catherine lamb: point/wave

giacomo fiore, acoustic guitar the tuning for point/wave represented in four-dimensional harmonic space

point/wave is a composition by Catherine strings in whole-number ratios, and by harmonically-related partials; conversely, as a four-dimensional representation in
Lamb for acoustic guitar and electronics limiting the performance of notes only to its absence allows one to explore the what Tenney would call harmonic space,
in just intonation. It was written in 2015 those frets that approximate just intervals movements within each modal segment of with each axis representing a prime factor
for guitarist Cristián Alvear, and has (such as major seconds, perfect fourths, and the piece without necessarily relating it to a (highlighted in this case with different
been played by several other performers perfect fifths). Natural harmonics would common ground. colors). A step right on the horizontal axis
around the world since. The piece employs further expand the tuning to compound An additional characteristic of the equals a distance of a perfect fifth (black);
the Secondary Rainbow Synthesizer, an intervals in whole-number multiples of tuning is the avoidance of intervals derived a step up is a harmonic seventh (blue); the
application developed by Lamb and Bryan each string’s fundamental frequency. Some from the fifth harmonic, or the just major eleventh harmonic falls backwards and
Eubanks that features in numerous other examples of this approach include many third. The prime factors for this tuning left (pink); and the thirty-first forwards
works from the same timeframe, such as the of Larry Polansky’s guitar works, James are harmonics 3, 7, 11, and 31, offering and left (orange). The diagram shows how
series Prisma Interius (2016–18). Like much Tenney’s Spectrum IV, and most recently a distinct color palette that is especially the seemingly complex tuning is in fact
of Lamb’s music, point/wave explores subtle point/wave. novel in the absence of the more familiar fairly compact, privileging “corners” of
frequency interactions that arise from her The guitar tuning of point/wave presents major third. The seventh harmonic is closely-related pitches over extended forays
specific approach to tuning; it is cyclical in some noteworthy features. In alternative- about 31 cents flat from its equal-tempered along any of its four axes. The illustration
form, with an indicated performance length tuning guitar pieces, the fundamental counterpart; the eleventh and thirty-first on the next page employs a combination
of at least two complete passes through the is often assigned to the lowest string are approximately 50 cents flatter than the of conventional staff notation, custom
score. in order to maximize sympathetic nearest equal-tempered pitch. For reference, accidentals, and the same color codes as
Just intonation is a tuning theory that resonance, as higher-sounding pitches an equal-tempered semitone measures 100 the harmonic space diagram to depict the
relates pitches in whole-number ratios, as excite corresponding harmonics on the cents; depending on context, timbre, and gamut of sounding pitches in the guitar
opposed to the division of the octave into lower strings. Lamb, however, places the culture, listeners can discern a melodic part. The non-replicating nature of each
identical-sized intervals exemplified by highest harmonic of her tuning on the difference of about five cents. octave, the predictable spacing of intervals
equal temperaments. Though instruments lowest string, transposing it down two In addition to tuning the open strings along harmonic primes, and the absence
that allow flexible tuning can perform octaves from its original occurrence in to just ratios, the score specifies the of the fundamental pitch (1:1) are all
in just intonation, oftentimes the the harmonic series. The resonance of performance only of harmonics up to noteworthy features that become apparent.
modification or even outright invention the guitar is thus dampened somewhat, the fourth (sounding two octaves above From this gamut, Lamb weaves a series
of new instruments is necessary to employ as the higher strings are in more complex the open string), and occasional fretting of unfolding modal statements and block
specific tuning schemes. relationships with the bass and do not at specific locations. The ensuing gamut chords. Each mode spans a circumscribed
Guitars may appear at first to be necessarily promote sympathetic vibration. includes thirteen different pitch classes; range, exploring the close tuning of
quintessentially equal-tempered Furthermore, the actual fundamental of the since not all pitches occur in each octave neighboring pitches both melodically and
instruments, as their frets are fixed in tuning (E-flat tuned to an infrasonic 10Hz) this collection is unequally spaced, with a harmonically in iterative fashion. At times
equal-tempered locations. On the other does not appear in the guitar nor in the much finer microtonal fabric in the middle the introduction of new pitches results in
hand guitars are also easy to retune, as synthesized electronic tones that accompany of the register, and more sparsely populated the morphing from one mode to another;
strings and soundbox alike are generally the piece. This missing fundamental may extremes. elsewhere sudden changes act like portals to
more resilient to scordatura than bowed eventually emerge psychoacoustically For the visually inclined, I offer a pair remote harmonic locations. The Secondary
instruments. Thus one can implement ad as our ear stitches together a coherent of illustrations as complementary ways Rainbow Synthesizer hums along at its
hoc tuning systems by tuning the open picture from simultaneously-sounding, to conceptualize the tuning. The first is own rate, sustaining four different chords
 the guitar gamut for point/wave, with color-coded Helmholtz-Ellis accidentals to highlight prime-limit relationships

(voiced as stacks of octaves and fifths electronics to process external ambient through the evolving balance between Produced by Giacomo Fiore and Lanier
along each of the tuning’s prime axis) for sound complicated the approach to both focus, relaxation, and fatigue. Sammons.
extended periods of time, and articulating tracking and editing, as there was no way This recording is framed by electronic Recorded July 12 2019, Recital Hall, San
subtle timbral changes through the to control (or undo) changes in harmony solos akin to the way suggested for live Francisco Conservatory of Music.
processing of environmental sound from in a way conducive to recording the piece performance in the score. We had originally Engineered and edited by Lanier Sammons
outside the performance space. Changes in multiple takes. One solution might thought of choosing an ending point Mastered by Matt Carr.
in harmony occur based on a combination have been to record the guitar first, and for the electronics suitable for seamless Cover design and layout by Paula Lerner.
of external sound excitation and internal then add the electronics in a successive looping back to the beginning, allowing © and ℗ Populist Records and Giacomo
timers in a manner that is unpredictable pass, possibly through re-amplification in one to listen for longer durations if desired. Fiore, 2020; all rights reserved.
for the performer aside from a subtle the recording space; however that would Upon reflection I felt that there would PR017
cross-fading. As the guitar part is itself have come at the expense of the real-time be little interest in doing so, as guitar
cyclical, the resulting texture is a constantly interaction between guitar, electronics, and and electronics were locked in the same
changing alignment of harmonic fields, recording space. Producer Lanier Sammons relationship, with no chance of drifting
sometimes reinforcing one another, other and I decided to use a pre-recorded apart from one another. We settled
times slightly at odds. Lamb describes the electronic track, which I had generated on a long, gentle fade-out to signal the
form as “the long introduction,” and relates by routing the sparse sounds of traffic, approaching end of the recording, while
it to alap sections in classical Hindustani people, and nature outside my home in the acknowledging the idea that point/wave’s
music, an aesthetic she encountered Sunset district of San Francisco into the spiral could keep unfolding and resonating
through travel, practice, and a period of synthesizer application. In the studio we ad infinitum.
study with musician and filmmaker Mani played back this now fixed electronic part
Kaul. In this piece, however, nothing through a pair of guitar amplifiers, allowing
follows the introduction; rather we are us to control the resulting room resonance
invited to explore its harmonic spaces as with precision. Whenever I made a mistake
they develop through the interactions of its we could then rewind the electronics
sonorous parts (guitar, electronics, tuning, and resume recording from a few seconds
environment). before, allowing for one quasi-continuous
From my perspective as a performer, take to unfold over three nearly complete
this piece posed a unique set of challenges cycles through the score. You can hear
in the recording studio. The use of live subtle changes in the guitar performance