even a couple of pieces in 12-EDO, "Trice" and
"Gus", that can be used to get accustomed to reading Sagittal sharp and flat symbols; just in case this is too radical
for some folks, there is a mixed-symbol option in Sagittal (described in the Sagittal paper at sagittal.org) that uses
conventional sharp and flat symbols in combination with single-shaft Sagittal accidentals.
In short, the Sagittal Songbook has a array of experiences awaiting those who have wandered off the beaten
musical path.
My journey through the world of alternative tunings has been a Great Adventure, full of challenges, surprises,
and the fulfillment that comes with uncovering hidden treasures in new musical territories. I bid you: come and
explore the vast expanse between the 1/1 and 2/1.
George Secor, September 2012
 ! xv!

EDITOR’S PREFACE
In October of 2011, after six years of technological wrestling, a small but important victory! I had finally
completed Sagibelius, a set of computer scripts that would allow anyone to use the music engraving software
Sibelius with the Sagittal system of microtonal accidentals. Finally I had the means to compose legible, large-scale,
microtonal scores for acoustic instruments! But first, I gave myself the small task of compiling a book of all the
microtonal songs I knew of, to show my musical community the full potential this victory afforded.
After two years of notational wrestling, that small task is complete! The book you are now holding contains
forty-eight songs composed between 2007 and 2012 by fifteen composers. They range in size from one-line
miniatures and mnemonic devices to full-blown arias and dangerous spiral canons. All but three have been
performed live and/or recorded (often from older scores or no score at all). The primary invitation of this book,
of course, is for you to create your own renditions.
I see no need or reason to make a case for microtonal music, or against non-microtonal music; always, music
quietly makes its own case. This songbook aims to make a rare contribution to that case: in contrast to the
ubiquitous sound recording, ever blurring the separate processes of composition and performance into one
“final” product, a written score challenges the literacy and the imagination of the reader, leaving the potential for
new realizations open…forever.
Such an endeavor is vulnerable, however. For these scores to become music, singers must acquire the necessary
literacy in Sagittal, and microtonally appropriate supporting instruments must be found, built, or at least
simulated. I had originally hoped to pack into this edition every single resource a person would need to perform
this music, including irresistible karaoke backing tracks. Maybe next edition.
Microtonality is something of a musical black hole: many who go into it are never heard from again, mired in
technical or cognitive problems of their own creation. This book is designed to have an un-miring effect. Can’t
xvi!!

decide on a tuning? Try learning a 1-page song in each tuning that interests you. Compositionally stuck? Study
someone else’s score for inspiration. Musically lonely? Become the local Sagittal expert and teach the
neighborhood kids a round or two.
For advice or help on Sagittal notation, instrument building, and microtonality in general, I recommend the
Xenharmonic Alliance, an informal internet community currently living on Facebook. Many of the composers
who contributed to this book may be found there.
This book is not perfect. There are undoubtedly mistakes which haven’t been caught. Tunings that many consider
important are omitted, for the simple reason that no one has written a short enough song in them yet. The book is
admittedly more the work of a particular “school” than the microtonal world at large. It is not yet a canon,
though it hopes to be someday.
Immense thanks go out to Dave Keenan and George Secor for inventing the notation system that kicked this
project off; to all the composers who were willing to have your music re-notated in a system you couldn’t yet
read; to the poets and lyricists—without your texts, our mouths would have nothing of import to do; and to
uncountable others who, in a tiny moment of suggestion or encouragement, brought this project a crucial inch
closer to completion.
These songs were such a pleasure to notate and collect. May they be as much a pleasure to study and sing.
Jacob A. Barton, October 2013
 ! xvii!

CONVENTIONS USED IN THIS BOOK

• Common tuning abbreviations are used: EDO = Equal Divisions of the Octave; JI = Just Intonation; BP =
Bohlen-Pierce scale; 88¢ET = 88-cent Equal Temperament.
• Sagittal accidentals are given in “pure” form. A “mixed” form is available which uses Sagittal symbols in
tandem with conventional sharps and flats. Every song in this book *could* be translated into mixed
notation; at present, that is left as an exercise to the studious reader.
• The author of the text (if different from the composer) is written beneath the composer.
• The encircled abbreviations at the top left of some scores are tuning designations. If none is given, the
assumed tuning is just intonation. If two tunings are listed, the upper tuning refers to the actual tuning of the
composition while the lower tuning indicates the notation being used, which may be an approximation (e.g.
41-EDO for Bohlen-Pierce) or a superset (e.g. 22-EDO for 11-EDO). (This is but an experiment which may
evolve into a standard.)
• Accidentals carry through the measure.
• For songs in round form, points of entry are marked I., II., III., etc.
• Five songs are “spiral canons”: rounds in which the music iteratively transposes by a given interval (noted in
boxed text) each time through the phrase. For these, two scores are given: a “contrapuntal” score showing
the counterpoint of a single round interval, and a “linear” score showing a single part’s trajectory through
the transposition. Further transcription is often necessary to realize these works fully.
• JI “interval hints” appear in several songs, in small text above the first appearance of a pitch or symbol.
• For some songs, moveable-do harmonic solfège is provided to illustrate the relation of each note to the
momentary tonal center (which may change every measure or even mid-measure). In this system, an
ascending scale of overtones 8-16 is written: do re mi fu so lu ta ti do
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THE SAGITTAL SONGBOOK
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 3

One for All

Ryan Stickney

  1/1 3/2 2/1

 P 
7/4 4/3 5/4
 Ü   P  

I.     
 Ü [a] → [i]
All things wing - ed are made for jump - ing in - to the sky.


 
9/8 15/8

II.   Ü     P Ü Ü   
[a] → [i]
Fall - ing brings no dis - as - ter when you can fly.


    
11/8

      Ü  

III. ® [a] → [i]
Calls sing birds to each o - ther but who knows why?


 

IV.   P    
  Ü  [a] → [i]
Fly - ing looks fun; I'm wil - ling to try.
4
Harmonic Series Rounds
 
Andrew Heathwaite
Though No True Breed Michael Gaiuranos

   Ñ    Ñ
I. ∫
though no true breed, we will bare roots

 
do mi sol ta do sol do ta

  ∫ Ñ    ∫ 
II.
 
for root beer, ma - ny cheer

  Ñ   
   Ñ
mi ta mi do mi do

 
III.
  ∫
no one e - ver brewed too ma - ny ber - ries.
sol ta do ta sol do mi sol ta sol

 
Monkey Vision Ü

Andrew Heathwaite

   
I.

I can see for

  Ñ 
Do sol re mi

   
II.

miles and miles with

 Ñ 
ta sol ta sol
 
III.
  Ü
  
these eyes: mon - key vi - sion.
mi re me sol ta do
 5

There Is Nothing That Can't Be Broken The World Ignites Andrew Heathwaite

   
Andrew Heathwaite Carey Smith

    r   Ñ  Ñ  
I. I.     
The world ig - nites, we cre - ate a new
There is no - thing that do ta do ta do ta do ta re
do sol lu lu sol

   Ü    Ñ
II.   ®  ∫ II. 
us! Like a
can't be bro - mi re ta
fu re mi

 Ñ  
®  Ü    Ü

III.     III.   
ken. child, like a fool, re -
fu mi re fu mi
ta

   Ñ 
IV.
   
flec - tions all.
re ta sol
6
The Red Wheelbarrow Paul Kotheimer
William Carlos Williams

 7/4 3/2
 Ñ   
5/3 1/1 9/8 5/4

Alto  Ñ 
 Ü    Ü Ñ 
 
 Ñ  
 

so much de pends up on a red wheel - bar - row

 
Ü        Ü   Ü   
3/2 5/4 4/3

 

Tenor

so much de pends up on a red wheel - bar - row

  
   Ü  Ü    
4/3 9/8 10/9 5/4

Ü   Ü   Ü   
 so
Tenor

much de pends up on a red wheel - bar - row

  Ñ  ê    Ñ   Ñ  
5/4 7/4 16/9 1/1 9/8

  Ñ  


Ü
Baritone
 

 
so much de pends up on a red wheel - bar - row

Drone  
 7

 
 Ü          Ñ  Ñ    Ü    Ñ   
glazed with rain wa ter be - side the white chick - ens

Ü Ñ         
  

7/4 16/9

       
ê
 glazed with rain wa ter be - side the white chick - ens

  Ü    Ü    
     Ü   
3/2 5/3

 Ü  Ü  
 glazed with rain wa ter be - side the white chick - ens

  Ü      Ñ     Ü    
     
4/3


 
glazed with rain wa ter be - side the white chick - ens
8
This Blue Distinction Paul Kotheimer


Swing 8ths
3x

25/24

Alto  Ñ
Ü   ∞   Ñ   Ü
How do we make this blue dis - tinc - tion now?

   Ñ 
P    Ü    P
Alto

How do we make this blue dis - tinc - tion now?

 
35/24

    z   ∫  P Ü 
 How do we make
Tenor
this blue dis - tinc - tion now?

  Ñ
  P
Bass  Ü     Ü  
How do we make this blue dis - tinc - tion now?
 Prayer of Thanks 9

Andrew Heathwaite
Carey Smith

Contrapuntal form

  3/2
21/20 (+84.5¢)

 Ü       
1/1 7/4 2/1 9/5 8/5 6/5 21/20 7/5 63/40 21/16_ 5/4

Ü
I.  
Ü
Dump - stered
Ü z 
bread and
   

dump - stered but - ter

P  P Ñ
and peach jam!
z 
a
≈
sol do sol ta do mi re do sol sol do re ti - mi

  
5/4 9/8 7/4 147/80 7/4
C 
II.   z
∞ 
sur - prise
Ü
by -
  Ü Ü
pro - duct of the
 ê 
wine
P
ex -
 P  Ñ  z 
per - i - ment. What
≈
mi fe mi sol fe mi re do sol ta do re mi fe - ta

   
7/4


3 3 49/40 3/2

III.   z  Ü  Ü z
won - der - ful treats!
∞   Ü    P
What boun - ti - ful Ods!
C ≈ Ñ 
Dump -
ta do ta sol fe mi do mi re do do ta sol
10

41-EDO
Prayer of Thanks Andrew Heathwaite
Carey Smith
Linear/canon form
 I.
 Ü    
  Ü  x Ü     
R  R Ü x
Ü
Dump - stered bread and dump - stered but - ter and peach jam! a

 II.    f
  D x Ü   Ü  D   \  x  x  ®  ö 
sur - prise by - pro - duct of the wine ex - per - i - ment. What

 R  \  \   
 Ü   D R  
I.
 \ 
R x  x ® ö
Dump - stered bread and dump - stered but - ter and peach jam! a

 III. 3
  Ü x Ü  
3

  x f ® f   x 2  x 
ö
won - der - ful treats! What boun - ti - ful Ods!
II.
  x  f   2 
  f ö ®  ®  x   Ü  x  x
sur - prise by - pro - duct of the wine ex - per - i - ment. What

 x  Ü  Ü   
 ®   f x   
I.
 Ü   x  x x f
x
Dump - stered bread and dump - stered but ter and peach jam! a
24-EDO Microscopic Germs 11

Dan Sedgwick
Ryan Stickney

  I. \   x   ®   ‹   
  x x   ® 
® ®
Mi - cro - sco - pic germs cause most dis - ea - ses we get.
sol fu re sol do mi sol fu re sol do mi

   
II.
x   ƒ   ®   ƒ  ƒ  ƒ  ® 
  x

  \   x 
x     ƒ   ®  ®  ®  
III.

® x  ®

 
  x
   
 x   ®   ƒ  
IV.

\  \  ® ƒ

  \
xx 
harp or psaltery

  \ 
 ®‹ 
 xx   ®®  ƒ 
12

24-EDO
I Giorni Dell'Undicesimo Armonico Fabrizio Fulvio Fausto Fiale
 \  x \ ® ® 

approx. harmonic scale: 8 9 10 11 12 13 14 15

  ®
Verse

      ®       ®     
 
do - po_il son - no del - le set - ti - me_e la fri - gi - dez - za del - la ses -

  ®\     ®    
Thrash Keyboard

\®    
  \
   \     
   ®   \     \    ® 
Bass


 ®    

\      

\ 

 
 \ 
ta neu - tra il mon - do si ri - sve - glia nel - la quin - ta giu

 \®     \   
\\    

  \   ®   \       
 \    \    ®   \    
 13

  \    ê    \  
 
- sta pri - ma di sof - fri -

 \\     \     
  ®     ®  \   
 
 \
   \ 
   ®   \   \    ® 

   x x \ \   \    \  \  ® ®
    
re la ca - lu - ra del - le ter - ze la na - tu - ra_in - vi -

   xx   \\    \  \\   \ ®®  
  \     \  
\  \   ®   ® 

      \
 ê         \     
ta a gio - i - re nei pro - fu - mi nei co - lo - ri

 êê     \    x  \    
 ê 

  ®        x \ x ê \
® ê   \    ê   \ 
14 Chorus


(also instrumental intro)

   x         \  
  \   
so - no_i gior - ni dell'un - dic es - i - mo_ar mo - ni - co so - no_i

  x®  ®  
Organ
 

 \ \  \   x     \x     \    

 \    ®   \    

 \
 x        \  ® ®  ®
gior - ni dell' un - dic - es - i - mo_ar - mo - ni - co so - no_i

 x®  \  


 \x     \    ® 
 \    ®   \  \ 
 15

 ®      ®   \  x    x  
      \  ®  
gior - ni dell'un dic-es - i - mo_ar - mo - ni - co so - no_i gior - ni dell'un dic-es - i - mo_ar - mo-
 
 x  \  
 x®  ® 

 \x     \     \x    
 \    ®   \     \    ® 

 \  

x        \
 \   


- ni - co (whistle)

 
  x®  ®  

 \    ®        
  \ 
 
 \  
\
\    ® 
®
16
This Damned Vine
 
Andrew Heathwaite

I.  ∫ ∫ ∫ 

It is on - - ly

 ∞   ® 
 
II.   Ü  ®
that keeps me bound

 ∫  ∞   

dulcimer
®∫  ∞   
  

®Ü


10:11:15 20:22:25 9:11:15 18:22:25

 Ü   
this damned vine
∞    

   
to you.

∫   ∞    ®∫       

   

    
®Ü
6:11:15
 Depends on the Tornado Paul Kotheimer
17

 ≈ 110 uncounted or "conversational" rhythm

voice & fretless guitar, pp to mp throughout


   Ü  x    x    
1/1 5/4 12/11
  3

   Ü x   x     
Here's a joke that's not quite fun - ny: Fight - er pi - lot in train - ing says to the in -

 x   Ü      
  Ü x  x      x
struct - tor, "Sir, will the mush - room cloud from the a - tom - ic bomb

Ü   Ü         
3/2 3

   x      
be as tall as a tor - na - do or tal - ler?" In - struc - tor says

  
 
3 7/6 13/12

 Ü x     x  P r    

"De - pends on the tor - na - do. De - pends on the bomb."

 fretless guitar only

 

3
  
Ü x     x 
 
P  r     

18
Mercy Paul Kotheimer
q ≈ 80
 
 Ñ 
1/1 7/6 13/12 11/8

    r      r  Ñ   ®    ®  

The A - mer - i - can Psy - cho - log - i - cal As - so - ci - a - tion is op-


7/4

 Ñr ®  
3
®   Æ ®  r   
16/13 13/8

 Æ 
posed to tor - ture in some of its forms.

   Ñ  r      r  Ñ    ®    ®   Æ ®   
3
has pro - posed to tor -
The A - mer - i - can Psy - cho - log - i - cal As - so - ci - a - tion
is dis - posed toward tor -

 Ñ r
3

 Æ ® r   ®  
ture, in some of its forms, in
ture, in all of its forms, in


 Ñ r ® 
3

 r    
all of its forms.
some of its forms.
 The Introduction of Negativism 19

Andrew Heathwaite
Ancient Discordian Wisdom & Jacob Barton

    À     
  ® 

I.   Ñ
Seek the Sac - red Chao; there - in you'll

 
    À ®   

II.
  r
find the fool - ish - ness of this "OR - DER/

 
 
     

III.
 r   Ñ
DIS - OR - DER" Grey - face de - fined.

    
Ñ®      
dulcimer
  
    
À    
r   
 12:18:24
    
13:18:23 14:18:22

N.B.) "Chao" is pronounced "Cow".

20
Is What You See What You See? Andrew Heathwaite
1/1 13/12 7/6 4/3 3/2 5/3 11/6 Michael Gaiuranos

  Ñ   Ü ®
r
sol lu ta do re mi fu
Swing 16ths
I.
 Ü       
  Ü       r  Ñ    
Is what you see what you see when what you see is a u - ni - verse lack - ing in

 II. 3 6

 r     Ü   Ü           
mer - cies? Can we un - der - stand much un - der - stand - ing as
3

 ® 



 Ü      ® 
 Ñ 
such? Breeze through life's par - a - dise, con - cede your

 
III.

          
Ñ  r  r
dice. Or you cheat, c'est la vie. But I'm
IV.
  Ñ      Ü    ®  
 
a - fraid what we see is what we get to get.
 I Am Short 21

Andrew Heathwaite
Carey Smith

  P Ü P
\ z ê Ü P Ü ê  C ∞

  
1/1 35/32 9/8 5/4 21/16 45/32 3/2 49/32 25/16 7/4 15/8 63/32

I.   \  P       
 P  C 
z  Ü Ü  Ü    
I am short; I had a dream that I was big.
do ta so ta do ta mi fi do re re

 z P  P      Ü
II.  
\  P  \    Ü 

I to - wered o - ver e - very - one; I was a mon - ster.
so do so ta do mi re do re do re so do

III.    Ü     P  
P P C P 
 ∞ Ü 
I felt scarred and hi-de - ous. I was glad to wake up
mi re mi re so mi fe - so re do ta so mi so

   

IV.   P   \     P P   

Ü    ∞  Ü    

and be small, so small I fit in the bot - tom of a tea - cup.
ta so do so so do so fi fi mi mi do do mi do
22
Remem Andrew Heathwaite

rÑ       rhythms
    
    
        
Dulcimer - accentuate voice 1/1 9/8 21/16 3/2 13/8

    

     
Ñ
 
I can do with out your tell - ing me what I could do with - out

Ñ rÑ                 b        
    
17/16

             
 six chick - en chick - en pyre re - flec - tion and ac - tion, re - flec - tion

rÑ       
      
7/4
   
       

    
Ñ
  
and— Is this the con - ver - sa - tion I

rÑ                               
               


Ñ
   
could - n't have known I wan - ted to have?

rÑ     
  
               
   

Ñ
How can I con - vince you of the fal - la - cy of try - ing to con - vince? I

rÑ                       
          

     
Ñ
know I'm not con - vinc - ing e - nough
 23

rÑ  b               
  
 
 
       

Ñ

four chick - en chick - en coop ac - tion and— Did I wait long e - nough

rÑ          b         
   

Ñ
for me? are you go - ing to—? did I al - rea - dy—? Did I say that?

rÑ               b   
  b    

Ñ
What have you done with your words? What have I done with my your

rÑ 
                   
     



   
Ñ
words? em - bers and yawn - ing re - mem—

rÑ                
   b    b  
    


Ñ
 

rÑ   
 
 
 
 rit.

 
  
             

Ñ
    
24
Goes to Eleven Paul Kotheimer
1/1 11/10 11/9
® ®
11/8
å
11/7
®
11/6

  ~

 
Sa Reh Geh Mai Deh Neh
q=88
  ®  ~    å  
mf if two singers/groups: 1x alternate phrases, 2x unison

Call        ®  å ®   
Sa Neh Reh Sa Neh Deh Sa Neh Deh Mai Deh

  
mp

     ® ~   å  
2x only - - -
Response 
Sa Neh Reh Sa Neh Deh
®  ®   ®  ®  
 
           
Tuned Hand
Percussion     

 
     ~   ®    

 
Sa Reh Sa Reh Geh Reh


 ® å ®       ~   ® 
Sa Neh Deh Mai Deh Sa Reh Sa Reh Geh Reh
®  ®   ® 

          
     
 25

 ~ ®   ®     ® ~  
    ® å
Reh Geh Reh Geh Mai Geh Reh Geh Reh Sa Neh Deh

~ ®   ®  
   

 
Reh Geh Reh Geh Mai
®   ®  ®  

        
     

    ~  ® ®  å    
ff
   
  
Reh Geh Mei Deh Geh Mai

 ~  ® ®  å      
f
 ® ~ 

 å  
   
Geh Reh Geh Reh Deh Sa Reh Geh Mei Deh Geh Mai
®  ®   ®    

        
      
26

 ®mf  ®   ® ~

  ~     ® å
Geh Reh Geh Mai Geh Reh Geh Reh Sa Neh Deh

® ~  ®
mp
      

Geh Reh Geh Mai Geh Reh
®   ®  ®  

        
     

  ®  å  ®  ~    ®  
    
Sa Sa Neh Deh Sa Geh Reh Sa Reh Geh Mai

 ® ~ ®  å      ®  å  ®  ~    ® 
Geh Reh Sa Neh Deh Sa Sa Neh Deh Sa Geh Reh Sa Reh Geh Mai
®  ®   ® 

           
     
 27

 ® ®   å   
 ~   ®  å    ~ ®   ®  
Mai Geh Reh Geh Reh Sa Neh Deh Sa Reh Geh Reh Geh Mai Deh Mai Deh Mai


   ® ® ~    ®   
å 
Mai Geh Reh Geh Reh Sa Neh Deh
®   ®  ®  

        
     

    ® ® ~          
 
Mai Geh Reh Mai Reh Geh Reh Geh Reh Sa

 ~ ®   
® å       ® ® ~         

Sa Reh Geh Reh Geh Mai Deh Mai Deh Mai Mai Geh Reh Mai Reh Geh Reh Geh Reh Sa
®  ®   ® 

          
     
  ff~  ®  ®  å    
28

   
mf
® ~ 
   ® å 

å   
Reh Geh Mai Deh Geh Mai

  
Geh Reh Sa Neh Deh Sa

 
f
    

~ ® ®
®   ®     ®  

Reh Geh Mai Deh Geh Mai
      
      

 å ~ 
    ® ®   ~ ® ®   å     
 å
® ®    ~ ® ®   å 
Sa Mai Geh Deh Mai Geh Reh Geh Mai Geh Deh Mai
mp
 ® ~ ®  å     
®  ®   ® 

Geh Reh Sa Neh Deh Sa Sa Mai Geh Deh Mai Reh Geh Mai Geh Deh
          
     

 ®  å  ®      ® ~ ®   ®
  å  

å ® å ®  
Geh Deh Mai Deh Mai Geh Mai Reh Geh Reh Sa Neh Deh

   ® ~ ®  

®  

Geh Deh Mai Deh Mai Mai Reh Geh Reh Sa
   
 
 29

 ff ~  ®  ®  å        
mf
® ~ 
   ® å 

 å     
Reh Geh Mai Deh Geh Mai Geh Reh Sa Neh Deh Sa
f
  ~  ®  ®
   
®   ®     ®  

Reh Geh Mai Deh Geh Mai
      
      

   ® ~   
   ® å  

 
Geh Reh Sa Neh Deh Sa
mp
 ® ~  ® å  ® ~  ® å    
®  ®  

Geh Reh Sa Neh Deh Sa Geh Reh Sa Neh Deh Sa
         
     
30
Land Urchin Jacob Barton

 3/2
 ö~     ê  Ñ ®   Ñ  x 
4/3 5/4 9/8 1/1 6/5 11/10 16/9 7/6 11/8 7/4 18/11

    ∫    ö 

     Z    x x
chord/scale for embellishments

 sol ∫  f   ~  ö  

do do mi

  
    
1/1 4/3 8/5 16/9 16/11

 f  f  x
bass line


intro/outro vamp

    Ñ  Ñ   ®  Ñ  ®   
11/9 10/9 9/5

  Ü ö   

   Ñ  
¢  x » 
fu

do
Ñ  ®
P   reÜ®    Ñ ú
 x   Ñ  
    
7/6 8/7

   Ñ ú
 31

   Ñ   ú8/7 ∫     ¢   ®   Ñ  ú ∫   
20/11

 ú 
 ®

   ú ∫   Ñ  Ñ 
x  x  ¢  x 
»  ú ∫   ú –  ∆ X  ú ta
  
    ú ú 
12/7

 x  ú

 Ñ ú  Ñ 
 ® Ñ  
11/7 10/7 9/7

 X ∆ – ú  Ñ   

  ú Ñ ®  Ñ    ú  
ú – ∆ X
  Ñ ú
  Ñ  Ñ

 ú   ú 
ú
32
Land Urchin
Tell me a story in time
A story of sod and sand and broken waves
Of an ocean deep as green as lime
Watery graves
A land urchin was searching round, oh
and got the urge to wander
it dressed to catch the first coach out
yup, it's urgent for sure.
But the train conductor didn't care, no
or try to mask his rude cough.
said, "You seem to me a prickly pear.
Son, you'd better get off."
Michael Gaiuranos, Ryan Stickney, & Jacob Barton
The urchin hitchhiked days on end, then
a trucker stops and rants some
says "While a hedgehog makes an excellent friend
Girl, you haven't got thumbs."
At last it found the ocean's lee (whee)
a swim instructor bug-eyed
thought, "Sea urchins should live in the sea."
tossed it into the tide.
The land urchin sank down and died (no).
A drunk sea urchin swam by,
said, "While'm glad you're finally coming around
Land, you're one ugly town."
For some how they fly doesn't fit;
how some fit doesn't fly
to miss the risk this misprision brings
is imprisoning… shit!
31-EDO
Mystery Curve Dan Sedgwick & Marji Gere
33

  \  x  
+4° (+154.8¢)
D    \  x
Linear form
   ‹ x      \  gliss.®   x 

II.
x
I.
 ® 
So we'll go this way e - lev - en miles or nine - ty to the mys - ter - y oh,

curve

 x 
  ®           \x x 
guide tones

  ®      \  
fundamentals

 ƒ  x   D  
x  x x  III. \   x ®  
 
ƒ   x        \ 
 x      \  
 ® ê 
we're close to dan - ger but by dark the shine will be off the deck


 
       x\ \  
 ®
  
 x  x  x    \ 


      \ x  x    D    x    D  x
  D  D  
         x     
IV. I. (
(
Ah ah ah ah So we'll go

 
D \  

    \ x  x  




x
 
 D
 
\  \      D

34
Mystery Curve Dan Sedgwick & Marji Gere

  P 
Contrapuntal form

I.    î x x Ü   ∆  ú
So we'll go this way e - lev - en miles
ta re sol ta mi re mi ta sol
n  x  Ü  
II.

 x gliss.   ú ú  
- te - ry curve oh, we're close to
la sol fu do mi sol do sol ta -

        ù ∆ 
19/16
 ú 
III.
¢  
dark the shine will

 ú 
mi do sol - - ta meh mi re

¢ x ê  ú 
25/18


 
IV.     P    
ah ah
fi do fu re ta fa sol re

  x¢mi
 
guide tone
    
fu - sol - - - ta - - -

  ú 
do do do
fundamental
 35

      f  ~
11/10 (+165.0¢)

  f 
Ñ  Ü 
or nine - -

ty to the mys
≈
- ter - y curve
gliss.

ta mi - - fi sol do re sol la sol fu do


 Ñ  
 ]   Ü  
17/16_ 153/128

     
dan - ger but by
≈ 
dark

do sol ta ra - meh mi re do mi


Ü  f ~
 Ü         
be

off the deck Ah!
≈ ah
mi re sol fa - sol mi - fi do fu
     Z ö 

    

ah
 ≈ 
So we'll
f
go
do do - re do sol ta re sol

 ~

 
fu -
  
do - - - re - - - - mi



do

do
  ≈f
do

36

31-EDO Magic Spiral Exercise Jacob Barton


   ƒ ¯  ® ‹ 
I.

 mi - do sol mi - do sol mi - do

  \  ƒ  ® 
III.
¯ ‹
 do sol mi - do sol mi - do sol

  
II.

 sol
ƒ  ƒ ¯ ® ® ‹
mi - do sol mi - do sol mi -

 ê ƒ  x ®  
 ® 
 sol mi - do sol mi - do sol mi -

   ƒ x  ® ‹ \ 
 mi - do sol mi - do sol mi - do

 ê 

 do
 ƒ x x ®  \
sol mi - do sol mi - do sol
 Orwellian Spiral Canon No. 1 37

  ®
31-EDO Jacob Barton
Contrapuntal form
®  ®  ®  D 
Michael Gaiuranos

I.     

sol do
®
sol sol do
®do  
ta
® 
do
‹ ‹ 
II.     
®  êsol  
   \  D  
mi fa mi mi do ta - se mi

III.
 ®
  ® ®   
  ®ta 

do

® ® ‹ ê
ta do ro sol do sol mi do sol ta
  

IV.  


 ® ê
ta ta la ta do re mi ma - do sol

 ® ƒ ‹
-3° (-116.1¢)

 
ƒ  ƒ ƒ  ƒ 
≈
ƒ
ta li sol re sol ta re sol mi mi

  ƒ  ƒ  ‹ ƒ x     ‹ 
≈
 
do sol mi fu mi ta ta ta do

 x   ®  ® ƒ   ƒ    
≈
mi ta ta do

-

- mi  
mi do
ƒ  ‹ sol - ta

 ƒ  
 ƒ ƒ
   
ƒ
ƒ ≈
do re mi sol do so - ti sol do mi sol
38
Linear form

 ® 
I.
 ®          \
      
II.

    
®

ê ƒ
® ƒ  ƒ
ê   

 Ing spi - rals, each in - vo- lute rounds, the re cord's groove, cir - cles that near - ly re - cur.
® ® ƒ ƒ ƒ
Do

\    \  ƒ x
  x  x   x  (        ƒ    ƒ      

III.

they turn cen tri fu - gal - ly or cen - tri - pe - tal - ly or not? Do they wind out to zip or

x  D   (   IV.  x  ƒ  
D (   \  \  ®   x  ƒ ƒ  x   x
 ®  
x

col - lapse on them - selves? Tor - na- dos, gal - ax - ies, hur - ri canes, cha - os and his - t'ry;

  (  (  \Verse
  x  D    x   D   \   ® 
2

  \ \ \    \  \     
all cir - cles that near - ly re - cur - ring spi - rals, with each tur ning sweep like

\ \ x  \  ® \ 
 ƒ  ®   \    \  ƒ  ® x  ®     ƒ 
\
a ra - dar through the same quad - rants, the same e - vents a - gain and a - gain if this
 39
   
 ® ƒ ƒ  ®    \  ® ®   ®  ê  \   ƒ   ƒ     ƒ  ƒ  
x 
were the on - ly way to ga - ther in - for ma - tion for e - xis - tence...

   \  ê  x  
  ƒ    \  \ \  ê    
x  x x  x 
so that we each day re- peat near- ly the same thing,* ring the ro - sy round we

D  D  xVerse

3
        
                 
x x 
ê
®
® ƒ \ ƒ ® ® \ x
all drop down en - tro- py. Such fuss is a sign of dou - ble - think, bud - dy. Spir'ls al - so un -


  ƒ     
  x  ®  ®    
 ƒ ƒ  ®   ® 
x
‹  ƒ ‹  ‹
ƒ
spool. A gain, not loss; es - cape ve - lo - ci - ty.
Start the stop - watch.

  ƒ  ®  ®   \     \ \  \   x  
®  ê ® ®  \  \  \  
This po - si - tive cha - os sem - per amp - li - fi, flee the face of all re ceived

 x  x ®  ®   ®   \  \    ®  
        ®
free -doms re - peat them[.]
In - creased** each time we stream by here at the be - gin -

*) when singing round part II or IV, substitute "something" **) substitute II. "Encreased" III. "encased" IV. "in case"
40

31-EDO
Alphabet 31 Jacob Barton
31-EDO row harmonization Traditional

0
® 
236

28

19
29 12 5
®  x ƒ ® ê \ ‹
14 27 7 15 22 18 11 16

  ®
ƒ ƒ \ x ê ®
A B C D E F G, H I J K L M N O P;

13 3
\
24
ê x ê
21 17 8 9 1 4
ê
26 2
x30 x20 x25 10
 ê \ ® ® x ƒ ƒ 
Q R S, T U V, W X, Y & Z; Now I Know My

 ®  ƒ  ƒ \  x
 \ê  ® 
® x® 
S    ® ‹  \  \  ê
A ƒ ‹ 
A B C D E F G, H I J K

x     ®  x
T  
 ® x 
B   ‹ ê    \ \   \ x x 
 ƒ ®  \ ‹ \
41

 x   ƒ  ®  ‹   ê \\  ê ƒ x
ê
L M N O P; Q R S,

®   ƒ  \ ® \   ® ®
 ®  ê ® ® 
  \ x 


 ê x ê  ®  ‹  ¯ 
 ƒ ‹ x  ‹ ®® 
T U V, dou - ble - you X,
x x®  ®  ƒ x

 ê \ ®®   ® ƒ
 ®  ƒ  ® x

 ê x x x ƒ 

 x  ® ® ƒƒ  \  ® 
x
Y & Z; Now I Know My
 ‹ ƒ ê x 

 D ® ƒ  x®  x


ƒ
42
Sanga Melbis Thomas Scheurich
text: Richard Brautigan,

in unison except where split f

31-EDO "All Watched Over by Machines of Loving Grace"
Non-linear (=86)

  ƒ ƒ ®  ƒ ƒ


2 Baritones  ƒ ® ® ƒ  
I like to think (and the soon - er the bet - ter) of a


‹ƒƒƒ  
 
 
 

Organ fp

ƒ    
ƒ    
   
\
\ \ 
 \  \ 
  \ƒ   \ D 


3
ƒ 
ƒ ƒƒ
ƒ ƒ
cy - ber - net - ic mea - dow where mam - mals and com - pu - ters

 ® ƒ ®   ‹ ƒ  \\\\  \ 

ƒ    ‹ ƒ  
mp

   \  
   \  
 43

 \\  \D  x\  ®\  x        ®ƒ 3 ®  ƒ®   x  

3


  


live to - ge - ther in mu - tu - al - ly pro - gram - ming har - mo - ny

  xxx\   


 
  

ff

 x   
 x   
 p
®ƒ  ƒ  ƒ 

 ƒ  ƒ  ƒƒ   
ƒ ® 


like pure wa - ter touch - ing clear sky.

pp

 

 ¯®ƒƒ       

 ƒ      
 ƒ      
  ƒ ‹ ‹ ƒ  ®  x ® 
44
f
 ƒ  
ƒ ® 
I like to think (it has to be!) of a cy - ber - net - ic e -

 ƒ ƒ ê ƒ  x x  ƒ ¯ ® 



 f
 
ƒ ƒ
I like to think (it has to be!) cy - ber - net - ic e -

   x  
ƒƒƒƒ  
 ®x      ®®® 
 ff-mf`
® 
ƒ    ƒ 
ƒ    ƒ  ® 

  ®  ®®  ƒƒ  xD  xD  Dê 


 ®  ®    ®   
co - lo - gy where we are free of our la - bors and

 \  

   ®®ƒ®  


®
  ®
®  
® 
 45

 ®®  \D  \\  \®  ®   \ D  
\  D
x  \

  ®


joined back to na - ture re - turned to our mam - mal bro - thers and sis -

      ƒ ƒ  \\\  

\  
 \\ 
\  ® \  \\ 

mp mf

®  ê    \ 
®  ê   
\ 
 \     D
D   \ \ \ x 


 \    
I°
\ ®



\ x
ters and all watched o - ver by ma - chines of lo - ving Grace. Ma -

\ 

   \\  
 xxx 
 ®
f
  
\  x
 x
 \ 
  x  ®  x  x   x  ®  3 x x 
46 3
 x 

x x  3® ®  \  3  
lo - ving Grace! - lo - ving Grace…
x
chines of Ma chines of
 
     


Ma - chines of lo - ving Ma - chines of lo - ving
 
Grace!

    
  \\\  

dim. poco a poco

  x 
  x 
 x  x  ®     x  x
 x
lo - ving Grace…
® \  
lo - ving Grace…
® ® x 
Grace.


 



Grace… lo - ving Grace… lo - ving Grace.

 xx
x  ƒƒƒ  \xx 
mp 
 ®® 
 \® 
  x
  x
31-EDO Orwellian Spiral Canon No. 2 Jacob Barton
47

     \  D ®
Contrapuntal form
 ® ®
I.    x 
®  ‹ x  ®
II.
  
  ® ‹  ƒ ®  ê  ®    
 x  ƒ  \  \ x \
 
  ƒƒ     x   x  x   ®     
III.


 \   x  \ ƒ x     ®
   
   ƒ  
  \   ®  \    
 \     ƒ

     ƒ ®  ê  ƒ  ®  
ê
    ®   

48

 ƒ  x  \ \  x 
-1° (-38.7¢)
 x x D
ƒ  x ®   x  
≈   ƒ 

   ƒ  x  x
x   (   (      \  
 ®     ≈ ® 
  x    
x  x 
 

  ƒ ® ®  ®  
® ƒ
≈
Linear form
  ® ® \  D  ®  \  ƒ

I.
   x  \   x   
1. As Guu - du swept the yard one morn, a rain - worn con - crete
2. O shall we blame the neigh - bor who had built the tank a -

    ®  ƒ   x  x  x D  
 x   

     
x  
  
ƒ x x \ \ ®
plank gave way and plunged her twelve feet down in - to a sep - tic tank.
miss, or shall we blame the e - very - man who does - n't yet e - xist?
 49

   ƒ   ƒ   ®  ƒ   ƒ   ƒ     
 ƒ ¯  ƒ   ƒ   
II.

 ƒ   
Her mate, Su - raj had no - thing long e - nough to fish her free
Or shall we blame the neigh - bor - hood for be - ing so il - le - gal

 
  x   ®  x  ®    ƒ ®
 ®   ®   
   x   x    
‹   
and saw no choice but jump him - self in - to the no - xious sea.
that Del - hi does - n't care to pipe a - way such mat - ters fe - cal?

 ƒ ®
   D  \  D  ê   x    ®  ®
III.

    ®

It was - n't that they could - n't swim or that the walls
To speak of blame but pro - pa - gates a world al - rea -

 ‹   \     \   ƒ
  x  ê   x   ®    x    

caved in, but lungs filled up with se - wer gas
some - -
ƒ 
dy done? Come up with thing less ob tuse

   

x x x  ê x 

in - stead of o - xy - gen. O
to tell their teen - age son.
50

12-EDO Trice Mark Enslin

Indigo Crespighi

 ê \  ê \ ê ê \ ê \ ê \ 
ê     ê
ê ê ê
ê \ \ \
N - ne - ver a - gain will I ad - mire a thing not just once in its so - ber beau - ty.

  ê ê  ê  \  \   \ \ 
 ê ê
3

ê ê ê   \ ê
 ƒ ƒ 
ê ê
\ ê ƒ
The o - live bit - ter off the tree and cured, round egg round fruit not sub - merged in an un - ac -


ê  ê ƒ  ê  ê  ê ƒ    ƒ  ƒ  ê  ê  ê  ê  ê ƒ  ê  ƒ ƒ   ê ƒ   ê
  ƒ
3
ê \ ê \
coun - ted - for man's mar - ti - ni, or the laugh of jo - vi - a - li - ty in brute dip - lo - ma - cy ac - com - pa - nied

 ê ƒ \ \ ê ƒ \ \
ê \ ƒ ê \ \ ê ê \ \ \ 
ê  ƒ
by ner - vous ones fresh - ly re - mem - bered from the clea - n - ness of dis - con - nec - ted friends and
 51

 
3 3

 \ \ ê \  ê  \    ê  ê  ê \ \  \ ê \ \  ê  ê  ê  ê  \  ê \ \  ê  ê 
3

ê ê ê
n - new e - ne - mies, pro-trud-ing like the phi - lo - so - phy dis-cus-sion en-dors- ing, ig-nor - ing anddiv - ing,

ê ƒ ê ƒ  ê
    ƒ  ê  ê  ƒ  ê  ê  ê \  ƒ  ê ƒ  ê  ƒ  ê  ê  ê 
ê ƒ ê ê ê ê
and 'tis for cop - ing with so - ber hue, beau - ty of bur - gun - dy co - in - cide with slid - ing hope in her glass next to

     ê   ê ƒ    ê \ ê  ê ê ê ê
3
 ƒ ê
 ƒ   \  ê  \ê  \ ê  \  ê  \  ƒ ê \
hers hand and hand bay - ful as the snow is pulled to earth and the sky-line blows cold kis - ses n - nev er to

 ê ê
 \  \  \  \   \  \  ê \ \  ê    \  ê  \  ê  \  ê  \  ê  \  \ 
3

ê ê
for - get a rain - bow re - flect - ing off the oi - ly bod, so - ve - reign - ty ea - sy to ac - cept a

ê \\ \ ƒ \ ê ƒ \ ƒ ê ê
3

 ê
3

ê ê ê \ \ \   \ 
ê
ê
song as in - ti - ma - cy each ca - rée a dif - fe - rent cor - ner of the dark room of Di - manche
52

ê \ \ ƒ \ \  ê ƒ ê  ƒ
 \ ê \ ƒ \ ƒ  
ê ƒ ƒ
sun - room branch grow - ing thatch through the win - dow small fruit drop - ping day and trise. Be - cause

ê  ê
 ƒ  ƒ ƒ  ê  ƒ  ƒ ƒ  ƒ  ƒ  ƒ  ƒ  ê  ƒ  ƒ  ƒ  ƒ 
ê êƒ ê ê
ê ƒ ê 
if you let it go, feel the home - less mat - tress in - stead of the board at home, dress con - fu - sion with - out im pact

 ê ê ƒ
3 3

  ê ê ƒ ê ê ê  ê ê ê ê  
3
   
ê  ê ê
ê \ ê ê ƒ
of the in - vert wild eye, and just sink in - to the warmth, I can't i - ma - gine need - ing you.

  ê ƒ ê ƒ ê ƒ ê ƒ
 ê ƒ ƒ ê  ê \ ê  ê \
So give me back what's mine, and I'll show you what a one - sid - ed con - ver -

ê  \  \ ê ê ê ê 
 ê ê \ \ ê  ê \ ƒ ê ƒ
3
 
ê  ê \ ê 
sa - tion is. When the spire spir - ing and the spear gleam- ing is - n't the one that's drawn the line.
 53

12-EDO
Gus
Dan Sedgwick & Marji Gere

    
\  \
I.       
 ê
Hoh, no! Gus was - n't pret - ty but

  \  \   
II.  \       \ \  
he could sing and he could dance right in - to your

 
 
      
III. \ \
heart. 
Oh, no o -

  
    \ 
   
IV.
 
- re - o toe roon
54
Shelly Dan Sedgwick & Marji Gere

meantone

    ƒ 
I.     ƒ             ƒ  ƒ 
  

ƒ
Oh, here comes Paul, ch-k, ch-k! He shakes the can, I dance and bang my

   
ƒ  
  ƒ  
II.
 ê ƒ  ƒ ƒ 
 ƒ ƒ 
rocks! tlok* Yum, yum, I'm a grow - ing, grow - ing, grow - ing,

  ƒ  ƒ

III.     ƒ ƒ   

food - stick gulp - ing red - eared sli - der!

*) alveolar tongue click !

 Backflip 55

Andrew Heathwaite
Ryan Stickney & Michael Gaiuranos

     
I.  \ P  \ 
\ 
Do a back - - flip.


  P \ \ Ü    \ Ü
II.  
Take a stern bow, but don't


  P Ü \ \  P 
III. 
fall low when you do.

 
IV.
  \

\   \ 
 
\  \

\ 
So, stead - y now, start a - new:
56

Backflip
Andrew Heathwaite
Ryan Stickney & Michael Gaiuranos

 I.  P \ Ü  \ Ü
  \    P  \\  \  Ü    \  Ü 
II.

  \ \ P  \  P 
\
 
\ 
C instruments Do a back - flip. Take a stern bow, but don't

\ Ü    \ Ü 

 \   \ 
P  \
    P   \   



 Ü    Ü

  \   \  P 
 \
    P   \   


F instruments

 Ü   Ü
  P      P  \   Ü     Ü 
  \  P     P\  
\  
Bb instruments

 Ü    Ü
  P      P    

Eb instruments   
     
 57

  P
P
III. Ü  \  \  P 
Ü \  \   P   \ \  \   \  \  \
IV.

  \    
\  \   
\  \ 
\
fall low when you do. So, stea - dy now, start a - new.
P
C

 Ü  \  \   P   \ \ 
   \   \  \   \    

 P Ü  \   P   \
F      \    \   \    

P Ü   \  P 
  P Ü  \   P      \   
     \    
Bb    \   \ 
P Ü     P 
       

Eb         
58
Clouds Andrew Heathwaite

 
Contrapuntal form Carey Smith

 ú  ü ∞     z  Ü  
I.  
 Ü  Ü   
Clouds in - dis - tin - guish - a - ble from o - cean
do do so lu so fu mi do ta re

    r   Ü    
II.
Ü  z   Ü   
toe in - to oooh! cold! wet
so lu mi ta do do

III.   P     ∞  Ü  
∫  ∞ 


flow I float by un - a - ware
ta so so mi so re mi

    Ü    ü Ü

  ∞ Ü
 
 Ü



IV.

the joy with - in is the joy with - out there

re mi so re do fu do mi so so

 P  r     z Ü 
 
 
V.  Ü Ü ú   ∞   Ü 
as the one in - side my self how could I
ta lu so mi so lu mi ta do so
 59

 
100/99 (+17.4¢)
     ñ 
  n
waves
  ñ
I
z ¬
dip my
≈ 
toe
do so lu ti so

    ñ é  X
  Ü ñ     ¢  ≈ 
shi - ver a - bun - dance flow

 
fu mi re do mi ta


       
n n Ü ñ ¢    ñ ≈  ñ
re-mark - a - ble and boun - ti - ful the
do so fu mi re do so so re

  ¢  n  Ñ    ñ  é ñ   X  
is no fruit as
n
sweet and

jui - cy
≈ 
as

  
re so lu so mi do mi re ta

 
  n
 

e -
`  
ver
 
for - get
 ≈ ñ 
Clouds
do ta do ta do
60

72-EDO
Clouds Andrew Heathwaite
Linear form Carey Smith

  Ü  Ü  ö   ú ∏       x   Ü    h       ö  x   
I. II.
   öx    
 ƒ
Clouds in - dis- tin guish - a - ble from o- cean waves I dip my toe in - to

 
 Ñ            ú      ú   ú   ö   \ 
      ú  ƒ  ö  Œ  
III.

oooh! cold! wet shi - ver a - bun dance flow I float by un - a

  
     Ñ  Ñ  ö ®  ∏  Ñ      ®  
 
 ®  ú  ®  ®   ∫   ú   Œ  ú  
IV.

ƒ
ware re mark - a - ble and boun - ti - ful the joy with - in is the joy with - out

   ú   Ü ö    ∏   h ê  ∏  
V.
 ∫ Ü  ö ú   ®
there is no fruit as sweet and jui - cy as the one in -
I.

 ®
 
   ö  ®  ®   ê   ú    
    
∫  –   ∫ 
side my self how could I e - ver for- get Clouds
 Fetus Float Foot Andrew Heathwaite
61

1/1 12/11 5/4 14/11 15/11 3/2 35/22 7/4 20/11 21/11 2/1

   x ∫ k ¢ ê ` Ñ ¢ k ê
2 out of {2, 3, 5, 7, 11} dekany: 2•11 2•3 5•11 2•7 3•5 3•11 5•7 7•11 2•5 3•7 2•11

  `    ¢  ¢ k
I.   ∫   ¢   x    
Fe - tus Float Foot When are you com - ing to
ta fu sol do mi ta sol fu sol ta

II.   ¢    ` ∫

 k
 x
 ¢
farm One Hun - dred grass - hop -pers
do do ta fu ta sol mi

III.     ¢ ¢ ∫  `   
 x 
sing a ca - co -pho -nous an - them.
- ta do sol fu sol ta do sol sol

   ∫ ¢¢
 ¢
3
 `       k
IV. x 
Yet part of you is al - rea -dy born and part of
ta fu sol do sol fu sol ta mi ta sol ta

   
  ¢ 
`  ¢  ¢
 ¢ 
V.

Gra - vi - ty works dif - fer -

do sol ta do - mi fu mi
62

 ¢ k   Ñ   k `
 `   ∫   
join us in this down and up world? At the
ta do sol mi do mi sol ta - fu sol mi

Ñ   k k `
3

 ¢ ` ¢   ∫ k
3
 ∫

Bus - i - ly de - co -rate my path. Two Hun - dred Birds
do ta sol ta sol fu do fu - ta mi do sol mi -

   Ñ
 ¢ k k    ∫  ` 
And I think, No one has seen your face yet.
sol do sol ta sol do mi sol mi fu

 ¢ `   
  
me is ges - - ta - ting.
do ta mi sol do

  
 ∫ 
Ñ   k 
ent - - ly for you.
fu fu - - ta do do
 J.I. B-P H2O 63

text: Crispino Lobo, co-founder of the Watershed Organisation Trust (WOTR), Paul Kotheimer
India, quoted in "India Rain" by Sara Corbett, National Geographic, December 2009
(http://ngm.nationalgeographic.com/2009/11/india-rain/corbett-text).

  P  f  Z  f  Ü  Ü 
 Ü f  Z f Ü
 Z
"Where wa - ter runs, we make it walk; where it

 R  f  \  f  Ü  Ü 
 
BP
 \    \ f Ü

41-EDO Ü f
  
Drone  

  f P
 Z    Ü  Z      Ü Ü
    P  
walks, we make it crawl; where it crawls, we make it sink in - to the ground."
R
 \     Ü  \    f    Ü Ü
    R  
64
BP Love Song
 
41-EDO Elaine Walker


       ∫    
® 


1. I know I love you,

 
2. It's not the dis tance
∫ ∫ ∫ 
 

2x with drum pattern (16ths)

   
Piano w/ delay FX
®
∫ Ü  ∫ 

Cello w/ delay FX

 ∫ Ü  Ü 
 ®  

 
 
3

®  ®        ®     ƒ  ®


be - cause you're not my type Yet I feel a des - perate
∫  that makes me cry It's on - ly tor - ture what you
®® 
 ® ® 


 ® x 
 ® x 

∫ ö 
®
 65

  ∫   ∫  
  ®      ∫
3


x  
 ®  ®


long - ing I know I love you, be cause I'm ter ri - fied
don't say I said I love you straight in - toyour eyes
∫  ∫ ∫ 
 ∫ 

 ®  ® ® 
 ∫ Ü  ∫ 
 Ü ® x 

 Ü  ∫
 
 
  ® 
   ƒ  ®      x       


x
When you're here but not a - round me And when I brave the
All I can do now is wait If your im -

® ® 
 x 
 x 

 f 
Arpeggiator FX (8ths)

 ö ® x 
® x 
66

       
 
 
  x   
x
f     f     f   Ü  f Ü  f 


3
space be tween us and reach reach to pull you
pos - si - ble co - nun - drum e - ver creeps a- way I will be

 f  f 

 ff 
 
 f\f
 

 

  x  
 x      x
3

f  x    ®
I float I float so high


near
here When the sun the sun meets the sky }

x  x   x   ® x 
 x  x  x
 f 
D 
x  R
 67


     f x   \ x  x  ∫    


A long, long a - wait - ed high

 x  \ x  x ∫  
  

x  ∫ 


x  Ü  


BP
41-EDO
The Sky Is Thin
 
Kevin Foster

 
  Ü    Ü   x   x   Ü Ü     x 

Ü
The sky's so thin you can feel the black be - hind the blue. The cloud's so
   ÜÜ      ö      ÜÜ      ö     

        
ö     

               
  x
68

   Ü  Ü  ö  f  Ü  
 \ x  \  ö  f
loud you can't hear the moon - light tell - ing you to run a - way.

Ü  Ü  xf  Ü  xf  \ö  xf  \ö xf 

 
 

  
Ü

      Ü ® 
  
 \  ö 
f \  ö  f
   ...or is it

 \ö  xf   Ü   ÜÜ®     

Run a - way... run a - way...
    
x


  x
f  ƒ 
  x
f  ƒ 
  x
f
 

\ö ö\ ö\


 ® Ü   Ü ®  ® Ü
 Ü  Ü 
f
ask - ing you to stay? H, G, F, E, D, C, B,
x      x   
ÜÜ®       f      f    Ü ÜÜ®      ÜÜ®      
 x    x  

 69


 f  Ü ®  Ü  Ü ®  Ü
 A.
f  ö Ü
x      x   
The wind is won - der - ing. The pond is

f      f    Ü ® \  Ü Ü f ö Ü Ü ® \  Ü Ü

 x       x    

        

   Ü    
 f ö 
 Ü   ® Ü f ö  Ü     
pon - der - ing its place. The trees are fly - ing in - to space.

f ö Ü Ü ®  Ü f ö Ü Ü 
  
  \
Ü 

     

 ad lib.  
  Ü ®       ƒ   Ü  ®    
 ƒ   
 The sha - dow fades a - way. The e - cho has to stay.

®   ƒ  Ü ®   ƒ 

     

70

88¢ET
Let Me Pick Some Andrew Heathwaite
41-EDO

    ö  Ü
x  f \ ®
ö \ Ü
steps of 88¢ET: 3 2 3 2 3 2 3 2 3
steps of 41EDO: 9 6 9 6 9 6 9 6 9
Moderato

    
Ü   ö Ü  
Ü   ö Ü 
   \  ®  ö \   \ ö    \ ö  
voice and guitar
Ü ö  f
Let me pick some ber-ries with you I wouldlike to start somewine withyou now I wouldlike to start somewine withyou

 \  ® ö \  Ü
ö    Ü ö
\  ®  ö \ \ ö ®    
Take me to the ber - ry patch - es Show me to the ber - ry patch - es I would like to pick the patch

  ö f      Ü  \      
x

  \ ö ®     
Pick them on the sun - ny side Pick them on the sun - ny side I will pick the jui - cy ones and

 Ü \       ®öö                


x        
leave the ones that aren't so jui - cy
I would like to pick the ber - ries
 71

 
               ö         ö        
 ö ®        ö ®         ö ®       
ö
x        x         x       
that are rea - dy to be picked I would like to pick the ber - ries that are rea- dy to be picked

Ü   ö Ü  Ü
ö
  \  ®  ö \   Ü   \  ö      öÜ\  ö  
f
Let me pick some ber ries with you I would like to start some wine with you now I would like to start some wine with you


 ®ö
ö                ö        
        ®x       
x         
I would like to start some wine and drink it when it's fit to drink

ö        ö       

 ®       
x         x     
® 



I would like to start some wine and drink it when it's fit to drink

ö        ö   

 ®      
x        x  
®
Kiss me in the ber - ry patch Car - ey!
72
O Mulberry Andrew Heathwaite
88¢ET
41-EDO

 Meditative   ö    
  ® f  x    

® f ®
* O Mul - ber - ry what are you dream - ing

 ® x    
 
   

fö

 
  Ü    Ü


∫   ƒ ƒ  ∫ Ü ∫ƒ    
while strength - en - ing your bran - ches?
4fr 4fr 3fr
3fr

 ܃ƒÜ     ܃ƒ∫     Ü ƒÜ     Ü ƒ ∫     

 ƒ ƒ ƒ ƒ ƒ ƒ

*) Fingering diagrams shown are for a guitar fretted to 88-cent equal temperament, with open strings tuned supermajor thirds apart.
22-EDO
One Drop of Rain Andrew Heathwaite
73

  mf  
  ö     ö     ∫
  Ü 
one drop of rain on your bro - ken hand

 
  ö     ö     ∫  öÜ     
Guitar

 Ü  ∫  
    
mf

  3 3
    ö  Ü               
 ö  ö  ∫ 
co - mets with tas - sels let me in - to the fi - re gate these
this field is drain - ing fast

 
  ö    ö  ∫    öÜ     Ü  ∫öÜ               
3 3

∫   f      
 
74

  p

  Ü           
 vi - o - lets can be ea - ten ƒ     ∫

you know I have been a - sleep

    
 fÜ  ∫ö       
   
  öƒ   ö   Ü ∫   
Ü
p
 

     
   
 ƒon
 ∫  ƒ 
the job job bend - ing spoons get that

 öƒ  ö  Ü ∫    öƒ  ö  f    ê  ∫ 
  

 
f

3 p
           
3
 ƒ
 fly get that fly get that fly
 ∫ 
bend - ing job job
 
  ƒ   ∫         
3 3
 ƒ ö 
ö  Ü ∫  
f p
 75

  pp whisper
        
 I saw it slip away to the northeast going ninety-nine on a haircut bending spoons



   
wispy hammer-on tremolos

    
∫  Ü ∫   \  
pp

  f ö 
  ö   
  ö  ∫ 
this road is made of clay ad lib. tremolos
 
    Ü       ∫Ü 
ö   ö  ∫∫    ö    ö  
f mp dim.


   
 
Ü Ü   ∫ 
Ü 
 \f 
ö   f ö 
 f ƒ   \  f  
76

11-EDO
A New City Paul Kotheimer

  ∫  
22-EDO

 \     Ü  Ü  ∫   
  ö  ∫   
3
Call     

 ∫  \   Ü3 Ü  ∫ 


Response         
deg. 11-EDO: 0 10 7 5 9 4 6 8

   
   ∫    \     Ü  Ü  ∫ 
3

   
Chong - ming is - land north of Shang - hai,

 ∫  \
   

 ö  ∫        
3 1 2 0 10 7 5

     Ü Ü ∫ ö
    ö  ∫       
is grow - ing. Cen - tu - ries a - go,
 Ü  Ü  ∫    

 ö  ∫   
3

   
9 4 6 8 3 1 2
     ∫  \ 
77
  ∫   
  
 Ü  Ü  ∫  ö
it was

just a sand - bar.
 ∫  \
 
   ∫    
9 4 6 8 3 1 2 0 10 7 5

  
  \   Ü  ∫    ö     Ü  
     
 \ Ü ∫   ö    Ü 
Now, Dong - tan,

a new ci - ty,
   
       
5 6 8 2 3 4 7

  ∫    f    \   Ü 
 f     
 f 
 f  ∫  \  Ü
can be built there. All of it used to be

  
   
1 9 10 0 0 10 7 5 9 4

  ∫  Ü    
    ö  ∫      
∫ Ü 
top - soil up - ri - ver.
 
 
    ö  ∫     
8 6 3 1 2
78

11-EDO
Lament Jason Conklin

  Andante
22-EDO

 
   ö  ö     ö  
 sempre pp
   
take me up turn me a - round

         öf  öö           ö      

    ö   Ü         
guitar

    ö 
 ö  ö   ö
   ö  ö      ö    
    

 
pick my face right out of a crowd

   öf   öö   ö         ö          öf  öö  
     ö    Ü         
 ö   ö    
ö 

  
  ö  
 ö ö ∫   ö     
 share
  
that dream of mu - tu - al in - de - pend ence guar - an - teed

        ö  ö 
       öf   öö  
 ö     
ö    Ü        
   
 ö 
∫
ö    
 79

  
        ö     
 
     ö 
I'm one with - out a smile a-

        fÜö     ö    

  öö    
 ö    ö    f
 ö  ö     ö      

  
    
 ö
 lone
ö
with - in my child

ö    ö 

ö   
 
       


 ö      

 
    

 Ü  
knock on wood
    öf   öö   ö      
ö    ö
     
    
Ü  Üö
ƒ

    
ö  ö  
80

Conversation Is
11-EDO row
11-EDO Andrew Heathwaite
22-EDO text: Gordon Pask
8 7 2 9 1 3 4 0 5 10 6

  ∫   ê      f ƒ    ö 
ö  Ü  f
Con - ver - sa - tion is the con - verse of con - trol.
la lo re te ra me mo do su ti fu

where words are said to mean 22-EDO row Andrew Heathwaite

22-EDO text: Herbert Brün, "my words
and where I want them" #22

15 5 13 0 14 12 9 20 2 3 11 7 19

 ö 
  ê Ü   ∫ ∫ ∫ ö
 ∫ ∫
where words are said to mean what peo - ple take them to mean,

 ƒ ∫
8 10 18 17 1 21 4 6 16

 ƒ ö  Ü ƒ ö
there, things are what is said a - bout them.
17-EDO
Jarband's Nude Rainbow
interval mnemonics for 17-EDO
81

JARband (Jacob, Andrew, Rob)

0. Unison, 0.000¢

                     
Ex - pos - i - to - ry in - tro - duc - er sys - tem - at - ic ex - po - si - tion!

1. (sub)Minor second, 70.588¢

   x \   x \  ƒ   ® 
Mer - cu - ry bam - boo - zles sol - id cir - cuits; lev - erage.

x  x  ®  x  
2. Neutral second, 141.176¢

    \  \    
Hip - po - pot - a - mus - es. Chim - pan - zees. Out - side please!

 \  \  \    ƒ x x ® ®    ê  ê ƒ ƒ  \ \ \ 
3. Major second, 211.765¢

   

Yo M. C. Rain - bow! Do - nate blood?
82
4. (sub)Minor third, 282.353¢

 x x
3

     \  

My fav - orite is the squid one.

5. Neutral third, 352.941¢


    x    x x  ®   

Her flute is seem - ing - ly foot B.


6. (super)Major third, 423.529¢
 \ x  x  \  \  
 x  
Take it off Saint V's ta - ran - tu - la.

7. Perfect fourth, 494.118¢

   

               
       
 
Nose pon - der - ing face; A, B, sei - zures.

 
ƒ     ®    ƒ 
8. Small tritone, 564.706¢

   ƒ   ®     ƒ   
Write fast - er, note num - bers: pro - duc - tion po - e - try!
 83

  ƒ   \   ƒ  
9. Large tritone, 635.294¢

 \     \ 
   
...cheese was mold - y, um, in - tense - ly a - ged...


10. Perfect fifth, 705.882¢

 
 \      \  \  \        \
\ \
Buoy - ant com - pro - mise! bo - gus mir - a - cles sur - round me.


11. (sub)Minor sixth, 776.471¢

    
    
ƒ  ƒ
Breathe with - out fren - zy yourloaf - ing O.

®   
12. Neutral sixth, 847.059¢

           
®   ®  ® 
JAR - band's gray rain - bow bom - bard - ing squid ter - ri - to - ry.

13. (super)Major sixth, 917.647¢   


 
         
         
\  
Pine - ap - ple, Q: le - gions in - vade butt re - gions!
84


   ƒ    ƒ  
14. Minor seventh, 988.235¢

ƒ 
ƒ       ƒ   ƒ ƒ
Pred - a - to - ry vas - e - line sales - man: I'm not itch - y!

15. Neutral seventh, 1058.824¢

ƒ 5 ƒ 3
ƒ
 ®  ® 
   
® 
A di - a - lec - tic's named lan - guage chang - ing my same

   
16. (super)Major seventh, 1129.412¢
ƒ 
 ƒ  ƒ   ƒ     
ƒ ƒ    ƒ    ƒ
Ex - plo - sive - ly I'm mas - sag - ing your al - ter - na - tives. (Ex-

  
17. Perfect octave, 1200.000¢

          
         
        
I do al - pha - bet - ic guess - works; vig or - ous - ly fic - ti - tious sit - u - a - tions.
 Multiverse 85

 
17-EDO Jacob Barton

  
I.    \
  \  ê   \ 
I have more than one tongue; so do you.

  \       ê
\ x   \    ê  ®  
II.

Is - n't it ab - surd? Not ve - ry. Doyoureal - ly think that

III.   ®     ®    ®    ®   
One could be e - nough for what? for us to speak in this res - plen - dent



3

IV.   \      
3
 
   \    
glis
s.

Mul - ti - verse! Oh, what cra - zy talk.

J'ai plus qu'une langue; ainsi que vous.
N'est ce pas absurde? Pas reelment.
Pensez-vous vraiment qu'une pourrait etre
asser pourque nous puissions parler dans
cette multiverse resplendent?
Ah, quelle idee.
나의#혀는#여#러#개#이지.#그#러#니?
말도#안#된다?#아#니야.
너#는#정말#혀가#더#안#필#요#하니?
왜#애?#다#우#주#다언#어#를#쓰기위#해서지!
쳇,#웃#기지#마!
Mul on enam kui üks keel. Sinul ka!
Mõtetus, kas pole? Kuidas nii.
Kas arvad Sa et ühest tõesti piisaks?
Milleks? Vestiemiseks, ses hiilgavas
luulekeeles! Milline hull jutt!
86

17-EDO
Alleluia
 
Aaron Krister Johnson

  
Alto    ƒ               ®  ®   
al - le - lu - ia al - le - lu - ia al - le - lu - ia al - le - lu - ia



     
      ƒ ƒ ê
    ƒ   
Alto
ƒ
al - le - lu - ia al - le - lu - ia al - le - lu - ia al - le - lu - ia
\     x
Bass
  
 
 ƒ ê
           

al - le - lu - ia al - le - lu - ia al - le - lu - ia al - le - lu - ia

    
   ® ®           ƒ  
 
al - le - lu - ia, al - le - lu - ia al - le - lu - ia!


   ƒ ƒ  ê  ƒ   ê  ê      
  
   ƒ 
al - le - lu - ia, al - le - lu - ia al - le - lu - ia!
   x          
  ƒ
   ê   
al - le - lu - ia, al - le - lu - ia al - le - lu - ia!
 87

   
     

   ƒ        ƒ   ƒ     

®
al - le - lu - ia, al - le - lu - ia, al - le - lu - ia,

            ƒ  ƒ  ƒ  ®  ®  
 
  ê ƒ
  ƒ ƒ
al - le - lu - ia, al - le - lu - ia, al - le - lu - ia, al - le - lu - ia, al - lu -

  
          ƒ  ƒ  ƒ    ®  ƒ          
al - le - lu - ia, al - le - lu - ia, al - le - lu - ia, al - le - lu - ia, al - le - lu -

  
ƒ  ƒ  ƒ 
  
 ê  \   
  \    ® 
al - le - lu - ia, al - le - lu - ia, al - le - lu - ia, al - le - lu -
  ê    ƒ  ƒ   
 
  ®  
lu - ia, al - le - lu - ia, al - le - lu - ia
88

       
 \ \        \ \   x x   ê 
- ia, al - le - lu - ia, al - le - lu - ia, al - le - lu - ia, al - -

 \       \   ®   x   ê ƒ     

\ \   \ 
- ia al - le - lu - ia, al - le, al - le - lu, al - le - lu, al - le - lu, al -
   \  \   x   x  x  
    ê   
al - le - lu, al - le - lu - ia, al - le - lu -

   
     ƒ      
 ƒ 

  

 
- le - lu, al - le - lu - ia! al - le - lu - ia al - le - lu - ia

   ®   


  
    ƒ   ƒ   
le - lu - ia!
\   
al - le - lu - ia al - le - lu - ia
      ƒ
     ê   
ia! al - le - lu - ia al - le - lu - ia
 89

    
    ® ®     ® ®    
  
al - le - lu - ia al - le - lu - ia al - le - lu - ia, al -

   
  ƒ  ê
 
 
  ƒ ê ƒ


    ƒ ƒ
al - le - lu - ia al - le - lu - ia, al -
   x     x   
al - le - lu - ia
  
 
      
al - le - lu - ia al - le - lu - ia al - le - lu - ia, al - le -

 
              ƒ  
 

- le - lu - ia al - le, al - le, al - le - lu - - ia!

  ê  ê   
 
 
   ƒ 


    
  
- le - lu - ia al - le, al - le, al - le - lu - - ia!

            ƒ   
 ê 
lu - ia al - le, al - le, al - le - lu - - ia!
90

17-EDO
Gift of Insides/One Quick Away Andrew Heathwaite

 
Moderato (.=100)
   ®      ® 
    
4x
 

ƒ    

  ® ƒ ®    
Çümbüs gift of in - side Sa - tur - morn
     
 
 
 ®  ƒ      ®   ƒ       ®          ƒ  
 

num - ber - fin - ger - ing is - land bear a brib - ing cup of
       

  

  
   ® ƒ        ®  ƒ 

   

egg - talk


ug - ly - ing mud - wa - ter bet - ween us.

  ® ƒ        ®  ƒ         
  
ƒ
    
 ®        ƒ      
 baf -fle - head - ed vines and tar - grunt

 ƒ®        ƒ       ƒ      ®    ƒ     


91

 ®        ®       ® 
 holes in
ƒ
pla - ces cog - ni - tive trom -

  ƒ          ƒ®       
  
 
 ƒ        ® 
 bum - pet - ting

weed al - ley

 ƒ     ƒ     ®    ƒ   

      ®    ƒ   
      
 ƒ  

 ƒ    ƒ ® ƒ  

 flight
  
gar - den an as - sem - bled be -

 ƒ       ƒ       ƒ       ƒ    ƒ   
ƒ      ƒ      ƒ      ƒ      ƒƒ®      

 ƒ  
     
 ing

 ƒ ®       ƒ ®       ƒ ®        ƒ      

ƒ      ƒ      ƒ       

  
92

     
3x

 crunch - bo -
ƒ 
dy

 
    ƒ    ®    ƒ   
4
 
 ®   
 Allegro
     ƒ          
(=132)
  
3x
 
 one quick a - way the fault - ers

       
    ƒ  ƒ     ®  ƒ   ®      
3 3 3 3 3

®        ƒ      
 
 ƒ             ƒ 
®
  
   
 fix - at - ed black and sun pants
  
re - solved to not al - ter

 ®      ƒ       ®  ®        ƒ      
    
 ƒ  
®
 
        
 
3x
 
 talk to the pock - et thanks

     
            
3 3 3 3 3
 ƒ  ƒ     ®    ƒ®    
 ®     
ƒ ®  

93

     ƒ   ®    ƒ   ®
 hey gra - vel, yo gra - vel hey gra - vel, yo gra - vel

 ƒ®  
          ®®     ƒ        
  ƒ®           ƒ 
®  
  ƒ    ƒ      ƒ   
 

 
  
sleep sleep and an - ti - qui - ty

 ®®     ƒ   ƒ®  
    
       
ƒ      ƒ®     
   

ƒ
  
 1. 
2. 
   3x
 
 ƒ    ƒ     
 ® ƒ ®       
 
 
a-

 ƒ       ƒƒ         ® ƒ     ƒ        
a - way not a - ny place fanned

 ƒ    
   ®  
  
  

3x
   ® ƒ ®     
 way not a - ny place 
fanned

     
   
3 3 3 3 3
          

® ƒ ®  ƒ ƒ  ® ƒ   ®    
94
17-EDO The Villain's Song

Thomas Scheurich
  \  x   ®  
q=50 subtle p
 \  
   
    


Baritone

Spec - ta - cles; fail - ure; o - il; ramp.

 \  \\   
 x

 \\\  ê   

 
x\ 
  
 ®  ®ê   x 
mp
  \  
Keyboard(s) f
   
     
 ƒ      
ƒ
 
   mf x  x  \   
nostalgic?
\ 
excitable?

  

ff
   ƒ     
\ ƒ


   clam - chow - der. Scam; pill - box; kid; code - name;
Son of a bitch;
x   \\    
  ƒ    
  \  x  x   \\     ê  
 
 x ®  x    ƒ ƒ  
x  ƒƒ  \  ê  \\  
\ x ƒ
 \ 
\
 
 
mp

ff
  ƒƒ  
     \  \   ƒ   
ƒ \
 \ ƒ
N.B.) All written rhythms are conceptual rather than mathematical. Play expressively—incidental rolled chords, little glissandi...
 95

 mp x3    ƒ    \ \  
Pick it up a little (q=70)
 \ \  x 
     


sty - ro - foam. Fac - to - ry; mo - ney; va - lor; a - ni - me.
 
ƒƒƒ   ƒ   
 ®®      \\ 

sub. mp
mf
®®   ®ƒ   \\ 
 ƒ   ƒ   
 ®  ƒ   

     ƒ 
    ƒ  ƒ
      


Cat - - tle; god; ex - cep - tion; car - box - ide; crap;


 ƒ ƒ    ƒ 

 x  \\ 


\  x \    ƒ ƒ  ƒƒ  ƒ   ¯ 
 
 x  
x
 ƒƒ 
 xx  x  \ 
  
x    ƒ
 ƒ
  ®   
96

x \  

  x \    
3
    
  x




for - tress. Cap - tain; pa - ra - digm; set - tle - ment; law;

ƒ       
ƒƒ ƒ  ê  
ƒ
ƒ  ƒ  ƒƒ  \ * 
   \  \ 
   ¯   x  ƒƒƒ 


ƒ
ƒ   

big, pretty roll

ƒ
   ƒ  ƒ  ƒ 
mp mf quasi ff
  \ x
ƒƒ \  x\   
ƒ 
ƒƒ 

  

ƒ   ê   
mumbling, not singing
 ƒ   


ass. Line; pig; fact; art - ist;


ƒƒ 
 ƒƒ ƒ 
    

ƒ  ê  ƒƒ  ƒƒ  êê  ƒƒ 

 

mf

 ƒƒ    



*) The second chord in this measure is 1 degree lower than the first, illustrating one of 17-EDO's most counter-intuitive features.
 97

 
3

3

 ƒ  
3
     
3 3 3 3 3
              


sin - gle; mum - ble roo - ga fig - ure, sing - a - song - a - ha - pa, re - lah - pic - kle 'n' - scat - ter,


 

pp but enough to make it


 


together, or singer a little ahead

f
 \ 
p
 \  ê ƒ   ƒff 
   \    
\ x \


\ x
3
Life! road! skin! jus - tice; fil - a - ment;an - gle; re - pu - ta - tion; sky!

  x \xxx\\\ 

     

ƒ®ƒ®  indulge
\x



    x  \  
mf in a tiny

ƒ
fff

 ƒ 

98

   \    
 ƒ  ƒ  ®   ® \  ƒ  ® ƒ
  ƒ 


3
gang - plank; coun - ter - cul - ture; o face! scrim - cur - tain; Can - dy - land, new car! ma - ga -

 
  ƒ®ƒ®   ƒ®ƒ® 
  ƒ 
ff 
 ƒ
f

ƒ  ƒ 
 


x x 
\ x 
Much slower (q=45)
¯  
   x x   
x 



zine; in - ter - net; grand - mo - ther; mi - rage; Sat - tel - lite.

ƒƒƒ   



 ƒƒƒ  

           \  \\ 
 x 
 x  
 
f
 \\\  
ff

f (but seems louder)

\   
 \ 
x

\
x


x

\  \ 
x
x
x
x
 17-EDO Part I =75
Walking, Again, The Mountain 99

Chris Vaisvil

 \\ mp
Anonymous
 
Soprano  \        
  

  
Walk - ing, a - gain, the Moun - tain Safe - ly through my Dreams.

\\ mp     
Alto  \             
Walk - ing, a - gain, the Moun - tain Safe - ly through my Dreams.
\\ 
      

Tenor \
 \ 
Tubulon 
Xylophone/ \\    

 \\  
mf solo
     
mp
         
 \    
Spir - it hand to guide me. Un - der - stand - ing with - in my means.

           
\\ 
\
 
Un - der - stand - ing with - in my means.
mp
       
        
\\

\
Un - der - stand - ing with - in my means.
100 Xylo. solo
\\               
    

 \          
p

\\     
       êêê 
 \      


10-EDO Part II =60

    z z 
mf solo

     z     z        ¶   
 
Pray - ing be - sides the wa - ter. Touch e - ter - nal Cave. Spir - it moved, full cir -


  z        
  z  
Pray - ing wa - ter. Touch e - ter - nal Cave.


           
 Pray  z 
 
 
- ing wa - ter. Touch e - ter - nal Cave.
   z  z  
 z 
 
   ¶  
z
       
p

101


mp
z   z   z  
  
cle. Pass this way once more once more.

  
mp
  z  
z   
Pass this way once more once more.

 z z z 
mp
    

z 

Pass this way once more once more.

   
       z  z  z     z z 


mp

 
   z      z   z   z  z        \\\
 

17-EDO Part III =75

 \\   
solo
mp
  mf
  
 \               
Cry - ing through the Dark - ness. Tucked a - gainst the Hill. Spir - its gent - ly
\\   mp

  \     
  
     

 
Cry - ing through the Dark - ness. Tucked a - gainst the Hill.
102

 \\    
mp
  

 \       
breath - ing. Fire burns with - in me still in me still.
mp
\\    
        
\

Fire burns with - in me still in me still.

    

mp

\\        


\

 \\
Fire burns with - in me still in me still.

  
 \
         
 
p



 \ \                   
\         
APPENDIX
 JUST INTONATION FLASH CARDS

ö∫ŒÓ í¬∆ˆ
21.5 92.1 135.2 205.9 5.8 107.9 119.4 221.6

ÜfR2 é ^Z * ¶Æ⁄‚
5 comma 5:7 kleisma 48.8 64.9 162.5 178.6

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