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The Singing of Heat can also be considered "Americana Vol. 2," as my aim is to celebrate the synthesizer as a cornerstone of American music. The advent of minimalism in the 1960s saw composer-keyboardists taking an interest in new technology that created unique and unheard sounds. You hear it in Philip Glass's early works with those bright and buzzing Farfisa organs, and you hear it in Terry Riley's performances on retuned Yamaha and Hammond organs, and you hear it in the music of David Borden and Lukas Foss, who used combinations of Moog, Rhodes, and RMI keyboards to create an era-defining palette of timbres.
The Singing Of Heat also uses a transposition of the tuning found in LaMonte Young's seminal work, "The Well Tuned Piano." It is a tuning which provides different adjustments of seconds, thirds, fifths, and sevenths. Young, Riley, and many other composers since the 1960s have incorporated tunings outside equal temperament because Western music does not exist in a vacuum, and if we stop treating non-equal tempered intervals as "out of tune," we can rediscover an orientation for our ears which existed many hundreds of years ago and continues to persist in other parts of the world. We can with non-12ET tunings convey emotion and sonic development with not just a key center, but rather with individual notes and intervals themselves.
credits
released July 12, 2020
Nick Fagnilli- Folktek Mescaline, Korg Minilogue, Electric Harpsichord
Recorded, mixed and mastered on July 11, 2020 by Nick Fagnilli
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