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Juxtaposition of harmonies on opposite sides of the "cirle of fifths" or "spiral of fifths" creates a definite "fateful" psychological effect. This was recorded using the Platypus computer/synthesizer at Florida State University in the late 1980s using an early synthesis system.
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2. Venusian Cataclysms (D. Hill)
Composed in 1992 at FSU using the Cro-Magnon synthesis system on the Platypus. In this system and for this composition, voice recordings made by four individuals in the music department were analyzed and voice synthesis "instruments" approximating the timbres of their voices were developed based on the frequency spectra of their voices. _Venusian Cataclysms_ employs these instruments and makes extensive use of 11-ratio and 13-ratio harmonies.
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3. Prelude in D major (Ivor Darreg)
This composition by Ivor Darreg originally for piano (equal temperament assumed) was reprogrammed for the Quadvox synthesizer, which I had recently designed and built, in a just intonation tuning by Ivor Darreg and myself in 1982.
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4. Study #3 (D. Hill)
Composed in 1988 and produced using an earlier synthesis system on the Platypus at FSU. The composiiton makes heavy use of 7-ratio harmonies (but also uses 11-ratio harmonies) and creates some striking musical effects through use of successions of chords whose roots move in unusually large 8/7 (rather than 9/8) frequency ratio steps.
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5. Malachite (D. Hill)
This rock style piece was composed for and produced on the Quadvox synthesizer in 1982. It uses 7-ratio and 11-ratio intervals and chords as well as pitch glides. I dedicated it to my daughter Yvette.
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6. Chord Progression on the Harmonic Overtone Series
Through experimentation I discovered that one numerically based chord progression had a very pleasing sound - (a series of chords whose notes had frequency relationships: [ascending] 2:4:6:8, 3:5:7:9, 4:6:8:10, 5:7:9:11, 6:8:10:12, 7:9:11:13, 8:10:12:14, 9:11:13:15, 10:12:14:16, and back down). This recording was produced on Quadvox in 1981.
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7. The Artistic Cat (D. Hill)
Composed for and performed on a piano tuned in a just intonation scheme in 1998 when I was living in La Mesa, CA.
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8. Song: l'Homme Arme followed by Kyrie from Mass l'Homme Arme by Guillaume Dufay c. 1450
Following a pattern used around the 15th century, the tenor part of the four part sung mass largely repeated the melody of the song: "l'Homme Arme" over and over, while at the same time being woven into the four part musical work so as to not be immediately obvious. In this recording, made on Quadvox in 1983, the tenor part is strongly accentuated in the left stereo channel while the other three parts are primarily mixed to the right stereo channel, making it possible to easily discern the l'Homme Arme melody standing out from among the other voice parts. I dedicated this to my daughter Martha.
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9. Brief 11-ratio composition (D. Hill)
This was produced on a translation of the Cro-Magnon synthesis system used for _Venusian Cataclysms_ onto a Macintosh 8500 computer (coded in Metrowerks C programming language) and recorded in La Mesa in 1998. It features the 7:9:11 chord prominently.
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10. The Second Swan (D. Hill)
Just intonation tuned piano - La Mesa, CA 1998.
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CD recorded Feb. 19th, 2008 - Borrego Springs, CA
Audio tracks converted to mp3 and webpage created by Joe Monzo 2009.0830