Musical Works

1.	Fender Stratocaster guitar and Gibson Grabber bass throughout.
2.	B = electric bass, D = drums, G = electric guitar, V = voice. Multiples of each are indicated by an adjacent digit (e.g. 2G = two guitar parts).
3.	Song by Jimmy Reed
4.	Words and music by Mick Jagger and Keith Richards

5.

Yamaha DOM-30 throughout.

6.

This is a work in progress. You can at present listen to the provisional string section of the 1st Movement. Insofar as it is simply a working synthesis of the score, it is devoid of the life and expressiveness that only human performance can bring to a piece. At this stage all that is being defined is the progression of the harmony. Once that is clear and settled, the rest of the instruments of orchestra will be brought into play.

7.	Natural aesthetics are those which are inherent in the system of naturally tempered dodekaphony known as Just Intonation. You can find out more about natural temper and Just Intonation in The Ring of Truth.
8.	Babylon is a trivial example of the application of the Rule of The Natural Aesthetic, or Path of Correlative Intervals, discovered by the composer within the system of Just Intonation. It is performed (synthesized) using instrumental voices tuned to Just Intonation and is in the key of F#, where F# is tuned to 360Hz. The rule constrains motion such that each note of a line must be separated by a correlative interval from the notes adjacent to it and alternate to it and from the respective and simultaneous notes of any other line. This also applies to the internal relationships of chords. Correlative intervals within Just Intonation are fully explained in The Ring of Truth.
9.	ODEION.EXE is a computer program for DOS 6.11, first conceived in 1986. It applies the Rule of The Natural Aesthetic and other scalar and rhythmic constraints to an otherwise random sequence of notes to generate endless melodies, realized as MIDI files. The nomenclature of this piece indicates the particular parameter set used and the sequential run of the program with that parameter set. Natural No.1-003 - “Third Time Lucky” - was generated in less than a millisecond. Although ODEION compositions should really be performed in Just Intonation, with modulation enabled by dynamic retuning, there is currently no synthesizer in existence which provides that facility (which requires that the synthesizer be addressable by vibration number rather than pitch number), so this version of Natural No.1-003 is performed using a standard MIDI synthesizer (an ancient Yamaha DOM-30) and is therefore in static equal temper at international concert pitch throughout. Natural No.1 demonstrates that aesthetic archetypes are inherent in the system of natural dodekaphony, or just intonation. This means that our judgment of musical (specifically dodekaphonic) structures, both creative and appreciative, really does have a numerical basis at an unconscious level. (Expression, or polish, is another matter entirely.) This implies that the higher functions of mind, such as intellect, are governed by nodal numerical relationships of which we are not directly aware but which may form the very foundation of our consciousness and powers of reason. Relationships, I would hasten to add, capable of virtually infinite variety. It also means that dodekaphony is a universal, aeonian truth. Were there to be intelligent sets of ears on some far distant place in another galaxy, they too could discover dodekaphony and they too would love Beethoven, bearing in mind that the discovery of dodekaphony seems to have been a singular event which could easily never have happened, not unlike the manifestation of the original self-replicating molecule from which all life hereabouts is descended. At some time this piece will be recreated using dynamically retuned Just Intonation.