biophilia live

8/2/2019 Biophilia Live

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AN INTRODUCTION TO BIOPI-IILIA BY NIKKI DIBBEN

'ihe'reason why Biophilia isonsudt agrand scale is that I can't evenattempt te explainsdund and the world ojrhyihm d:ndscaleswithvut(q kin gin th e solar s ys te m a n d'a to m s_ F o rm e t lt at is so rs of the santewotld,: -Bj~rk

BIOP'IULIA CELEBRA'l 'Ei3 NATURAL Pli :ENo.MENA FROM THE A'rQMIOto the cosmic, and presents musical sound. as part of this whole.Alongside the l ive Sh0W is.an album and app suite of originalmusic" i-ntf.'lIacti\reartworks, and musical astifacts, with educationalworkshops for c,:hilpren exploring music, nature and technolegy,

IMAGINING

When Bjork originally conceived Biophilia it-was as a house in whicheach room would be a different s9ng. The audience would visit eachroom and experience the song' and topic that was its subjeclmatter.But when the new touch screen technologies emerged .shegraspedthathel'projecLc.0uld be realised as apps. B'io,philia would be . themeeting_poirntoJ cutting-edge technology, musicand-nature.What made, such an ambitiousproject possible was thattechnology could at lastenable amore impul-sive kind ofelectronicmilsic~,1I)_akingnd interactive mlisic listening-experience. Moreover,Bjorkwas free from record label contracts and could reassess hergoals_She even considered the possibi li ty of signing with NationalGeographic's new record label, excited atthe prospect of being onthe same.label as lemurs and whales!

AKING

Bjork's new 8011gS differ from her previous music because she-usedstructures in nature to structure her rnusic, She also changed hercomposit ional method: with her sound engineer Damian Taylor sheused touch screens and game controllers to create bass lines andimprovise vocal material simultaneously, breaking out of stylisticnorms.

Wh~n we started: i)ritingjorthis project in Autumn. 2008.W6 heardrumoursthat in twoyears time there would be this computer thatarritres thill ~~ s betweenair ffhtJne.arJ/1JJ laptop ana so w e ; si,r;.rtf!4writing ~nd.p't:bg,tamm._~ngt!tewkole pr:ojfJ_ctjor a LfJ'rfnirw_hich is, asimilar thing ----'-itJsaouch screen. Now th e iPad's he-re antt/ thinkit's a n in str um en t w hich can aUowimpl1is ive a rt di nt ui ti ve m u si cmaking. -BjorkIn the Live'show:Lemurs; iad and Reactable are used. ~oincorporate live electronic music making into the performance.More than previous projects, Biophilia involved copious research-in this Case into technology, musicology and naturalhistory, ,Bjorkeven attendeda convention for e*p]orels: Her aim W1J._~;to identifythe places where.structures in nature and in music meet; and then

writesongs based on those relationships; Subsequently each songbecame anApp for iPad and iPhone, and Bjork identified specific~rays";DNA tpultiplyingshows how timesignature andspeed change"songs, an algorithm for gravity pulls a pendulum intonatural counterpoint , and tectonic plates rub against each otherand behave like chords. In other words, they are musical games andinstruments which subtly teach you about.musical structures,


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In this 'respect .Biophilia is the music school Bjork imagined asa clrild, and was born out of her-experience of music educ arion-inIceland-as a child. She-recalls-arguments-with her music, seheolteach.ercnan~nging, th e cur::uic1l1umwhich s'lJ,ethougltt fat lo:o.


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THE GRAVITY HARP II A,NDY CAVA-rORTA

:A VIS:IT BY BJORKTO T.HE; MIT MEnrA LABO,F,ATORY IN tHE 4.8,.-aspaft of her research for Biaphitia lle:su,lt,~g in a cqlla:bo~~~iljnwith Andy Cavatorta who, in hisown words ~''imagihes things.'byd(!;Y'


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Each of Bjork's previous projects has. featured one particularinstrument: Hdmogenic was characterised by string quartet" V85pe.rtineby string Qrchestra"Medulla by voices, and Volta by brass. Bjork hadused pipe organ in 'previous projects 9Ut in thisaJbum, and the s.!"lng'Hollow' in part icular, Bjork explores its percussive, s1,lperhumanpotentia l, and its associations with spirituality and other-worldliness,controlling it via midi:

THE PIPE ORGAN II BjORGVIN TOMASSOIi

The organ cameto thepr :o jec t real ly , quick ly . . .. One, reason is thatf!you're g on nd s ho w a kid the wonders of sound y ou w ou ld obviouslys ta rt o J tb y showing them a p ip e organ and ho w oxyge n goes t hroughthat- an d what a_incredible thzng it is . I n t er ms Qjgrand m'usica li:f'tStTUrn-entsihai's(l,s grand as- i(gets. -BJork

-THE' 80UNP OF TI -IE PIPE CiRGAN IS MADE BY FORCING AIR THROUGHits pipes'. Qne pipe produces one pitch, so multiple pipes are, needed,Which pipes the a~t flows t,hrough,and Which note. we hear, isdetermined by pressing keys on a keyboard. Pipes areranks which have the same loudness andtanks are controlled by-stops, and differentthe supply of win. as, the' key isproduces a continu unlike othersuch as the' celeste, fades .

mr,l : l :- ;r :njorgvinbe easily transportable andto allow Bjork to create

for any human to play.Matter' Bjork plays organ live from the iPad. using a

custom-made app by Paul Eastman, based on .his OnStage Remoteapp for iPad: 'a c6ntrollet button overlaid on a NASA graphic of darkmatter triggers blocks of'the /fi5an material.

IJ ed th ff organ is-somethi.m u si c Q u t I 'o e n ev erget/tin~ m y oitJnpiper ig ht t im e. A n d where. e,aflthe'jJra_gr.ammejor it: Lean eithercontroller. +Bjork

. a lw a ys s o- rt o f be en q ,r ou n ,d in myit.And niJ'lR)~ince;I'mk kg t he

l'/J.{j:.'V'lT1U~~:Vrlfr~;)-e,w U"~->"LH" nowJ.have

C~Uh..the album's themes in thought-prevoking ways. There'S; a link tqinstruments powered by nature: the newly invented pendulumharp uses gravity; and theWipd ~asHm in SQUYkearly:pipe organswa."screated using energy from water-and wind turbines. The term"wind' used to descr-ibe air pressure in the pipes suggests a naturalpheri :dtr ithon made musical . 'Nioreover , the or:gan is a fantast ichistorical example of technological creaticrcaccording to some, the17th century pipe organ was tlfe most complex human-made deviceuntil the invention of the teleph0ne exchange in the 19th century.Bj6:rk's midi-operated pip'eotgatt tt.pd!ilte:s for the_ QIst centurywhat was the earlyaoth centuey, rechnologdcal innovation of playermechanisms for pipe organs., .


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TH~ GAMELESTE II lIJORGVIN TOMASS0N & MATT NOLAN,

IN 201,0 : $ } O R . K W,f!.,S S)!lAR"or-fII\ITGFOR!\J'!-fAP;POMA:r;:EDgarhel : i tn"~ohhding iifstrurtient for t l_l~ B : ~ , D p h i l i a ,_s,Q.ng~:' I h e ; ,g am e lu n s ou n d h a s b e e n r ti t J 'P t : - ( j: am p li c (U e it o b e e a u s e ] I ' v e , b e e ' h ,l i s i ; _ e n l n l - 1 J ~ a ; 1 j ; t @ , n : m t e ~ , g . a m e , l a : r J f S 'a n d l ~ o n ; t " l i k e t h e m _ v l l r J m . u : c / i ,I t /s ' S o r t r j f, t li e . po r a t , ' ' { f / J z ' t h gara'f:ia'!f;ll,tl$r;{l;4Nspl{ly_ed by hu,m,anstJ/I l ,dso I've b t e . , n , , t ' t . y ' i 1 rg ' t o s,O{vet ! i - a t r i! r i tJ f e , . _ . . ItS- ~ i r j ) j _ o f corfJpljea:ted, to owun:T!am,em' m. J O , g e a ; g r a p f t , i ' t { f l l y . s p e c t f l c -.#ls-so a , I : H i a t

, m e is n ;- J t ,about that~,-Bjot~

S(;}nic"{l;lly:it/s,tryi.ng t o b(;!thehamw(Jrs;eifthe d w a : r , v e s i n r S n { ) w Wlbite;t T _ y i n g ~g(jhi'f,elt h e g e , m s O 1 ; / t qftlj,e~C p o P ( f s : ItJ x l # i b e r ( J , t e r y ~ r y i n - g , t o _ ' b , _ f }qitite q , , u Y o 1 r i :ate ; d . -BJp tk

"Ihe thsvl lh"!ge~es,t (h?famelafi l'iypfld ,ilistrIl!erit,r~ th e"game}este}" Qneplac the rhi(li"()dnt~olled_g;ait Ie!c fs te C0 i t I;S intG h~ownis during th e l ov e song


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LOOKING SOMETHING LIKE A GROSS'-BETWEEN A WOK, A STEEL PANand a.f lying saucer? the hang isp(l :r tmusical instrument and partsound sculpture, To English speakers the name can be.misleading,suggest ing something which is suspended when in fact "hang3' refersto the way theJ.JJ.s.trument;is played: "hang" is the word.for "hand" I nthe Bernese dia1eG:t.The hang WaS developed and built in Bern, Switzerland, in ' QOOOby instrument makers Felix Rohner and Sabina Scharer , and IStheoutcome .of 2 5 years of I'e$~earchinto thepmperties of.'and metallic instruments such as-steel pans.Hangbau AG , sp@ciaJisesin .and other instruments and sound sculptures,new forms -ofmusic. Each hang i's t reated ascrafted oPjec,t.,ant]. due tp its popularity thereone.The hang's convex body of custom steellap. It has a central domed "Ding" note,

" tone fields" depending on the type ofhang,the lower half which pFOduces a hIgh note'fields and ding are. tuned so that They produce the fundamental andthe overtones of the octave and a fifthabav.e (unlike steel pans).Depending where in the tone field the player strikes, the &IliIli_aE__can be emphasised or muted. By using the hand and fingers in avariety of ways, different types of sound can b~ produced,: bel l,pan or harp-l ike sounds are made by striking and tapping thesurface, and shaksr and tinging sounds ate made by sliding thehand or-fingers, It has a quiet but rich sound, and in the B.iaph#ialive show it takes numerous contact and condenser microphones toproduce an amplif ied sound that captures the right combination ofpercussivenessand sustained toties, .

""''M!I~~6rf' ....1TlHU..i).\f~V history of deeelopnrent. The makersstulptare best experieneedas an intimate"U!u....~""r!a'1';experience rather' than as a percussien

tn.illIii~n'~rHIl~'t'Pf!!9. by this the makers have QV~I'the course ofa decade. of qev:el!!>p,ment.reduced the sound moqels 4y,',;tilq9~i::.Thecurrent version ofthe hang ~the Free Integral Hang' has a ~oundmodelwh~k;tets. say best responds to the hands with: softdyn;;trnics and rich tones) rather than eonferming-to thestandarlpitch and equal tempered tun~ng system used byoJher Wes,tennmusicalinstruments. In the show, Manu Delago plays three earlyhanghang which are at standard concert pitch and have differenttuning..g,!wllkh together COMer a : ehmrnatiG.scale. You mig'!tt noticethat Manu reposit ions two of the p,angha-ng mid-way through 'Virus' ,because at this point in the song the music modulates and he needs adifferentpitcheollection to,hand.Bjork was drawn to the hang while researching different kindsof metal lic instruments for B i o p , . h ' i l i a , . She had commissioned thegameleste as a way topfoduce tke garnelan-like, automated-soundshe wanted, but for 'Virus' she also needed amore human sound;the hangplayeq by Manu De1ago capturedperfectly the sound andaesthetic she wanted,


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THE TESLA COIL 'I I ARON KOSCHO

I ,guess t l ienatura ' l e l e m e n t s , (tN1 t ' h e s i u p e r a e r b e s . _ 0 / B io p1 ii Ua a nd a7esla"coil aliowsyou,10 irwi_teone qftlie~ i 'n t o y o i tJ r hous.e , -BjorKOF ALL-NATURAL Sc:JU:N:D'E!QDUelN0' PHENOMEr;rA TH'E [lOWER OFlightFlihgj:S pr0baj)'ly,the"most impressive; < l .n dw i th t l5 : eTesla coilB i o p 1 i i l i - a brings electbeity on stage'Mid into tIle music. LookiJ4g' l ikea weapQn~lia't Ma:rlians"inight use to take over Earth, or ,anj:temfrom the arch~,typa.lmad sqiel1tist's lap or atp r- :y th e Tesla ~0il is _a "la:r:gedevice- that disehatges putple-coloured


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THE REACTABLE II SERGI JORD}., MARCOS ALONSO, MARTIN KALTENBRUNNER & GUNTER G.EIGER

M en I s tar t ed th is pro jec t in 2008lJelt like teebnology had caughtu p w ith u s: i t's s ta ,r #n g t o.g et r ea ll y e as y t o d o c er ta in th in gs t ha tw e re r ea ll y c om p lic at ed t en .y ea rs ag o. P a rt o f it is I d id n't/w an t toget-to q au g M up 'w it h p rQ g ra m mi ng , a nd w an te C l to b'e'mtrl'eoutside,( l i n d to w _ o r k wi th e te c tt on ic sj rom i he emot io n and' id eas r a ; t / i e r thanthe purely technical aspett. A'ndthen y ou g et to uc h screens, jo ug et R e a ct ab le , a nd t hi s i sj us t s o e x cit in gj (J ,f s om eo ne w h o h as b ee nd ef en din g e le ct ro ni c m u sie fo r m _a nyy ea rs a nd s ay in g t ha t i t c anb e i m pu ls iv e a nd n ot o nly a liv e in str um en t b ut also a s ong wr it in ginstrument. -Bjork

RSlrrA'l' POMPEUelectronic -"IIIRIAof

The'during her tour of Vol tamusicians to use the Reactable in live performancedemonstration contex _Under the Reactable's translucent table a video camera inputsinformation into a computer, while a second camera projectsinformation from the-computer to the underside of the table topwhich can be seen from above. Blocks marked with symbols are

picked up by the video camera and allow the computer to identifyeach block's function, such as creating a pitch,ed SOUI }Q_ , chq_ngingthe.volume.ior looping musical material. When a block is placedon the table-animated symbols appear showing whatthat modulei s do i' ng , and allowingthe.user to a n t e r the sound. Addin_g anotherblock allows one function to act on the existing sound and p_ppearsOn the table display as lines connecting blocks,

~!lIIlW~I'Pl!I!I.lJm!~temfm~e a'JIR~!IH~l!If)proach tomusic-making" compared to controlling a comput with a mouseand keyboard, From Bjork's perspective-it also has a hlJ;g.eadvantagefor audig,w,w;; jt.wak:es u.iiiW;.some of the FGG*S's clzreating .electronic music usually hidden as someone sits at a computer screenma:kifrg tiny movements with a mouse or knobs at a ' mixing desk,With the Reactable it's possible to see that the performer is makingmusic ratherthan checking his or her emailslThis.and other newtangible musical instruments such 4S the Lemur, and the iP


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MATT ROBERTSON 'I MUSICAl. DIRECTOR

MATT" ROB,ERTS0N I,!)'~' Pl(@DUBER" COM:fOSER, ORCHESTRATOR ANDprogrammer.und Musical Directcrof the Biophilia tour. Hav1n;gstudied ; M : u s J c andSound1?"eG,ording at the TJniversity of Surrey,UK~ graduating w,lth a First Clas;s degree.ir, ~!Ooo,hestafted a musicproduction Gompany with NeXLMGLeilan (procl~cer.of the Pr..odigy).Th is was merged illt.oTh :e , Lodge produetinn facility'based in . J ;. , '. '1 I& 'B - I . .. . _ _York 'in Q004,Matt has worked with leading film composers including

Arnold,(f2,uantum.qfSol{];(Je), Andrew Locldngton (CitYoJEmber)~,~rre~~=~~~tl=~ct1()natelyHeffes (State. ifPlary), and programmed. and brchestrased f e n ; ' Marinsde Vr,ieson the hit movie I tickA$s. As an arranger for live 'Shows heworked o n the brass arrangements fbr Bjork's Voltathe choir arrangements for the Biopltilia tour~for Bat for' Lashes, and orchestral charts for KanyeDark tour with Rosie Danvers, In 2010 ...lIIUpvAlive for Phronesis, which was ",+unu.uUlc",a : Mobo,

'stag~OXa technical team, 'Sitting in what'sown by the crew as the "j5hed""keo9atd,mer a.:ncdoftware entrepreneur Paulclock to Malt's machines whichensuresstruments are synchronised, and also runsks.

M:attinitially worked on Bioph:ilia aswith Bjork to createoheir arrangeUl~l'ltseatalogu to be-performed live an d eo_a~~~ '= ' i ~~ca~~~new material , Prepf1rl:qg more songsperformanoe means they can, changeS hOW , -by"oow, j : ' k , ' S stUd,ciObreak from BtdfJ t eaDirector.On stagcUnt ~ . lO R i.lias.howinstruments: a laptep running_Ableton Live (adigitai ,workstation for composing, arranging, and mixing, specifically

designed for live performance); two ha~~hichgenerate and ttansmit data to mjdi-enabkd dev:ic:e's, inGluding:thecustom-made pipe organ and gameleste (Ndvatioh Remote zero.controller, and a K.org :f(apss Pad); .aLemur touchscreen-contseller,used by Bjork and Damian Taylor to create many of her new S,ongsjtwosynthsizers; and Reactable.

sends out ato a COmpu te r . by DamianTaylor in visual programming language Max MSPwhich then turnsthat signal into a : t rlgglfr for the.partlcular parts of 'Dark Matter";this goes to a second computer funning Logic Pro which controlsthe organ.


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MANU DELAGO II HANG, DRUMS & PERCUSSION

WHEN MANU'PELAG''q - B E G A N PIl4YIN@THE HANG; (.A.l\IEW SOUJ'l-O~-QUlpttl


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tit" r '~.I',,II" , ",' r r "- J~ "I', .,. t'l """


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t _

TIlE CaOIR G,R:A.DUALE NOBILl II CONDUCTOiq6N STEFA.NSSON

Grac1ua.le N6biH'S:...LO,."choral 'Works) wa s i1;d'~kP-:ill~t\;j~'p!,Ma':H(111lIn J ? a , " e ; d i ' : f : u r n . (.12010)~1;~1Il~1~~~~$,!'I~f0f fqe choir.

'Co.nalilMllili~~~W~ __ "'~IIUiiI..litWliiWrliIiIII~iWI:illi!WiIII: 'PJ U~'(~~t:t~;t.n~WiWilll!. jiiIiWiiliiJ'e;;!.Qurther studiesRichter and'.FrQfes;s;QrIQ1it>l t.:~aa~$~t(}tf the

"J5lrtpn.:}ttl~"lfl

~1"'.- "JL..a.L"" ,a.l.' " an d s,e,n


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SIR DAVID ATTENBOROUGH II NARRATQR

W e didn't i i & ' l J e ~ t e } e . i i i ; i a f t ' w . h ( } 1 J , 1as II c ' / i i l q , s o 7jj(}~'{iJo]l ,ld,onlyse eteli;uision when I 6 g 1 4 , g @ to t J i ! J l ' g r : a 7 u J p a / r e . 1 i t a . , /co.uldfl,,''f reallyr ( } { q , t e ; lp I t1 1 1 t e r e w e r e aM t r [ f e o ' { f ) b ( J Y m Q v i e s ,a n a r J i o le n i ;e , ( I, it .q , r tl ; . w s ;~ t i ) f ti ~ ! i O V . 7 f iO t J s 7 f y : J o rchild. < f l U S v e~ b (J r: in g. E u t t he o n e thingthut-was { l l w t t y s '(l;mqizingw(l'S the ;na fu" feprogrammes.David,.A'ttein'btirottgh_ 'W4sbasicatly 'm y idol { j ; i a child. --':Bj ark

BJbJk'sbdivfs -tilo'st notablY, the, ideahumans and nature. One pla~~thisca,n be seen 181n '!ls~,Qf__ i.U~~beeause, unlike other arti~~1Jein e:mbDd~ies '~Q'il'&i::I __ in her-work lather than reptesentihg it, for e'l 'ample" in her:petfpl'man(;edf"(jc_e;fni~ a,t the Olympic Gaf!1esopening ceremonyfil '; . l~..fhens,2Qo4,she per,sopified t}ye~oeeana& net a r _ e , s unfurledacross.the.:stadiNni l ike a i I' tncp"r~_ ing tide, and in Btr;plii{i(Jsh_ywearsa nehuja-lfk~ or'!uge wig a,poecos,turne.s inspired by the tdea ofcosmological creation, .

lJ(l v id /Utenev.:,O'ugh is ddfnite'{yB lj,igpart o j t h ' e * ,e o so tiH e .n d "e d u pd o i n g . t h i s ~ p r o j e c t ; I t- w a s h z s s p i r it , . b 3 . ; ' f [ x p . l o r e 1 " S , J p Z l 1 i t - -Bj6rk -


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MOON

The .'NIO(in aPF 01'u'teets'IDlIskalstructu[(j, bJ.lma;n.biQrhy,Jhl;IlS;,and.gycles ofthem:0"011 an~ltides:.,a &hain;@fmu'Slc 'a,J pearlsare",elayed b~ water wa:shi'ngover them, pu11edpy the,thau;gl:ng phasefwf! tn:e: moen .The apt) takesttIe Max/Mgppwgrarl l,used to create the sQng,and tI~a:nslate.siit'into ;;l.se.guCJiber"that canbe contro)1e.tlrhJ;oug!j;,the: imilig,eof'fb,e mann, pearlsand-water,

Bj0tkJ < ! 1 1 1es,Me:rlTMaI'gI let Vilhjilq1sdO:WcC r : e a t i v e , dilm~orsMax WeiselCrfJl'lt~r;~:r1ireatoli,echrt ical-director, ~ g f t . w . a 1 ( ! .ellgfne.eTDamian TaylorInteractive stUdio,'rnU:J,ioqt syslttmde!; it f j l a. tJ;d,p.r;og' r(Hrvmingu;hrg1) 1a x ; % v . s p " a J~'Z?/M.u'tart4 ienwp,..and a 7 ! i d ! : p f t c i f ; n l e oOlitro'l /c:rI V I / M : (Paris)Des ign a4vistJts

TH1JN.DE~.RQ.;ur

'11i~I/f!ileil}oit is''atrack f@tgedr'011'1arpeggios of j jgl:HniF!g,h er eh ar ne ss ed in tc a n a p p:the bassl ine is, the .sourrd of ane1ec td~a l d i s 'c haJ ;g . e~ ,cr eq : te ,1 : lb ,ya T s 'i a G o i i fotming a leaRingQlllsj'ealpaH:etll -Hieaweggio.U~e' it to tnak~a!JP,egcg'j.oSiqtelectricity by enanging theirspeedandpitchra~ge.

Bj,oj:}e'r;,eativcdir.eotpr" Scb,u $bij,J]j(l, Q r e a ( iv C l . d i ir e . ,~ t iJ , r " t e p . h ni e a Jdi1'cctdr, $ .bJtw.d1~eengineer

T1~I.EBlOPHILIA Al"P SUlTE

'GRYS'TALLlN:,E'

Or)'~mltine'refleG'ts Bj6.fk"s:spa:fialelXipeitellcfl;Of vers ,()~ch:or l . !~ forin,and this . spatial ' analogy is usedi.tLth:e~appa$ a tOdI~fb",'Ic;1trl).,inga'hout;,s.ong:strndulCe,~Th~v:e: rse ,s eGreati,ve:diteOl(it, teehnica]ditecr(fl?"st[flw~, e n g i t l e u 7 'Lisa'Ching,lfIaTR DanksSarah FlnnneryS o ft m ar e n gi n ee rs

COSMOGQNY

Ci:l"mQjon:p~BWPHlLH\'j "mother's o ng a J il d ,a , Ji iJ l' ~ s. in s p ir e d. J i Y '; IJ i eanc ient -idea that the beauty and.orderhness df the cosmo's and of.nuisical sound-are similar,The al"paIloM{s'Yol.) to @xp~otet he harmo.n ieSe , (9 f u:nCrPRlhfRi1),3D audio by tr~Yd.ingwith yO,urfi~gertip.s thf0UgH ipac.e.

Iij6ikQ r ; r ; a . t i v J f 'Y d i : r t d o rM/M (\Paris)Ciri:ati 'i i f di:rectoT~i dl!JignSUitt Srribbe'cJ r 'ea: l i'1 ) ( {d i l t;c tOf, ' te? ! 'hniqa, l( i , i l'e l ;UJr , s r f ! ! .wa1! i f 'c.n! f i ,:nf l ( fTDe .e j e O:G leyHenrique 8.chlatter ManfroiSoj/'liJa1tc engineersMa:rk.Df}iiksA ; 4 4 i t i o l ) q t ~ I J J I g i 1 J e e T z n g andtechnical di 'redti:rJi i .

DARK MATTER

Th e D a " R Mnt(ent 'Rpa;Jlowsyou toexplore musical scales,rep~es,e&.tlng"theit, EeJa~Jopshmsill terms ' O f ' magnetism. .Amusica] sQaleis tlle'as;cending,@T qes!iending se,riC's,oLphGhcs .tha t ma~e tpa~~tisici1. I' 1: ;ey,and ,Gatt be!Feprcsented"is,uaUy.a s pointli' cln,a line. The . apppresents, ~w~l;vSib,Uth;msGOXEespDFldlngtb the twlvenotes of'the- equal temperedehromanic seale.

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