Duane Pitre
Comprovisation for Justly Tuned Ukelin no.1
I’ve been fascinated by the phenomenon of the vibrating string for some time now — entranced by the sight of it and mesmerized by its simple yet complex sound. This fascination started long before I was ever familiar with the Harmonic Series, or any music theory for that matter. Unbeknownst to me at the time, it was the harmonic partials of the string’s fundamental frequency that created this simple/complex duality.
The first time I heard Just intervals I was confused. At that time I was not aware of Just Intonation or that I was listening to music utilizing it. I did however notice something different about what I was listening to — in a way I’d never previously experienced. My sense-memory told me something was unusual, maybe “out of tune,” but while experiencing this confusion I also recognized that the sounds resonated with me aurally, psychically, and psychologically.
My second reaction was a question: “What effects (processing) are being used in this piece?” When I learned that none were used, I realized that Just Intonation could be a way for me to forgo the use of effects pedals (something my work at that time depended on) and pursue a purer route, which was something I sought. This new experience prompted me to research what Just Intonation actually was.
After some light investigation, I learned that Just Intonation was a tuning system based on the Harmonic Series, the same harmonics that made a vibrating string so interesting to me. I was intrigued and wanted to learn more about this tuning system, so I began studying the Harmonic Series, Just Intonation theory, Western music theory, the physics of sound, the involvement of mathematics in tuning and temperament, and experimenting with sine tones by constructing small “experience pieces” to aurally understand the harmonic relationships of Just intervals.
After a year or so of these studies, I began to utilize Just tunings on my stringed instruments, and I realized the clarity that can come forth with Just Intonation. This period spawned Comprovisation for Justly Tuned Ukelin no.1, a solo planned-improvisation piece primarily inspired by traditional Japanese koto music. I chose the Ukelin (a fretless zither) because it has 32 open, and playable, strings — and I could achieve multiple Just intervals (along with unisons) without having to deal with a multi-stringed instrument fretted for 12-Tone Equal Temperament.
Written/Recorded in 2006
Mastered by Brendon Anderegg
© 2009 BMI