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A soundtrack for our grim and surreal times. 

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In The Forest Of Shattered Hours

138 - Serenity Amid Turmoil

Community Music project. Recorded by Jo Kennedy.

Soloist: Craig Ogden (guitar)
Musica Kirklees Youth Orchestra
Musica Kirklees Massed Guitars and Ukuleles
Calderdale Trust Guitars

Conducted by Thom Meredith (orchestra), Ginette Eady (guitars) and Hannah Roulson (ukuleles). Premiered at the Huddersfield Contemporary Music Festival, 23.11.2018.

Untroubled Light - Craig Ogden & Youth Orchestra

Tomeka Reid - cello
Mary Halvorson - guitar
Jason Roebke - bass
Tomas Fujiwara - drums

Old New

Tomeka Reid Quartet "Old New" from "Old New" (Cuneiform Records)

Lots of edible frogs in a small pond.
Recorded during a summer night in southern Sweden.
Parabolic disk from Telinga and Schoeps CCM4 microphone plus two Sennheiser e835 wireless placed just above the surface at three meters distance from each other.
SoundDevices Mixpre 6-ll

Edible Frog, Rana esculenta. Ätlig Groda. Raw File

Semaphore[9] in 19-EDO

The scale is a chain of half-fourths. Here the melody always is a 5-note subset of the full scale to match the underlying chord.

The lyrics are actually in English but not intended to be easily intelligible.

Sounds from:
None other than the legendary vocaloid Kagamine Rin
DSI Prophet 6
DSI/RL Tempest

Rin's UFO Ride

taken from the project 'mineral veins' (dissolves)  natural substances breaking down under environmental pressures, interactions and distortions. 

(recorded using JrF d-series hydrophones & adapted geophones)

mineral veins | Lugnas Dissolve (extract) - headphones / speakers needed

Electronic Music in 37-limit Just Intonation (3.5.7.11.13.23.37)

created in SuperCollider 3.9.3
April-December, 2020

dedicated to Marcus Pal

large scale modulation down a fourth ("I-V")
3:4  -->  6:8:9  -->  8:11:12

PORT (Rondo for Marcus Pal)(2020)

《手懐けられない光》オーケストラのための

ライヴ・レコーディング : 2020年8月29日、"第30回　芥川也寸志サントリー作曲賞選考演奏会"、サントリーホール（大ホール）にて
演奏 : 沼尻竜典、新日本フィルハーモニー交響楽団
©︎（公財）サントリー芸術財団サントリーホール

Live recording : 29 (Sat) Aug, "The 30th Competition of Yasushi Akutagawa Suntory Award for Music Composition", Main hall in the Suntory Hall
Performance : Ryusuke Numajiri, New Japan Philharmonic
©︎Suntory fondaton for the ARTS, Suntory Hall

« Lumière indomptable » I for orchestra (2020)

A permutational piece written for piano in January 2021 about finger positions on the piano.

Matt Geer, piano.

Positions (piano, 2021)

Thomas Nicholson (b. 1995) is a Canadian composer whose work investigates extended just intonation. His creative practice centres around a deep exploration of untempered frequency relationships, taking cues from acoustics, theories of perception, and sociology.
During his adolescence, he studied composition and traditional Western music theory privately with Dr. Martín Kutnowski at St. Thomas University in his hometown of Fredericton, Canada. From 2013–2017, he studied composition with Christopher Butterfield at the University of Victoria (BMus). In 2017, he relocated to Berlin, Germany to study at the Universität der Künste (MMus, 2017–2021) with Marc Sabat, whom he assisted teaching in intonation theory seminars.

Nicholson and Sabat have collaborated on several academic and artistic research projects as well as publications revolving around a mutual interest for examining various possible approaches to “Harmonic Space” that may be interesting in music composition. In 2020, they published a revision and extension of Sabat and Wolfgang von Schweinitz’s original “Helmholz-Ellis JI Pitch Notation,” which has already become a standard throughout Europe for notating music in just intonation.

Since 2018, Nicholson has been a member of the Berlin-based Harmonic Space Orchestra, a collective of 15 musicians who meet regularly to research their shared interest in searching for new ways to sound precisely tuned intervals (mainly produced by acoustic instruments) in an inclusive and pluralistic creative environment. He is also a member of Plainsound Music Edition, which is a curated, interdisciplinary virtual edition featuring open source, non-commercial sharing of experimental, perception-driven artistic work and research. There is a major, but not exclusive focus on the practice of microtonally extended just intonation.

In his compositions, Nicholson’s sources of inspiration stem from a broad range of fields and contexts, ranging from mathematics and physics to graphic design, music history, psychoacoustics, philosophy, and interdisciplinary artistic collaborations. Fascinated by the inherently microtonal nature of extended just intonation, his compositions since 2014 have engaged with the often-mysterious interactions between threads of counterpoint and the psychoacoustic phenomenon of harmonic fusion. He is repeatedly drawn to the intricate question of the “enharmonic,” in both historical and modern senses of the word, within the framework of extended just intonation. He often works with various miniscule, yet remarkably expressive connections between tones (points in Harmonic Space), which seem just beyond the reach of perception until contextualised by special harmonic conditions. He especially enjoys composing for smaller settings consisting of two to four musicians and is devoted to researching as well as developing tools and methods for navigating the practical challenges of realising microtonal music in various forms.

PORT (Rondo for Marcus Pal)(2020)

Thomas Nicholson

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