How Miraculous Things Happen

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1 for keyboard sampler and soundfile by Kyle Gann 997

2 Kyle Gann More than a year before I wrote this piece my then elevenyearold son Bernard began to insist repeatedly that I write a piece called. I don't know where he got the idea. I began my fourth Tuning Study without a title and finally realized that Bernard's title had an intriguing relationship to what I was writing; enough so to try out the title and see where it led the piece. I was dealing after all with the transformation of disappointment into triumph or on a more literal level the gradual transformation of minor into major along a series of microtonal steps. The piece is dedicated naturally to Bernard. The scale employed contains 24 pitches per octave in an elevenlimit justintonation system two of those pitches appearing only in the final measures. Although there are 24 pitches this is not at all a quartertone scale; some pitches are crammed close together others approximate the regular chromatic scale. The scale given in Ben Johnston's notation) is as follows Pitch A A^ A B B BL C7 C C^ C CL D7 Ratio Cents D DL E E F7 E F FL G G GL A In Johnston's notation raises a pitch by 0 lowers it by 0 raises it by lowers it by 6 L raises it by 6 ^ raises it by 2 and FAC CEG and GBD are all perfectly tuned 46 major triads. The basic line was a series of ratios leading from B 09) to D 4). The tuning results from the pitches from B up to C and from D down to C accompanied by the chords most relevant to the key of A needed to support them and make their harmonic function clear the root of each chord is given in boldface)

3 Cents Melody B B BL C7 C C^ C CL D7 D Hamonies G G A A A B A BL B A D E FL F7 E G F FL G F D7 DL D D E For instance the C C7) that is the seventh of the subdominant chord is different from the C that is the third of the tonic minor and the B that is the fifth of the dominant chord is different from the B BL) that is the tonic of the chord in which A is the seventh; these differences purely theoretical in most contexts here become quite audible. The effect I find is that the pitches are so well supported by pure harmonies that people often fail to be disturbed by the slight pitch shifts. Some musicians don't even register that I'm using more than 2 pitches to the octave because the harmonies sound so pure simple and familiar. opens in A minor and keeps trying to move from B through C up to C to become A major; but every time it reaches C the bass shifts to create F minor. At the end of the work A moves up through A^ to A for a close in F major. The piece succeeds in moving to a major key but not the key it was originally aiming for. That's how it seemed to me miraculous things happen. Kyle Gann

4 To Bernard Kyle Gann 997 Flute q = 00!! & ')) ) ' '))!! & ' ' )) )) ' ) ' ' )) )) Organ)!! & ')) ') '))!! & &. ) ) 0 0 ). Piano!! & & & 0) & Bass Guitar!! ) ) ) 0) 0 ) 0 ) Copyright Monroe Street Music ) 0 ) 0

5 2 2. ' ' ')) 0) ) ) ') ') ' ' ' )) )) ' ) ') ' ')) ') 0 0 ). ) 0 ). ) ) ) ) Pno. ' 0) & ). 2 ) Bass Guit. ) 0 ) ) ) 0 ) 0 ) 0 )

6 ' ) ) ') ' )) ) ' 9 ' ' )) 0 )) ' ' )) )) ' ) ' ') 0) ')) ') 0). 0) ) 2) ) ) 0 2 Pno. 0 ) ) ). 0) & & Bass Guit. ) ) ) 0 0) 0 ) 0 ) 0 )

7 4 ' ') ) )!! 4 ) )!! ' ' ' ) 0 )) 4 0 ) ' ') 0)!! 4 0) )!! ' 0) 2. Pno.!! 2 & ') ) Bass Guit. ) ) )!! 0 0) ) ) ) 0)

8 6 ')) ') 0) ) ') 0 ' ' )) )) ' ) ' ' ) 0 )) ')) ') ' ') 0) 0 0) 2. ) ) ) Pno. 0) 0 & & 0) ' 0 & Bass Guit. 0 ) 0 ) 0 ) ) ) ) 0 0)

9 6 20!! ') 0) ) ) )!! ') 0) )!! 4 0!! ) ) ) 4 0 )!! 4 0)!! ) ) 4 0)!!!! ) ) ') ) 2 Pno.!! ' ) ) &!! 0 ) ) ). 2 Bass Guit.!!!! ) ) ) 0) ) ) ) ) ) 0)

10 ')) ) ' ' ') ) ) 2 7 ' ' )) )) ' ) ' ' ' ) 0 )) ')) ') ' ') 0) 0). ) ) ) 0 ) ) ) Pno. & & & & Bass Guit. 0 ) 0 ) 0 ) ) ) ) 0 0)

11 27!! 4 0 ) ) )!! 4 ) )!! 4 0!! ) ) ) 4 0 )!! 4 0)!! ) ) 4 0)!!. ) ) ) )!! 0) ) Pno.!! & &!! 0 ) ) ) ) Bass Guit.!! )!! ) ) 0) ) ) ) ) ) 0)

12 0 ) ) ') ' )! ) 0) ) 9! ) ) 4 ) ' )! ) 4) '!. 0 ) ' 2. ) ) Pno. &! 0) ) ) & & Bass Guit.! ) ) ) 0) 0) ) ) ) )

13 0! ') ' ) ) 0) ) 0 )! 4 ) ' '! 4) ' '!. ) & 2. ) ) ) 0 Pno.! ) ) 2 ' & & Bass Guit.! ) 0) 0) ) ) ) ) ) )

14 6! ') ' 2. ) 0) ) 0 ) ) )! 4 ) ' ' ) ) ) )! 4) ' ' ) )!. ) & & 2 ) ). Pno.! ) ' & & & Bass Guit.! ) 0) 0) ) ) ) ) ) ) ) )

15 2 40! ') ' ) ) 0) ) 0 )! 4 ) ' '! 4) ' '!. & 2 ) ) 0 Pno.! ) & 0 & & Bass Guit.! ) 0) 0) ) ) ) ) ) )

16 7 ) ) )7 ) ' 4 ')) ) ) ) ) ) ) ' ' '' )) ) ) ) ) ) ) ' ')) )). ). ) ) Pno. & & & 2 Bass Guit. ) ) ) ) ) ) ) 0) ) )

17 4 47!! 4 2. ) ' )) 7 ) ) 7 ) )!! ' )) ' '' )) )7 ) )7 )!! ' )) )) ' ' )) 7 ) ) 7 ) )!! & & Pno.!! & 2 0) ) ) Bass Guit.!! ) ) ) 0) ) ) ) ) 0) ) )

18 0! ' ')) & q = 70 Pno.! & 2)! &! 4 )! 4) & &!. ) & &! ). ) 0) &! Bass Guit.! ) ) ) ) ) 0) ) ) ' 2! 60) )! 0)) 60) )!!

19 6 0 )! 60) ) ) ) )! 2 ) 2). 0)! ) ) ) )! 2 ) 2).)! ) ) ) ) ) ) ) ) 0 )! 6 0 ) ) ) ) )! 0) 0) ) ) ) )!

20 7 6! 0) ) ) )!!9 0 ) 6 0 ) ) ) ) ) 0) 0)! 0) ) ) ) ) )!!9 )!9 ) 0) ) )!9 ) ) ) )! 6 ) 2)! 0) ) ) ) ) ) ) ) 6 )! 0) 60) ) ) ) ) 0)! 0) ) ) ) ) )! ) ) ) ) )

21 69!9 0)!9! 0) ) ) ) 0) 60) )!9 ) ) ) ) )!9 ) )! ) 0) ) ) ) 0) ) ) )! 0) )!! 7 ) )!9 ) 0) )!9! ) ) 0) ) ) ) 0) ) ) )!9! ) ) ) ) ) )!9! ) )! ) 0) )!9 & & &! 0) )

22 9! 77! 0) ) ) ) 0)! 6 0 ) ) ) ) ) 0 0)! 0) ) ) ) )!! 0 0) ) 0)!9 0) ) ) ) ) ) ) 0)!9! 0) ) ) ) 0) ) 0 0!9! ) ) ) ) )!9!!9 ) )! ) 0) )! 0) ) ) 0) ) 0 )

23 20! 0 ) ) ) ' 0 0 ) ) ' 0 0 ) ) ' 0 0 ) ) ' 0) 9 ) ) ) ' 0 ) ) ) ) ' ' 0 ) ) ) ) ' 0 ) ) ) ' 0) )

24 2! 9 ' 0 ) ) ' 0 ) ) ) 0) 0 ) ) 96 ' 0) )!; 9 ) 0)) 0 ) )!; 9 ' ) ) '!;!; 9 9 ) )!; ' 0 9 )

25 ) 9 ) ) 0) 9 0) ) ) 0) 0) 9 ) ) 0) 9! ' ) ' ) ) ) ) 9 ) )!! < ) ) ) ) ) 9 ) )! ) ) ) ) 9!! ) ) 0) ) 9!! 9!! ) ) ) 0) )! 0 ) ) ) )

26 2 ) ) ) ) ) = ) ) 0) ) ) ) 0 ) ) ) ) 0) ) ) 0 ) ) 6 0)) 6 ) ) 0 ) )

27 24!! ) ) 0 ) 7 ) ) )7 )!! ' ) 7 0 ) ) 7 ) ) )!! ' ) 0) 7 ) ) 7 ) )!!. &!! &!! ' ) 0) ) )

28 2 )!! ) ) ) ) = < 7 ) ) )7 ) 0 = )!! ' ) ) ) 0 =)!! ' ) ) )!! & &!! 0!! ) ) ' ) ) )

29 26 22 < < ) )7 ) )7 ) < ) ) < ' 7 ) ) 7 ) ) ' 7 ' ) 7 ) ) ) ' 2 <.). 2 = 2 =. ' ' ) )

30 2. < )7 ) )7 )!9 < ) ) ) ) ) 27 < < 7 ) ) 7 ) ) 6 7 ) ) 7 ) ) 6 <!9 0) ) ) ) ) )!9 0) ) )!9 6!9 ) )!9 < 0) ) )

31 2 0 ) ) ) ' ) ) ) ) ) ) ' ) ) ) ) ) ' ) ) & ) ) ) ' ) )

32 29 4!! < 0!! ) ) <!! < '!! ) ) <!! '!! ) )!!!!!! 2 2 ) 2!!!!!! < ' ) ) <

33 0 7!! < < < )!! ' ) ) ) ) ) ) )!! ' ) ) ) ) )!! 2 ) 2 & 2 ) ) ) )!! = 2) 6!! ' ) ) ) ) )

34 40 ) ) ) ) ) ) ) ) ) ). 2 ) ) ) ) 2 ) ) ) )

35 ) ) ) ) ) )) ) ) ) ) 6 ) ) ) )

36 4 ) ) ) ) ) ) ) ) ) ) 2. ) ) ) ). 2. ) ) ) )

37 4 4 Accelerate to tempo at measure 4 ) ) ) ) ) ) ) ) ) ) ) ) ) ). ) 2 ) ) ) )

38 0 ) ). ) ) ) ) ' ) ) ) ) ) ) ' ) ) ) ) & & ' ) ) ) )

39 6 2 9 ) 0 = 2 )) )) )) )) 9 ' ) < )) )) )) )) )) )) 9 ') )) )) )) )) )) 9 9 & & 9 ') < )) )) )) ))

40 4 q = 00 Tempo )!! 0 ) ) ) ) ) 0) 7!! !! Through m. 6 this line isn't a steady pulse but decelerates smoothly at a rate of.44 each note.0044 as long as its predecessor) &!! 4 0 )!! 4 0 ) )!! ) ) 0) Bass Guit.!! ) ) 0)

41 ) 2 & ' ' ) ) Bass Guit. ) )

42 9 6 ' & ' ) 0 ) ' ) 0 ) ) 0 0) Bass Guit. ) 0 0)

43 40 7 & 22 ' ' ' ' Bass Guit. ) ) ) ) ) ) ) )

44 4 9 0) 2 ) ) 6 6 & 4 ' ) 0 ) ' ) 0 ) ) 0 0) Bass Guit. ) 0 0)

45 ) ) 6 2 & ' ) ' ') ' ) 0 ) ) ) Bass Guit. ) 0 ) ) )

46 4 62 ) ' ' ) 0 ) ' ' ) ) 0 ) ) Bass Guit. ) ) ) 0 0) ) ) ) 0 0)

47 44 64 ) ) 0 '. 0 ) 6 & & 4 2 ')) ') ' ' )) ') ' 0 ) 0 ) 0 ) ) ) Bass Guit. 0 ) 0 ) 0 ) ) )

48 4 67!! 0 4 0) &!! 6!! & & 9!! ' 4 0 ) 7 ) ) 7 ) ) '!! 4 0) )7 )) )7 )) Bass Guit.!! ) ) ) ) ) ) 0) ) )!! ) ) ) ) ) ) 0) ) )

49 46 70! ' ' 2!! ) )! ') '!! ) )) )! 4!! 2 & &!!! 4 4 ) 0 )! 4 )!! 4 0) Bass Guit.!!!! ) 0) 0) ) ) ) ) ) ) 0)!! ) 0) 0) ) ) ) ) ) ) 0)

50 47 72! 0 0) &! 4 4 ) ) &! 4) &! 7 ) ) 7 ) ) 4 ) 7 ) ) 7 ) ) )7 )) )7 ))! 4 ) )7 )) )7 )) Bass Guit. 7 ) ) 7 ) )! ) 0) 0) ) ) 7 ) ) 7 ) ) 7 ) ) 7 ) )! ) 0) 0) ) ) 7 ) ) 7 ) )

51 4 7! ) 0) ) 0 0 ) 6 ) ) ' )) ))! 4) 4 ) & & &! 4) & & & Pno.! 4) & & &! 4 ) & & &! & & &. )! & & & ). ). ) Bass Guit.!! ) ) 0) 0) ) ) ' 0) 0) ) ) ' 2 & & 2 & &

52 0) 6 ) ) 79 ' )) )) & 49 Pno. & & & ) 0 2 & ). ) 2 0 ' May 997 Lewisburg PA

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