Track on Bandcamp
This work is based on two different approaches to exploring the aural difference (pulsating interference tones) between pure intonation on the double bass and equal tuning on the piano.
Each section of the piece is introduced by a 7-note theme from a Norwegian folk melody played on overtones on the double bass and combined with the unison equal-tuned notes of the piano. This idea leans to the material used in Random Partials, but without the chance operations.
The main material, which always follows the introductory theme, is based on a more rare technique which I first learned from Mark Dresser. He uses it when improvising, but I have yet to see it in notated music. It can be described something like this (hold tight!): When playing artificial harmonics one can, by keeping the exact same distance between the fundamental note and the artificial harmonic, move the position of the hand up or down the string and find the same overtone if the node (the harmonic) is moved down to the fundamental or the fundamental is moved up to the node. The interval ratio between the fundamental tone and the harmonic can then be varied so that you get a new artificial harmonic interval that can be moved further up and down, etc. Since the flageolets are pure-tuned overtones, the fundamental tones will change within pure-tuned intervals when you move the position of the hand up or down. This technique is juxtaposed with identical interval movements in the piano, which, due to its equal tuning, retains the tempered intervals. The result is that the intonation of the bass (which is pure-tuned) gradually slips away (in micro-intervals) from the equal-tuned piano. Phew…!
Released on the album Random Partials - Twinings