The String Quartets

A New Year - a new project : ) 
Grundomma is myself and my brother Glenn Ward. Its been a few years since we actively made music together...but now seems like a good a time as any. We live a few 1000 kms apart across Australia so this a file swapping exercise. The first track "Flying" features Glenn on rhythm programming, synths and sampling and yours truly on Basses and glitchy noise stuff.. this will no doubt change with each future track. Thanks as always for stopping by. Grundomma salutes you : )

Flying

a repaired version of string quartet 1, 1999, revised today, 2022. The original sounds nothing like this, but the underlying harmony is the same. Neither polytempic but a little microtonal.

String Quartet #1: first movement

The transmogrification of string quartet 1 continues with the second movement, which, I admit, is difficult listening due to the density of texture and harsh dissonances in high harmonics strings. The melody and harmony are underneath as this pieces tears up your innards and burns your soul. 1999-2022

String Quartet #1, second movement redux

This is a short quick ending to the tripartite SQ 1, with a much quicker, brisker pace and some ass kicking dissonance. 1999-2022

String Quartet #1: third movement

Then She Reaches For The Gun was a one off project, bringing together more than 50 artists from across the globe, releasing an album in late 2022 nomatesensemble.bandcamp.com/album/the-…ely-future But it was so much fun we are back for more. In defiance of the usual 10 piece band approach of this project this track is just Johnny Python providing the historically accurate   text and voice with myself making  unneeded backing noise : )

Then She Reaches For The Gun - Their Stage Set Up At That Time Was Amazing

Second collaboration with Mat Ward (https://soundcloud.com/no-mates-ensemble), a long back and forth exchange of files, the crossing of two ways.
Thank you a lot, Mat, for learning so much about myself in working with you ; it's worth any psychotherapies...
May we can renewal the experience !
--------
« Le ciel voilé contient un soleil flou quand Ravel, alerté par les sirènes qui annoncent qu'on vient de larguer les aussières, gagne le pont supérieur du paquebot pour surveiller le mouvement derrière les vitres. L'immense fatigue dont il se plaignait ce matin dans la 201 paraît se dissiper dès le chant des sirènes à trois tons, subitement il se sent léger, plein d'élan, vif au point de sortir au grand air. Mais cela ne dure pas : très vite il a très froid sans pardessus, serre les pans de son veston sur sa poitrine et grelotte. Le vent qui vient de se lever d'un coup plaque ses vêtements contre sa peau, dénie leur existence et leur fonction. Comme il attaque de front la surface de son corps, l'homme se sent nu et doit s'y reprendre plusieurs fois pour allumer une cigarette, les allumettes n'ayant pas le temps de s'embraser. Il y parvient enfin mais cette fois c'est la Gauloise qui, comme à la montagne - bref souvenir de sanatorium -, n'a plus le même goût que d'habitude : le vent profite de la fumée pour s'introduire en même temps qu'elle dans les poumons de Ravel, refroidissant maintenant son corps de l'intérieur, l'attaquant de toutes parts, lui coupant le souffle en le décoiffant, faisant voltiger sa cendre de cigarette sur ses habits et dans ses yeux, le combat devient trop inégal, mieux vaut battre en retraite. »
Jean Echenoz, in "Ravel" (2006)

Picture borrowed from "Mer jaune avec petits navires", Emil Nolde (1946).

31 juillet 2°24.

Le ciel voilé contient un soleil flou

Le ciel voilé contient un soleil flou (Mat Ward & Fardeau Losange)

released in Jan 2025 - https://nomatesensemble.bandcamp.com/album/i-am-never-freer-than-when-i-am-with-you. 


Then She Reaches for the Gun was formed in 2021 by Mat Ward. At its essence is sound collage, Ward invites musicians, sound artists, poets and anyone interested to send him files to be used, abused and showcased ‘as suggested by the work’. They are not always musical but field recordings, spoken word, engine noises and drunken rants. Animals participate a lot too! The raw material is arranged with one phrase asking for the next in an alchemical and intuitive process that will most often feature dozens of tracks weaving in and out of each other, colliding, harmonising, arguing and laughing along the way.

Both the aesthetic and the compositional methods use what Frank Zappa called Xenochrony - the mixing together of separately recorded and rhythmically opposing musical phrases to create polyrhythmic and polytempi compositions.The work also features fragmented story telling with the human voice (in many languages) appearing unannounced throughout the tracks offering up snippets of thoughts, conversations, jokes and existential angst. The absurdity of humanities desperate claim to have any real understanding of its place in the universe is revealed through the recorded follies and genuine emotions of the artists. The project is a celebration of chance, diversity and community. It pays homage to all musical tastes and genres whilst maintaining a sense of humour and irreverence that is needed to stay sane in the climate of  21st Century contemporary culture.

Then She Reaches For The Gun is

Humans

Adam Meredith - Ford XD with XF front mods/Voice
Ambient Annie - Electronica/Field Recording/Voice
Andrew Harper - Field Recordings
Angostura Elwar -  2 x Behringer CRAVE analog synths/Yamaha P200 electronic piano 
Antonella Eye Porcelluzzi - Text/Voice
Ariad Music - Clarinet/Percussion/Piano
Axel Weiß - Electric Guitar/Robot Voices
Banalytic - Experimental Electronics
Belial Pelgrim - Digital Strings/Electronica
Brendan Corey Benson - Electric Guitar
Carolyn Wigston - Voice
Chicago Word Brigade - Electronica
Dan Hewins - Bass Guitar
Dane Renshaw - Drums/Voice
Dani Kirby - Keyboard/Piano/Voice
Dylan Banks - Intonarumori/Voice
Frank Wilke - French Horn/Trombone/Voice
Garbage Truck Disco - Drum programming/Electric Guitar/Joyous Pop Punk
Glenn Ward - Electric Guitar/Skyhooks
Hakan - Moog Voyager XL
Hverheij- Drums/Electric Guitar/Synth
Johnny Python- Bass Guitar/Drum Programming/Electric Guitar/Text/Voice
JZsuperstar - Electric Guitar/Field Recordings/Keyboards
Lady ElectroTrek - Organ
Libby Laksmi - Jazzy Loops/Synth Bass
Loop(c)y - Electric Guitar
Malo Bernard-O’Meara - Drums
Maxx Black - Guitar/Ukulele
Minimal Drone Girl - Cat Wrangling/Field Recordings
Oberlin - Eurorack/Piano
Paolo D’Emilio - Electronica
Paul Miller - Electronic Percussion/Keyboards/Phat Electro Bass
Phil Bywater - Saxophones/Voice
Raul Mainer - DAW Programming/Heavy Metal
Robert Jefferson - Akai Rhythm wolf/GakkenSX-150 ll/Korg Kaosilator/Percussion
Rosin Dust - Violin/Field Recordings
Sarah Megahertz - Speedway Noise
Scratch Kelly - Beats/Electronica
Stan Magendanz - Electronica
Ten Atmospheres - Field Recordings/Synths
Texmex Shaman - Electric Guitar
The Windscale Blues Experiment - Clarinet/Flute/Saxophones
Timothy Korstad - Demons/Electronica
Thomas Bergheim - Bass Guitar/Electric Guitar
Tobias Schmitt - Electronica/Processed Organ/Text
Tuonela - Demons/Electronica
Vartch - Drones/Things/Trousers (not T-shirts)/Voice
Widar’s Spiritual Front - Electronica/Ms Pacman
W:I:L-o’ the-wisp - Bass Guitar/Electric Guitar/Electronica
Wivresse - Electronica/Voice
Zanshin - Acoustic and Processed Drums

Mat Ward - Arrangements/Bass Guitar/Double Bass/Field Recordings/Intonarumori/Marimba/Noise/Percussion/Piano

Dogs
Boogie
Brophy
Buddy
Hancho
Jack
Momo
Neska
Poldo
Senna
Shyamsundara
Star
Oily (cat)
And many cows from Milis, Sardinia

Cooking Hard Boiled Eggs in a Cheap Motel In Adelaide part 3

Another snippet from Caligo Paean, darker in tone to evoke the power Of Caligo, who wasn't just in charge of mist but ruled the domain of chaos. 

Caligo Paean is a 1 hour long sound piece installed on river front property in the town of Franklin, Tasmania as part of the exhibition "When The Fog Clears". It formed part of the Ten Days on The Island Festival March 2025.
The work was installed in several locations across the property including a stack of subs under an old bus, in the main exhibition space and in an abandoned shed some 40 metres from the main area . The speakers were 'tuned' quite differently depending on their location and the sound was not delay corrected with the result of each mini-installation merging with each other in odd sonic ways - kind of calling the listener from one spot to another. The the work features field recordings, percussion, piano, bass guitar and Intonarumori as well as this special one off choir : )

Caligo is the Ancient goddess of Chaos. Born of the fog she controls the darkness, dwells in the void and is as old as the primordial matter that created the universe. This work is a tribute to the goddess as she continues to influence our lives and, in the case of this installation, the site and concept informing the show.

Official press release below for The Fog Clears

Every day, the mists of the Huon Valley perform a seductive dance, gently obscuring and revealing contours of the fertile land and waters. Situated in The Watershed Franklin, When The Fog Clears features six artists from lutruwita / Tasmania exploring the region’s iconic mists through a variety of mediums including installation, sculpture, illustration, sound, and video.

Developed exclusively for Franklin, this exhibit extends from the waterfront itself into the chambers, kilns, and rafters of the shed, inviting visitors to consider fog as an atmosphere that can cloak us in unexpected ways.

Caligo Paean (The Abyss Calls)

released in Jan 2025 - nomatesensemble.bandcamp.com/album/i-am…m-with-you.

Then She Reaches for the Gun was formed in 2021 by Mat Ward. At its essence is sound collage, Ward invites musicians, sound artists, poets and anyone interested to send him files to be used, abused and showcased ‘as suggested by the work’. They are not always musical but field recordings, spoken word, engine noises and drunken rants. Animals participate a lot too! The raw material is arranged with one phrase asking for the next in an alchemical and intuitive process that will most often feature dozens of tracks weaving in and out of each other, colliding, harmonising, arguing and laughing along the way.

Both the aesthetic and the compositional methods use what Frank Zappa called Xenochrony - the mixing together of separately recorded and rhythmically opposing musical phrases to create polyrhythmic and polytempi compositions.The work also features fragmented story telling with the human voice (in many languages) appearing unannounced throughout the tracks offering up snippets of thoughts, conversations, jokes and existential angst. The absurdity of humanities desperate claim to have any real understanding of its place in the universe is revealed through the recorded follies and genuine emotions of the artists. The project is a celebration of chance, diversity and community. It pays homage to all musical tastes and genres whilst maintaining a sense of humour and irreverence that is needed to stay sane in the climate of 21st Century contemporary culture.

Then She Reaches For The Gun is

Humans

Adam Meredith - Ford XD with XF front mods/Voice
Ambient Annie - Electronica/Field Recording/Voice
Andrew Harper - Field Recordings
Angostura Elwar - 2 x Behringer CRAVE analog synths/Yamaha P200 electronic piano
Antonella Eye Porcelluzzi - Text/Voice
Ariad Music - Clarinet/Percussion/Piano
Axel Weiß - Electric Guitar/Robot Voices
Banalytic - Experimental Electronics
Belial Pelgrim - Digital Strings/Electronica
Brendan Corey Benson - Electric Guitar
Carolyn Wigston - Voice
Chicago Word Brigade - Electronica
Dan Hewins - Bass Guitar
Dane Renshaw - Drums/Voice
Dani Kirby - Keyboard/Piano/Voice
Dylan Banks - Intonarumori/Voice
Frank Wilke - French Horn/Trombone/Voice
Garbage Truck Disco - Drum programming/Electric Guitar/Joyous Pop Punk
Glenn Ward - Electric Guitar/Skyhooks
Hakan - Moog Voyager XL
Hverheij- Drums/Electric Guitar/Synth
Johnny Python- Bass Guitar/Drum Programming/Electric Guitar/Text/Voice
JZsuperstar - Electric Guitar/Field Recordings/Keyboards
Lady ElectroTrek - Organ
Libby Laksmi - Jazzy Loops/Synth Bass
Loop(c)y - Electric Guitar
Malo Bernard-O’Meara - Drums
Maxx Black - Guitar/Ukulele
Minimal Drone Girl - Cat Wrangling/Field Recordings
Oberlin - Eurorack/Piano
Paolo D’Emilio - Electronica
Paul Miller - Electronic Percussion/Keyboards/Phat Electro Bass
Phil Bywater - Saxophones/Voice
Raul Mainer - DAW Programming/Heavy Metal
Robert Jefferson - Akai Rhythm wolf/GakkenSX-150 ll/Korg Kaosilator/Percussion
Rosin Dust - Violin/Field Recordings
Sarah Megahertz - Speedway Noise
Scratch Kelly - Beats/Electronica
Stan Magendanz - Electronica
Ten Atmospheres - Field Recordings/Synths
Texmex Shaman - Electric Guitar
The Windscale Blues Experiment - Clarinet/Flute/Saxophones
Timothy Korstad - Demons/Electronica
Thomas Bergheim - Bass Guitar/Electric Guitar
Tobias Schmitt - Electronica/Processed Organ/Text
Tuonela - Demons/Electronica
Vartch - Drones/Things/Trousers (not T-shirts)/Voice
Widar’s Spiritual Front - Electronica/Ms Pacman
W:I:L-o’ the-wisp - Bass Guitar/Electric Guitar/Electronica
Wivresse - Electronica/Voice
Zanshin - Acoustic and Processed Drums

Mat Ward - Arrangements/Bass Guitar/Double Bass/Field Recordings/Intonarumori/Marimba/Noise/Percussion/Piano

Dogs
Boogie
Brophy
Buddy
Hancho
Jack
Momo
Neska
Poldo
Senna
Shyamsundara
Star
Oily (cat)
And many cows from Milis, Sardinia

Cooking Hard Boiled Eggs in a Cheap Motel In Adelaide Part 1

In 1974, Robert Morris and Daniel Starr famously enumerated every all-interval twelve-tone row. 

Inspired by their work, and in around 1979 in unpublished works, I generated an analogous catalog of what one might call the all-trichord rows, meaning rows, which together with two of their untransposed rotations, and in "first-species counterpoint," produce a sequence of all twelve distinct trichord classes.  By the standards of the day, this 
involved very substantial computational search.  But lately I have vastly expanded that calculation, now allowing transposition, retrograde and inversion of the rotations. Some of these new rows provide the basis of my recent pieces.   

The catalog of all-trichord rows runs to about 300 more or less, depending upon the accounting for symmetries.  That makes these rows quite rare among all the twelve-tone rows.  This rarity suggests my original compositional conception but unrealized at the time: a museum-like installation where a listener might walk in a large space from sonic exhibit to sonic exhibit, and experience the different ways these rows fit together and do their thing.  

So here are just three typical exhibits, realized now as works for chamber orchestra.  In each, the basic row first gets a plain but lapidary statement, and then the rotated forms fade in, statistically speaking, and eventually the rows likewise fade out in the order in which they entered, leaving finally a statement of the basic row.  By design, this treatment could loop seamlessly as one "display," as per my original conception.

0    4   11    1    2    8    9    3    6    7   10    5

0    1    9    4   10    5    2    8    7    6    3   11

0    4    8   11    2    3    1    6    7    9    5   10

Hypercube is a polytempic polymicrotonal string quartet in four tunings and tempos, 12, 19, 31, and 53 tet, and 96, 76, 124, and 106 BPM,  for my doctorate thesis in 2012. This is a live concert recording of  Neo Quartet from Poland and is performed live in Paris Sept. 17, 2023. Yes, the quartet is using click tracks in personal ear buds from their devices. I worked with them on click tracks and the tunings are fairly good, from three other "mean tone" tunings aside from the 12tet in the first violin, to show the microtonal differences.

String Quartet #2: Hypercube, in Polymicrotonal Polytempo, live in Paris

Four Part midi realization of a polytempic polymicrotonal string quartet in 13, 14, 15, and 12 tet, with the tempos 92, 86, 100 and 80 BPM. Composed in 2013, input into Finale and midi realized in 2016.

String Quartet #3, in Polymicrotonal Polytempo

My little bundle of joy Ms Neska was very keen on disrupting my studio time the other day. It was very important to her to continually bring me a rubber chicken and demand we fight over it. So I gave in and that's the way the rest of the day went... All sounds from a zoom recording of the wrestling match : ) https://www.instagram.com/neskagram/

I Spent The Entire Day Fighting Over A Rubber Chicken

String Quartet 15 Third Movement

To all concerned: 
I am announcing publication of my new book, NOW AVAILABLE:
https://www.routledge.com/Maqam-Melodies-Pitches-Patterns-and-Developments-of-Music-in-the-Middle-East-and-other-Microtonal-Writings/Thoegersen/p/book/9789815129052
My book, Polytempic Polymicrotonal Music, is available on Amazon. 
https://www.routledge.com/Polytempic-Polymicrotonal-Music-The-Road-Less-Traveled/Thoegersen/p/book/9789814968294

I have a new album out through Magic&Unique Group Records on Spotify and other digital streaming platforms:
https://open.spotify.com/album/5qWHmcvyAemvVn2TJH1bio?si=OD5TmPptQ-ypr8WOI0EZKA&nd=1

https://whitecentipedenoise.com/products/peter-thoegersen-facebook-cantos-cdr-flea
My CD via Flea label has been out since April, 2021, featuring the wonderful Lore Lixenberg singing over my microtonal piano accompaniment
Hope you enjoy it!

https://www.newworldrecords.org/collections/vendors?q=Peter%20Thoegersen

From the liner notes on my CD now available on AMAZON and New World Records:
"The author of these notes has spent his life explaining radical music, and the music on this disc may be the most radical I've ever written about. Peter Thoegersen (b. 1967) is not yet a name known to the music world; not for any lack of connection to other famous musicians, but because he came to composition late, and because his artistic aims are so broad and complex that they have taken years to evolve. His aesthetic is well defined, and he is upfront about having a name for it: "Polytempic Polymicrotonal Music." That means he has musical layers simultaneously moving in different tempos, plus, even more radically, that he has different microtonal scales playing at the same time. Few composers have aimed at such fervent and heterogeneous multidimensionality. And yet, while Thoegersen's music can seem overwhelming at first, running through it is a level of charm and simplicity that belies the initial impression.

In total, these three pieces emphasize a particular side of Thoegersen's output. The image his music creates of ornately mathematical structures filled with intuitively friendly melodies maps on to the personality of the man himself: outspoken and acerbically ruthless in his musical opinions, Thoegersen is also marked by a jolly sense of humor and an inexhaustible love of cats and other animals that make him ultimately less imposing and more personable than he might seem at first. The same can be said for his music. And by going further than anyone else has gone in terms of this particularly American concept of fusing the polytempic with the polymicrotonal - extending and combining the conceptual worlds of Ives, Cowell, Nancarrow, Partch, Carter, even Frank Zappa and many others - he has created a special place for himself within American music."                                                             

-Kyle Gann (from the liner notes)

String Quartet 15 Third Movement

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