Hello! / Intro
Posted: Wed Aug 29, 2018 10:31 am
Hello LCCers!
My name is Subhraag Singh. I am a woodwind player/composer/inventor who has been tremendously inspired/influenced by the Concept. I recently connected with Bob Appleton on facebook, and he suggested I join this forum!
I had the good fortune to study the Concept with Andy Wasserman for a couple years starting back around 2004 or so. I was lucky enough to even have lunch with George and Alice at their home once. It was one of the all-time highlights of my life! I get chills even now just thinking about it
I had to pull out my copy of the book to get the password for joining the forum, and I saw on the very first page what I have attached here as a picture (his note to me and autograph). Made me smile! (btw you see there my original name, "Brett"... I changed it after living in India for some years.)
A little about myself, and what I am working on these days:
About 4 years ago, I had a sort of realization that musical pitches are not merely limited to the 12 notes of the chromatic scale, but really there is an infinite spectrum of musical possibility. I think of it being like that just as a painter can paint with an infinite nuance of visual color, so can musicians make music with an infinite nuance of musical intervals. I am now endeavoring to how to solve this challenge of "freedom of pitch". (I am doing so in a totally tonal/harmonic sense... NOT free/avant garde/noise/etc). My first solution was to invent a new musical instrument, "the saxophone of the future", called the Infinitone. You can find out more about it on my website, http://www.infinitonic.com. Now I am developing software that will allow musicians to utilize an infinite multidimensional array of musical tones. It will be a gateway through which musicians can easily and effectively create new kinds of music and/or add nuance and color to older styles.
I feel that what George taught is truly a universal concept in music. I think the essence of his work applies not only to 12-tone-equal-temperament but also to pitch fields of all kinds (though each pitch field might have different scales/centers of gravity/etc). The harmonic/melodic structures in the harmonic series have an especially palpable pull of "tonal gravity" (George mentions this in his work, but defaults instead to "12ET" because it has been the standard tuning system in "the west" for the past couple hundred years). The structures in the harmonic series, however, offer many many (essentially infinite) harmonic/melodic possibilities not available on a piano. In the last years, this has been my primary field of interest/activity.
I look forward to reading/hearing what all of you are doing with the LCC these days, and I look forward to sharing some of my own ideas about new kinds of applications of George's work.
George is one of the great influences in my life, and I look forward to meeting all of you who have also been touched by him and his work!
Regards,
Subhraag Singh
My name is Subhraag Singh. I am a woodwind player/composer/inventor who has been tremendously inspired/influenced by the Concept. I recently connected with Bob Appleton on facebook, and he suggested I join this forum!
I had the good fortune to study the Concept with Andy Wasserman for a couple years starting back around 2004 or so. I was lucky enough to even have lunch with George and Alice at their home once. It was one of the all-time highlights of my life! I get chills even now just thinking about it
I had to pull out my copy of the book to get the password for joining the forum, and I saw on the very first page what I have attached here as a picture (his note to me and autograph). Made me smile! (btw you see there my original name, "Brett"... I changed it after living in India for some years.)A little about myself, and what I am working on these days:
About 4 years ago, I had a sort of realization that musical pitches are not merely limited to the 12 notes of the chromatic scale, but really there is an infinite spectrum of musical possibility. I think of it being like that just as a painter can paint with an infinite nuance of visual color, so can musicians make music with an infinite nuance of musical intervals. I am now endeavoring to how to solve this challenge of "freedom of pitch". (I am doing so in a totally tonal/harmonic sense... NOT free/avant garde/noise/etc). My first solution was to invent a new musical instrument, "the saxophone of the future", called the Infinitone. You can find out more about it on my website, http://www.infinitonic.com. Now I am developing software that will allow musicians to utilize an infinite multidimensional array of musical tones. It will be a gateway through which musicians can easily and effectively create new kinds of music and/or add nuance and color to older styles.
I feel that what George taught is truly a universal concept in music. I think the essence of his work applies not only to 12-tone-equal-temperament but also to pitch fields of all kinds (though each pitch field might have different scales/centers of gravity/etc). The harmonic/melodic structures in the harmonic series have an especially palpable pull of "tonal gravity" (George mentions this in his work, but defaults instead to "12ET" because it has been the standard tuning system in "the west" for the past couple hundred years). The structures in the harmonic series, however, offer many many (essentially infinite) harmonic/melodic possibilities not available on a piano. In the last years, this has been my primary field of interest/activity.
I look forward to reading/hearing what all of you are doing with the LCC these days, and I look forward to sharing some of my own ideas about new kinds of applications of George's work.
George is one of the great influences in my life, and I look forward to meeting all of you who have also been touched by him and his work!
Regards,
Subhraag Singh