This piece is a study on four triads from the tonality diamond. It moves through two minors, two majors, and back again. The triad ratios are 6:7:9 (what I call subminor) from the otonality; 4:3, 8:5, 1:1 (minor) from the utonality; 4:5:6 from the otonality(major), and 16:9, 8:7, 4:3 from the utonality (supermajor). In this order, the middle note increases from low to high, while the two outer notes stay the same. The instruments (from MUMS) are three string quartets, pizzacato, martele, and non vibrato, plus a double bass and a cello solo voice. The melody is based on the triads, plus other notes from the otonality and utonality.

Story Behind the Song
I subscribe to the Tuning list from Yahoo Groups, a discussion group on microtonal music. A recent series of posts on minor triads set me exploring the two minor and two major triads in the tonality diamond that can be constructed with perfect fifths. These four chords from very minor to very major form the structure of the piece.

Listen to the song and it is clear when it shifts from one of the two minors to one of the majors, but not so clear when shifting between subminor and minor, or major and supermajor.

The order of movement in the song is always subminor, minor, major, supermajor, major, minor and then repeat.

There is a great deal of indeterminacy within the piece. Each instrument has a set of parts it can play at any given moment. A random process chooses which one is next. Silence is always an option.

The melody reminds me of a Johnny Winter guitar solo from his first Columbia records album in 1968.