Using Max/MSP, I designed an environment that facilitates composing in tuning systems with any number of equal tones per octave. With this, I composed scores that a pianist could play using a silent MIDI keyboard, re-tuned live via the Max/MSP patch. The pieces I've composed so far are parodies of known styles. Please read my paper to learn more about why I would want to write music this way, and for an analysis of one of the compositions.

Each section of this typical march form (first strain, second strain, trio) showcases a different aspect of the thirteen-tone environment. I was especially interested in creating an interplay between elements that sound similar to standard tuning and those that sound foreign. For more information, please read this paper on my microtonal works, which features an anaysis of the March.

Tuning with 18 even tones to the octave, one can find three whole-tone scales each one-third of a whole step away from the others. Concerned that this would sound too recognizable, I tried to avoid whole-tone scale material in the Waltz, and instead showcased the unusual 1/3 tone modulations and tight chromatic gestures available with this tuning.

Click here to access my published paper on microtonal composition.