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Naptime for Now
This is the next piece from the project, now titled: Formality vs Reality, with myself on 17-tone Rhodes and Dominic Conway on tenor saxophone.  This group name came from an early conversation between myself and Dominic about the deviances between notation, theory, and performance.  For example, in 12-tone systems, a notation will signify 12 different pitches (plus enharmonics), theory will describe how movements will function (when pitch is included, how enharmonics may be tuned differently, for instance, or how progressions which imply movements which utilize certain commas, or the removal thereof, could or should be tuned), and performance, which may differ in many ways to any of these aspects, and in which the aesthetic considerations of the intention of the music will determine how permissible these deviations.  In the setting of improvised music, as this is, these deviations and their relation to theory, and notational description, have a wonderful interplay; in the world of microtonality the instruments may be set to explore a certain pitch set and the theory may explore the patterns of the deviations from this structural basis heard by the performer and thus extend the theory to account for these patterns.

This piece is a free improvisation which has since been structured into a re-performable work which will be likely be recorded in presented again.