Concepts
There are two levels in my composition work: the subtext and the fabric. The subtext is usually based on some type of universal correspondences matrix, as shown in the following examples. This provides my basic framework for sequences of events, key signatures, general structure. The composition fabric or texture can be extremely varied. It can include concrete and "sounds" from everyday life, vocals in different languages or in a customized solfege, and a number of layers ranging from tonal, bitonal, polytonal or atonal modes, and sometimes in different temperaments. My key signatures can be deceiving because the flats or sharps indicate the alterations but they sometimes correspond to a different tonal center than expected in Western classical music. Example: C# minor with a natural D would be written as three sharps in the key signature, not four as expected in Western-style notation. My approach to harmony can be best understood as a bitonal structure, with a steady tonal center at the bottom, whether stated or implied, and harmonic modes stacked above, and sometimes atonality, in combination with a drone. The way I understand Coltrane's most free-form works is the presence is an actual implied tonal center which ties everything together harmonically. |
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Drawn by
Robert Fludd, the Monochord invented by Pythagoras,
The 10
Thahts of Indian classical music and correspondence with some Western
modes: |
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Universal Correspondences I was first acquainted with universal correspondences in the mid-seventies by The Magus by MacGregor Mathers. It listed a series of correspondences based on simple numbers. I was particularly interested in the 'scale of number 7'. Seven-part hierarchies have inspired a number of my works, including The Soundless Sound and The Death of Don Juan, and recently Symphony 2001. I have also worked with 12-part hierarchies, particularly in The Gaia Cycle/Tronik Involutions and Existence. What I see in the I Ching is quite different from how John Cage used it. He used the I Ching as a means to create chance events. I am using it as a structural device. There is no chance involved at all! 7-Tier Hierarchies |
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Example of a seven-tier hierarchy: The Scale of Number Seven Matrix
Matrix
of seven 7x7 pitch/rhythm grids used to create |
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Example of a 7-tier hierarchy: the Rainbow Matrix from Symphony 2001
Correspondence between color vibration and pitch
The
Rainbow Matrix |
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Example of a 7-8 tier hierarchy: The Soundless Sound
Chakras
and pitch correspondence table. Source: Sri Chinmoy
7-tier hierarchy based on the 7 chakras and 7 tones of diatonic scale
Electronic
Score, The Soundless Sound The 8-part hierarchy is synchronized with the 8 Primary Trigams of the I Ching
Further
correspondences with the Eight I Ching Primary Trigrams
Correspondence
with the day cycle and the Eight I Ching Primary Trigrams 12-Tier Hierarchies |
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Example of a 12-tier hierarchy: The Gaia Cycle
The Gaia Cycle Matrix, organizing sequence and key signatures |
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An example of 12-tier hierarchy: The SolarSys Matrix from Existence
Various
planet-pitch correspondences by Robert Fludd,
SolarSys Matrix for Existence
A
phoneme corresponds to each tone of the scale
SolarSys Matrix, basic scale plot
SolarSys Matrix, harmonic scale plot one minor third below 9-Tier Hierarchies |
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The
9-square or 3x3 spatial arrangement is often used by architects.
The
Kepler Matrix |
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