just intonation and indian aesthetic in terry riley

7/28/2019 Just Intonation and Indian Aesthetic in Terry Riley

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Just Intonation and Indian Aesthetic in Terry Rileys The Harp of NewAlbion

Kevin Holm-Hudson

Among major American minimalist composers, Terry Riley stands as aunique figure. Unlike his contemporaries with whom he is often associated - PhilipGlass, Steve Reich, and perhaps John Adams - Rileys work is notable for its

improvisational element and also - since the late 1970s - for its employment of justintonation rather than equal temperament. Ironically, it is these unique aspects of Riley'smusic that have caused it to have been less studied; the music of his minimalistcontemporaries Glass, Reich, and Adams has received more analytical attention. Inaddition, while Riley's extensive study of North Indian raga with the late Kirana singerPandit Pran Nath has been frequently mentioned in the literature,[1] the specificinfluence of Indian classical music on Rileys compositional process and improvisationaltechnique has not been addressed.

At the core of Rileys music is the keyboard. The high-C pulse that holdstogether the composition for which he is best known, In C(1964), is played on a piano.In the late 1960s such extended cumulative tape-loop/delay works as A Rainbow inCurved Airand Poppy Nogood and the Phantom Bandmade extensive use of electronicorgans (supplemented, in the case of Poppy Nogood, with soprano saxophone).Throughout the 1970s and early 1980s, Riley extensively performed works for multiplelayers of electronic organs, such as Persian Surgery Dervishes (1971-72), performedsolo through cumulative tape loops and delays. By the release of 1980s Shri Camelalbum, Riley was using keyboards modified to play in just intonation, a result of hislongtime friendship with La Monte Young and his studies with Pandit Pran Nath.

Then Riley returned to the piano. As he related in an interview, Around1980 I bought an old upright and started to play and develop music on piano again. Ofcourse, Id been aware of La Monte [Young]s Well-Tuned Pianosince 64, but Id alsobeen playing both Indian music and electronic keyboards in just intonation. So I decidedto tune the piano that way rather than in equal temperament.

[2]Because of the way that

the overtones of piano strings resonate sympathetically with other strings, working in
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just intonation turned out to be a powerful expressive tool for Riley: I was able to givethe music a different shape. The piano has a much greater scope of expressivepossibilities than electronic instruments.

[3]

Rileys piano cycle The Harp of New Albion (1984) is therefore significantin the Riley canon; it not only remains his largest solo-piano work, but it gives us anunusual insight into his improvisational process.[4] In this paper I will first describe thetuning used in The Harp of New Albion as a whole. I will then discuss specifictechniques used in The Harp of New Albion that draw upon practices of Indian classicalmusic such as tala, gamak, andjhala. This will be accomplished by a close study of twodifferent performances (recorded within a few weeks of each other) of "The Magic KnotWaltz," one of the movements of The Harp of New Albion. Finally, I will analyze therecorded evidence to show which motives appear as constants in performance (whichideas make up the seed of the composition) and how those motives are developed

through improvisation.

Tuning

The Harp of New Albion is tuned to a five-limit chromatic scale (Figure 1)

with C# as its tuning center.

[5]

This pitch class was a tuning constant for Riley throughmuch of his work from the mid-80s to mid-90s. In a 1986 interview for Keyboardmagazine Riley explained:

For many years I played electronic organ and synthesizers. While I was playing the synthesizers,I got together with Krishna Bhatt, whos a sitar master living in Berkeley.

[6]Krishna played in C#,

so I started redoing all my pieces in C#. During that period I also started playing more and morepiano. At that time I wrote the one piece that was the beginning of all the pieces Ive done lately,called The Medicine Wheel. It was the first time I did this just tuning in C#, and Ive kept the pianoin that tuning to do both The Harp of New Albion and Salome Dances for Peace. Theyre all donein the same tuning.

[7]

However, none of the eleven movements of The Harp of New Albion are in the keyofC#, making it necessary to distinguish here between tuning centerand tonal center. Foreach movement Riley chooses a tonal center in varying degrees of relationship to theC# tuning center, exploiting the intervallic differences that result from choosing different
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tonal centers and employing different modes based on those tonal centers (Figure 2).The fact that just intonation does not transpose equally to any key was, of course,historically one of the reasons for the adoption of equal temperament. Riley's music, onthe other hand, celebrates the differences in quality that result from transposition. Figure3 diagrams Rileys tuning system by pitch-class dyads reflecting their layout on the

piano keyboard.

[9]

A full list of these intervals arranged by size, with their commonlyaccepted names in just-intonation terminology, is provided in Figure 4.

Pitch Interval Deviation

(ratio)(in cents from equal

temperment)

C# 1:1 0D 16:15 +11.7

D# 9:8 +3.9E 6:5 +15.6

E# 5:4 +13.7

F# 4:3 -2.0G 64:45 +9.8

G# 3:2 +2.0

A 8:5 +13.7

A# 5:3 -15.6B 16:9 -3.9

B# 15:8 -11.7

Figure 1: Tuning in The Harp of New Albion, compared with equal temperament.[8]

A: Cadence of the Wind (8:5 from C#)

A#: The New Albion Chorale (5:3 from C#)

The Orchestra of Tao

B: Land's End (16:9 from C#)

B#: Ascending Whale Dreams (15:8 from C#)

Circle of Wolves

D: Riding the Westerleys(16:15 from C#) DE F# G#

AB CPremonition Rag DE F AB (C)
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Return of the Ancestors DE F# G# AB C(#)

The Magic Knot Waltz DEb F# G# A C

Figure 2: Tonal Centers in The Harp of New Albion.

The aesthetic behind Rileys use of just intonation, "from which theparticular consonances and dissonances determine the emerging energies that flowthrough both instrument and performer,"[10]is similar to the Indian concept of raga. Forexample, not only does Riley choose different tonal centers from movement to

movement, much in the fashion of a romantic-era multi-movement work, but each of thefour pieces that share D as their tonal center employ a different scale (Figure 2). ForRiley, music in just intonation is a kind of yogic practice: You know, the idea of yoga isunion, union with God. And tuning means atonement, or trying to make two things one,right? So, just intonation has a lot to do with achieving the correct proportional balancesof notes in order to create one.[11]He goes on to say in the same interview:

the effect of music is heightened by being in tune. Resonant vibration that is perfectly in tune hasa very powerful effect. If its out of tune, the analogy would be like looking at an image that is outof focus. That can be interesting too, but when you bring it into focus you suddenly see details

that you hadnt seen before. What happens when a note is correctly tuned is that it has a detailand a landscape that is very vibrant.

[12]

Of course, the reverse axiom is also true; the effect of music is heightened in a differentway by being out of tune (by equal tempered standards). A particularly strikingexample in The Harp of New Albionis the piece Circle of Wolves.

As a result of Rileys just intonation tuning, three fifths are identifiable asso-called wolf fifths - 40/27 (D#-A# and E-B) and 1024/675 (B#-G).[13]It was the out oftune quality of these intervals that led to certain keys historically being consideredunsuitable for modulation. (Figures 3 and 4 show how strikingly different such intervalsare from the pure just-intonation ratio of 3/2.) Of these wolf fifths, the most complex(therefore out of tune) ratio is 1024/675, heard in this tuning only between the pitchclasses B# (C) and G. As a result, B-sharp - the tonal center of Circle of Wolves - isthe key most distant from the C-sharp tuning center. The B-sharp/G dyad (or C-G)
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makes up the tonic and fifth scale degree of the pitch collection that characterizesCircle of Wolves; the other pitches in the collection are the two 40/27 fifths. Theresulting sonority is as out of tune as possible within the tuning system, and Rileyexplores its unusual quality deliberately by making it the main sonority of hisimprovisation (Example 1). The title is a punning reference not only to the wolf quality

of these fifths but to the classical circle of fifths that results from equal temperament.

Click to viewFigure 3: Chart of interval sizes in The Harp of New Albion

Click to viewFigure 4: Complete list of interval ratios in The Harp of New Albion (arranged smallest tolargest), with names of intervals where applicable.

Example 1: "Circle of Wolves," reduction of pitch collection.

Riley and Indian Classical Music

Riley recalls first hearing the music of Ravi Shankar and Ali Akbar Khansometime in the early sixties but was not interested in studying it at that time.

[14]It was

not until 1970 that he began studying as a disciple of the North Indian kirana vocalist,Pandit Pran Nath, and making numerous trips to India to study with the Master. Rileyappeared frequently in concert with the legendary singer as tamboura,tabla, and vocalaccompanist until Pran Naths death in 1996.
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In spite of this lengthy tutelage, Riley is careful to distinguish his work fromraga in the traditional sense of the word:

The purest form of music that Ive ever heard is raga. I wouldnt try to create anything different if Iwere singing a concert of raga, for instance. I would try to sing it exactly as Ive been taught tosing it. But the other work, the work that is outside of raga,thats definitely a different category inmy mind. I dont feel like thats doing a disservice to raga,because its not raga.

[15]

The Belgian minimalist composer Wim Mertens similarly observes, one cannot find anyreal influence [of study with Pandit Pran Nath], since he [Riley] came to Indian musicmore by thinking through his own musical ideas.[16]Nevertheless, certain techniques of

ragahave their counterparts in Rileys improvisational practice. Forexample, each ragain North Indian music belongs to one of ten parental scales called thats. Each thathas adefinite set of seven scale degrees or swaras. While Indian theorists usuallyacknowledge the existence of 22 srutis - musical tones - within a saptaka (octave), thesrutis are nevertheless grouped into seven swaras for each that- and hence for eachraga. Individual ragas may omit a particular swara, but the same swara would not befound in two different forms (F and F#, for example, in Western terms). Swarup lists theintervals between the suddha (pure) swaras in Indian tuning as, in ascending order:9/8, 10/9, 16/15, 9/8, 9/8, 10/9, 16/15. The European equivalents, he claims, are 9/8,10/9, 16/15, 9/8, 10/9, 9/8, 16/15.

[17]This corresponds to Rileys C# major scale.

The scale of Magic Knot Waltz is made up of six pitches: D, Eb, F#, G#,A, and C; in Indian terminology this would correspond to Sa,komal(soft or flat) Ri,Ga, tivra (raised) Ma, Pa, and komal Ni (the sixth swara, Dha, is silent). Thecombination of komal ni (D) with tivra ma (G#) does not occur in North Indian ragas(unless borrowed from the south), because the combination is not acknowledgedamong the thats.

[18] Rileys scale, therefore, is not one of the traditional North Indian

ragas. His performances of Magic Knot Waltz are, however, consistent wi th ragapractice in their virtual exclusion of all pitches foreign to the scale.[19]Also, Ma is theonly interval that is raised in North Indian theory, so Rileys use ofG# is consistent with

tradition in that regard.[20]

Another parallel with North Indian classical practice can be found in Rileys applicationof tala, the rhythmic cycles that are characteristic of a raga performance. The liveperformance, recorded in 1986 but not released until 1992 as part of The PadovaConcert, fits quite well into a thirteen-beat tala, the left-hand 3:2 ostinato also analogous
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to the repeating lahara in Indian performance (Example 2). A lahara is a short melodicostinato that is usually used in accompanying a tabla, particularly in tabla solos. It isoften used as the equivalent of a metronome when a student is working on any fixedcomposition.[21]

Example 2: "Magic Knot Waltz," the labara as used in the Padova performance, 20 January 1986.

At one point in the Padova performance Riley comes back in, after acadential flourish, on the wrong starting note of his lahara (C4 rather than D4) - aneighth note early, as it were (the wrong note entry is the first note of the left -handpattern in Example 3). He corrects this error in mid-cycle by removing the Eb3 from hisfinal ascent (toward the end of system 2 of Example 3) and instead moving directly toF#3, ensuring that the cycle will again begin on D4. This correction in midstreamsuggests that Riley was aware of the need to make a correction earlier in the cycle; infact, he shifts to a repetitive right-hand pattern (a moment of improvisational autopilot)immediately after the left-hand correction, perhaps in order to concentrate on the laharaand ensure that the change would bring about the desired realignment. In summary, thiscorrection in the midst of an improvisational flourish is likely evidence of talathinking in

Rileys structural plan.

The studio Celestial Harmonies performance, recorded at the Academyof Music in Munich, is actually edited together from two live performances on January 3and 4, 1986 (made a week before the Padova recording). Despite Rileys assurancesthat all the takes here were recorded as I performed them with only a few minor cuts
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and all the breakthroughs and unplanned moments intact,[22]the impact that such editsmake on the final product is nevertheless difficult to ascertain. Possibly because of theirassembled nature, the cyclic aspect of the Munich Magic Knot Waltz is irregular -ostinato lengths tend to fit into 12- or 13-beat cycles, with cadenza-like interjections ofvarying lengths.

The Munich performance, however, contains a striking moment that isentirely absent from the more cyclical Padova recording: an alternation of a hoedown-like theme with a section that is strikingly similar to Indian jhala. As David Courtneydefinesjhala:

Jhala is undoubtedly the most characteristic of the instrumental styles. Indian stringedinstruments are noted by [sic] a few special purpose drone strings called chikari. These stringsare never fretted but are struck whenever the tonic needs to be emphasized (i.e., Sa and Pa).The jhala is a fast paced alternation of main melody string and chikari. This lends itself tointeresting permutations of both ragand talsimultaneously.

[23]

The construction of the piano, of course, does not allow for special drone strings. Rileysjhala passages, however, always emphasize A3 and C4 (Pa and komal Ni). Althoughthere is not a literal rapid alternation of the drone notes with a melody, Riley does pit

the drones against an oscillating pair of dyads (see Example 4). In the first two of thethree jhala sections, these dyads have attack points between the attack points of thedrone stream, possibly allowing for an alternating interpretation.

Click to view Example 3: "Magic Knot Waltz," Padova recording, "error" in tala with Riley'scompensation [2:50].
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Example 4:Magic Knot Waltz, ajhala section from the Mnchen recording [4:36 ff].

Another aspect of Indian classical music, all the more striking in Rileyscase because it is found in Indian vocal (rather than instrumental) style, is a technique

of ornamentation called gamak. Peter Manuel describes gamak as a technique inwhich every note in a passage is approached from its lower neighbor,

[24]and notes that

the practice has crossed over from Indian classical music to popular genres such asfilm music. Rileys improvised passages in Magic Knot Waltz, especially the longrhapsodic lines that come at cadential points, employ the same lower neighborascending-step contour cited by Manuel as essential to gamak. One example of thistechnique in Rileys improvisational style is found in Example 5.


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Example 5:Magic Knot Waltz, example ofgamakdeveloping initial turn of the theme [from Mnchenrecording, 3:43-3:53].

This vocal orientation in Rileys music (incorporating a technique such asgamak in an instrumental context, for example) explains the fundamentally melodiccharacter of Rileys music. Like his minimalist counterpart Philip Glass, Riley downplaysWestern harmony in favor of developing other parameters. But whereas Glass, in hisearly work, chose to develop the rhythmic element,

[25]Rileys music is more melodically

focused. This emphasis on melodic development perhaps derives from his vocal studywith Pandit Pran Nath, although it may also result from his saxophone improvisationtechnique on pieces such as Poppy NoGood and the Phantom Band (1969), whichpredate his formal study of Indian classical music.

[26] Today, however, Riley clearly

attributes this interest in melody to non-Western sources:

Melodic complexity is inversely proportional to the amount of harmonic orpolyphonic movement or density of parts. What you have in Eastern or Renaissancemusic or Gregorian Chant is very ornate melody, but if anything starts to compete withthat, it cancels out the effects of the melody. So in the West we opted for the drama, theharmonic and polyphonic complexity. Thats great, but were a little bit stuck at thispoint.[27]

Motives in TheHarp of New Albion

More important to me than the Minimalist theme in my work is the interrelationship of motives.Both In Cand the later works have a really strong developmental quality, a lot of variation andpermutation of motives. This isnt theoretical; its the way I hear.

[28]

Most of Rileys keyboard music through the 1970s was improvised toparticular raga-like scale patterns. (It was not until his G Song, composed in 1980 forthe Kronos Quartet, that Riley returned to fully notated composition.) Rileysinvolvement in improvisation goes back to childhood:


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One of my cousins played really well by ear, so I would listen to him and try to play what heplayed. He would make up copies of pieces like Tchaikovskys Piano Concerto. You know, hedstart out with the theme and then improvise on it. I thought that was really neat, so I tried to dothat kind of stuff, too.

[29]

In fact, Riley was first attracted to Indian classical music through its improvisationalaspects: Id always been interested in improvised music, and here was an improvisedmusic that had such precision that it was a classical music, too. That idea, I thought,was quite a stunning one: to be able to develop improvisation to the degree that itsounded like it was all composed.[30]

The goal of tightly structured improvisation is evident throughout The Harpof New Albion. Much of the work is improvised, but improvised passages are found

side-by-side with composed ideas. A performance of a movement from The Harp ofNew Albion can perhaps be compared to a jazz improvisation, in which the theme orhead is followed by solos over the chord structure before concluding with a return tothe head. The interchange between composed and improvised, however, is muchmore fluid in Rileys music; John Schaefer describes the piece as having a spiralform.

[31]As Riley explains it, Something spins off a little motifand gets larger and

more arpeggiated, more embroidered. It cycles back to a certain note, but its veryirregular; it takes a circuitous route.[32]

Examples 6 and 7 illustrate what is meant by spiral form. In comparing the tworecorded performances of the movement Magic Knot Waltz, one finds certainconsistencies between the two performances that are perhaps composed in a loosefashion. Example 6 depicts various transformations of the Magic Knot Waltz theme, asheard in the opening two minutes of the released Munich performance. These versionsof the theme share an E-flat/C turn around D6 at the outset and culminate with somevariation on an ornamented D-C figure (these thematic statements are labeled onExample 6). Beyond these generalizations, however, there is considerable variation,with very little direct repetition from one thematic statement to another. The E-flat/Cturn that begins the theme also becomes the catalyst for the gamak-like cadentialflourishes that occur numerous times in both recorded performances (see Example 5).

The gentle arc that closes the theme also undergoes development. Example 7 showshow this truncated fragment is varied in three different ways (labeled A, B, and C).

The Padova performance, recorded barely a week later, is noticeablydifferent in its treatment of thematic materials. The jhala sections described earlier areabsent, the cadential flourishes much more extensive in range, particularly in the low


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register (as low as A1), and the revelation of the theme much more tentative. In fact, thefirst hints of the theme in the Padova performance are oblique references to the D-C-Cor D-C-A motive with an upper pedal tone that closes the concluding arc of the theme.Example 7 provides instances of this three-note or three-chord figure in the Mnchenperformance (see, for example, the last three notes of the first system, the three notes

immediately preceding statement B, the last three notes immediately precedingstatement C, and the last three notes of the example). Rileys Padova performanceintroduces this figure as slowly shifting dyads over the ostinato (see Example 8). Whenfragments of the theme do appear, after nearly a minute, they appear with interjectionsof the earlier shifting dyads. The theme is not completely stated until [2:12], nearlyhalfway through the performance.

Click to viewExample 6:Magic Knot Waltz, first four thematic appearances, Mnchen recording [0:42 -1:33].
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Example 7:Magic Knot Waltz, three different thematic truncations [labeled A., B., and C.], Mnchenrecording [2:07-2:23].

Click to viewExample 8: Magic Knot Waltz, Padova recording, gradual revelation of thematic material[0:24-1:08].

Conclusion

The Harp of New Albion as a whole is an important transitional pieceamong Rileys compositions, crystallizing the keyboard-oriented improvisations of theprevious fifteen years while pointing toward his more formally notated works for acousticensembles. Rileys compositions prior to the release ofThe Harp of New Albion tendedto involve electronic keyboards, in which tape loops and studio processing often meltedRileys organ and synthesizer lines into a larger, more liquid context.

[33]The acoustic

medium, therefore, allows the listener to focus more on the musical line, and on ideasas they emerge, rather than to be seduced by textures and ambience. In addition, thispiece differs from some of Rileys later recordings - such as Chanting the Light ofForesight, written for the ROVA Saxophone Quartet - in that we hear Riley as his own

interpreter. It is this pieces clarity of texture, combined with its unmediatedperformance, that makes it faithful to his philosophical and aesthetic aims.

When asked by an interviewer whether being in tune really does have aprofound meaning, Rileys response was Yes, thats Pandit Pran Naths mainphilosophy. Its called surma, being in tune. That recognition, that appreciation of thesubtle frequencies, is an insight into music [that] we need. Being in tune, putting totalbeing and concentration in each note, living through each moment in music as a divinelink in the ecstatic experience: These things are important to me now.[34]

One can find throughout The Harp of New Albion eloquent evidence ofthese aesthetic concerns. The importance Riley places on being in tune, for instance,manifests itself in the careful intricacies of Rileys tuning system, in which thearrangement of semitone sizes is virtually symmetrical with the exception of F-sharp/Gand G/G-sharp (see Figure 3). The ramifications of just intonation, in which tuning is not
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homogenized by temperament but instead results in differing shades of consonance ordissonance, lead to a listening mode that is conducive to appreciating such nuances.For example, in the Ascending Whale Dreams movement, Riley employs a whole -tonescale over a B-sharp tonal center (which, in just intonation, actually features threedifferent types of whole step - see Figure 3). This scale dictates the pitch material until

nearly halfway into Rileys eight-and-a-half minute recorded performance, when heabruptly shifts to the other whole-tone collection at [3:54]. The effect of this change isdramatic, in a way that could not be possible using equal tempezrament.

In just intonation, allowing for pitch-class permutation, more than twowhole-tone scales are possible, but in Ascending Whale Dreams Riley limits himself totwo. This self-imposed limitation, and Rileys extensive development of such limitedmaterials (also discussed earlier in reference to Circle of Wolves), is what Riley meansby putting total being and concentration in each note. According to Wim Mertens,

Riley examines only a small amount of material intensively, and only when the materialis exhausted does he add something new to it.[35]

Although Mertens was chieflyreferring to earlier keyboard works, such as Persian Surgery Dervishes (1972) or theKeyboard Studies (1964), one can certainly hear evidence of Rileys exhaustiveconcentration on the smallest of materials in some movements of The Harp of New

Albion. While listening to the Riding the Westerleys movement, for example, thelistener becomes aware of how Rileys subtle pedal technique and choice of notes thatreinforce the overtones of the D tonal center create a subtly shifting wash ofsympathetic resonance. This allows for a listening experience that shifts fromforeground to background and back again.

Living through each moment in music as a divine link in the ecstaticexperience not only refers to Rileys improvisational style but also his raga-inspiredaesthetics. The Magic Knot Waltz, among other movements, offers an excellentrealization of these aims; Magic Knot Waltz is a particularly fine example for studysince one can compare the two recorded versions. One is struck not only by Rileysconsiderable dexterity but by the fecundity of his ideas.

Nevertheless, Rileys emphasis on the moment in performance meansthat to fully grasp his art in an analytical fashion, one must go to the recorded artifact.This means that Rileys music may indeed have more in common with John Coltrane orRavi Shankar than it does with that of composers such as Philip Glass or Steve Reich. Itis also for this reason that Rileys music has not enjoyed the same scholarly attentionthat the music of Reich or Glass has. Much of Rileys music, therefore, remains largelyunexplored by music analysts; but careful study of the recorded performances of his


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music may well lead to a new aural-based theory, in which Western analytical techniqueis linked with centuries-old traditions.

References

Canright, David. 1985. On Piano Retuning. Downloaded from the World Wide Web on

November 29, 2000 at http://www.mbay.net/~anne/david/piano/index.htm

Capwell, Charles. 2000. Personal e-mail communication, 12 December 2000.

Courtney, David. 1992. New Approaches to Tabla Instruction. Percussive Notes 30, 4:

27-29.

______________, n.d. Jhala. Downloaded from the World Wide Web on January 19,2001

at http://chandrakantha.com/articles/indian_music/jhala.html.

Duckworth, William. 1995. Talking Music: Conversations with John Cage, Philip Glass,

Laurie Anderson, and Five Generations of American Experimental Composers. NewYork:

Schirmer Books.


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Gann, Kyle. 1998. Anatomy of an Octave. Downloaded from the World Wide Web on

June 8, 2001 at http://home.earthlink.net/~kgann/Octave.html.

Ghosh, Nikhil. 1968. Fundamentals of Raga and Tala with a New System of Notation.

Bombay: Popular Prakashan.

Glass, Philip. 1987. Music by Philip Glass. Edited by Robert T. Jones. New York:Harper

and Row.

Mancini, Patricia and Joseph. 1986. On Just Intonation and the Spiritual Source of

Music: Terry Riley. Keyboard12, 7: 52-65.

Manuel, Peter. 1988. Popular Musics of the Non-Western World. New York: Oxford

University Press.

Mertens, Wim. 1983.American Minimal Music. Trans. J. Hautekiet. London: Kahn &

Averill.

Partch, Harry. 1974. Genesis of a Music. 2nd ed. New York: Da Capo Press.

Riley, Terry. 1986. The Harp of New Albion, liner notes. Celestial Harmonies CD CEL

018/19.


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Schaefer, John. 1987. New Sounds: A Listeners Guide to New Music. New York:Harper

and Row.

Strickland, Edward. 1991.American Composers: Dialogues on Contemporary Music.

Bloomington, IN: Indiana University Press.

Swarup, Rai Bahadur Bishan. 1933. Theory of Indian Music. Maithan, Agra, India:

Swarup

Brothers.

[1] See Edward Strickland, American Composers: Dialogues on Contemporary

Music (Bloomington, IN: Indiana University Press,1991); Patricia and Joseph Mancini,On Just Intonation and the Spiritual Source of Music: Terry Riley, Keyboard12, 7 (July1986): 52-65;and WimMertens,American Minimal Music, trans. J. Hautekiet (London:Kahn & Averill 1983), 35-45.

[2]Strickland, 121.

[3]Ibid., 122.

[4]Mancini, 65.

[5]

The term five-limit as applied to tuning means that all ratios of the chromaticscale are derived from the first five harmonics of the harmonic series. A five-limit tuningallows for pure pure major and minor thirds (5:4 and 6:5) - see David Canright, OnPiano Retuning, downloaded from the World Wide Web on November 29, 2000 athttp://www.mbay.net/~anne/david/piano/index.htm. A thorough discussion of the five-limit can be found in Harry Partch, Genesis of a Music (New York: Da Capo Press,1974), 109-119.
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[6] Recorded evidence of Rileys collaboration with Krishna Bhatt can be heardon the soundtrack to Alain Tanners film No Mans Land(Planisphere compact disc PL1267, 1985; out of print).

[7]Mancini, 59.

[8]Sources: Pitch and Interval: Terry Riley. The Harp of New Albion, liner notes(Celestial Harmonies CD CEL 018/19 1986). Deviation from equal temperament: DavidCanright, "On Piano Retuning," http://www.mbay.net/-anne/david/piano/index.htm.

[9] The names of pitch classes provided in Figure 3 (e.g., B# rather than C

natural) are Rileys, reflecting a chromatic (all-sharp) scale above the instrumentstuning center of C#. In the musical transcriptions from Magic Knot Waltzaccompanying this article, however, I have chosen to use enharmonic equivalents thatmore accurately reflect the scale based on the tonal center for Magic Knot Waltz.

The fact that The Harp of New Albion was conceived for pianothe historicalembodiment of equal temperamentrequires some rethinking of assumptions aboutmusic in just intonation in general. For example, the sizes of particular interval classes(e.g., the major second) do indeed vary in Rileys just intonation system, whereas allidentical interval classes in equal temperament are of identical size. However, it doesnot follow that pitch classes considered to be enharmonically equivalent in equaltemperament must differ in just intonation, at least when notation for the piano isconsidered. For example, the dyad A-B# in The Harp of New Albion will of necessity bethe same as A-C, because B# and C correspond to the same piano key. Because Rileyassumes octave equivalence in his tuning structure, there will still be only twelve pitchclasses to the octave available. (This makes his approach different from that of

composers such as Harry Partch, whose chromelodeon was tuned to the exigencies ofhis forty-three-tone system - with the result that playing two different G keys indifferent octaves would yield two different pitches. Had Riley composed this piece for amedium that allows more flexibility of pitch - a string quartet, for example - his tuningsystem might have indeed allowed for intervals that were enharmonic in equaltemperament but not equivalent in just intonation.)

I nevertheless adopt Partchs convention of placing interval names in quotationmarks, to show that Rileys intervals are not equivalent to their traditional equal -temperament counterparts.

[10] Terry Riley, The Harp of New Albion, liner notes. Celestial Harmoniescompact disc CEL 018/19, 1986.

[11] William Duckworth, Talking Music: Conversations with John Cage, PhilipGlass, Laurie Anderson, and Five Generations of American Experimental Composers (New York: Schirmer Books, 1995), 283.

[12]Ibid.
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[13]Although the written interval B#-G is technically a diminished sixth, Riley isclearly using the B# in this movement not as a leading tone to C# but as its own tonalcenter. This results in the aural impression that once is actually hearing a fifth betweenC (enharmonically equivalent with B# on the piano keyboard - see note 8) and G.

[14]

Ibid., 279.[15]

Ibid., 284 [italics added].

[16] Mertens, 44.

[17]Rai Bahadur Bishan Swarup, Theory of Indian Music (Maithan, Agra, India:Swarup Brothers, 1933), 19. The European scale cited by Swarup is nevertheless in

just intonation rather than equal temperament.

[18] Charles Capwell, personal e-mail communication, 12 December 2000. A

specialist in the music of India, Dr. Capwell is Associate Professor of musicology at theUniversity of Illinois at Urbana-Champaign. I am grateful to him for pointing out thisobservation.

[19] I am of course excluding wrong notes resulting from finger slips inperformanceof which there are remarkably few. Rileys Munich performance of MagicKnot Waltz (released on Celestial Harmonies CD CEL 018/019, 1986) does containone left-hand E-natural3 (replacing the E-flat) at [3:04] and one left-hand E-natural5 at[3:41]. These seem to be more deliberately placed, as they both occur immediatelybefore cadenza-like flourishes that interrupt the ostinato sections.

[20]

See Ghosh 1968, 43-48 for a full but succinct discussion of North Indiantuning hierarchy, including srutis, swaras and thats.

[21]David Courtney, New Approaches to Tabla Instruction. Percussive Notes 30,4 (1992): 28.

[22]Riley, The Harp of New Albion, liner notes.

[23]David Courtney, Jhala. Downloaded from the World Wide Web on January19, 2001 at http://chandrakantha.com/articles/indian_music/jhala.html.

[24]

Peter Manuel, Popular Musics of the Non-Western World (New York: OxfordUniversity Press, 1988), 184.

[25]Like Riley, Glass found his inspiration in Indian classical music, specificallythat of Ravi Shankar. See for example his discussion in Glass 1987: 16-18.

[26]In John Schaefers book New Sounds, Riley is quoted as saying that the rootsof his experiments with melodic improvisation lie in North African and Middle Eastern
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music. When I was living in SpainI used to listen to the radio a lot, and Id get thestations from Tangiers and the cities right across the Mediterranean. Thats the firstmusic that really sank in. Those maqams, the Middle Eastern scales, have alwaysattracted me. Even though Im a student of Indian classical music and thats my mainlove as far as ethnic music goes, when I write my own music it tends to have a Middle

Eastern flavor. Theres always been a kind of dream world for me there. (JohnSchaefer, New Sounds: A Listeners Guide to New Music [New York: Harper and Row,1987], 75.)

[27]Mancini, 57.

[28]Strickland, 123.

[29]Duckworth, 272.

[30]Ibid., 279.

[31]Schaefer, 76.

[32]Ibid.

[33]Mancini, 53.

[34]Ibid., 65.

[35]Mertens, 44.
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just intonation and indian aesthetic in terry riley

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