The 3-dimensional graphic scores used on the album "Star System" are subsets of the Robin Hayward Tuning Vine, which arose out of a desire to visualise the harmonic space implicit within the microtonal tuba. Each of the balls represent pitches, and the struts between them musical intervals. In "Star System" (side A), the musicians orbit once around the star-like structure, revealing the harmonic space implicit within it. In " Square Dance" (side B), the various squares and rectangles within the score are gradually explored by the musicians, analogous to a slow dance through harmonic space.
The 3-dimensional graphic scores are subsets of the Hayward Tuning Vine, which arose out of a desire to visualise the harmonic space implicit within the microtonal tuba. Each of the balls represent pitches, and the struts between them musical intervals. In ‘Star System’, the musicians orbit once around the star-like structure, revealing the harmonic space implicit within it. In ‘Square Dance’, the various squares and rectangles within the score are gradually explored by the musicians, analogous to a slow dance through harmonic space.
"A very intriguing pairing with the above release, dealing as it does with deliberate, patient explorations of deep register spaces, in this case naturally enough as we're listening to the microtonal tubas of Robin Hayward, Kristoffer Lo and Martin Taxt. And it's very nearly as enjoyable. Two pieces organized by Hayward, each a 3D graphic score using models made with Zometool parts (a «toy» construction product that can be used to create some wonderful structures, including some of the buckyball variety), the balls or nodes representing pitches and the struts connecting the nodes, «musical intervals». I can't say I'm able to discern a lot of structural difference between the two works; each about 20 minutes long, each consisting of mid- to low range, fairly pure tones from the tubas, long-held and overlapping. But that in no way diminishes their basic gorgeosity, especially with regard to the layerings of those microtones and the pulsing and ghost tones that emerge. Very fine work and a nice counterpoint to Duch's recording, less emotionally stirring but, perhaps necessarily, more grounded. Deeply embedded, even.
