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Bridge Over the X​-​Stream

by Steve Cohn

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credits

released January 18, 2021

Steve Cohn - piano, shakuhachi, hichiriki, shofar, percussion
Reggie Workman - bass, percussion
Jason Hwang - violin
Tom Varner - french horn

Music by Steve Cohn, published by Hathor Music BMI
Recorded at The Main Space, Knitting Factory, New York, NY on January 4, 1999
Engineered and mastered by Jon Rosenberg
Text and art by Steve Cohn
Produced by Steve Cohn and Leo Feigin


Infinite Tonality

    This is a description of playing improvised music in a way which still takes advantage of what we call tonal centers. In twelve tone music we are limited to any one of twelve possible tonal centers or rather a multitude of variations of all twelve tones. I am looking to expand from this tonal progression by introducing the special effects of the overtone series on the human ear in particular. We know that the overtones heard above any given fundamental tone will reach into an infinite amount of pitches, literally covering all possible sound pitches possible to be heard by the human ear. I must also emphasize a high compassion for the concept of a progression of sound evolving out of any one tonal center. In hearing any infinite possible pitches, we may start our progression from that point. Obviously we are no longer only dealing with twelve tones. It could also be understood that the combination of certain intervals placed or superimposed upon a given chord structure will even more complexly divide the overtones such as to hear or if not heard, be emotionally affected by, further unknown tonal centers. It is these new tonal centers from which our ideas will begin. Yes, we will also use modulation, moving our progression from one key area to another. It is impossible to imagine playing these tones single notedly so we must rely on dividing the overtones as much as is humanly possible through the combination of tones. Example; Complex counterpoints, intervals superimposed upon each other or any possible chord formations. Also the effect of melodic idea introduced above certain intervals of chord combines will dig out other unknown overtone pitches. I will emphasize that in listening to microtonal music that the effect of my ideas could no more easily be accomplished simply because we are not just considering an alteration of the common twelve tone scale but all possible pitches available to the human ear. As far as I can tell the only true and natural way to receive this information is through the overtone series. Based on the definition of what is infinite the human ear can most rely on discovery through this process. Even with man made altered pitches there is always an unknown about the infinite via its true definition. One might describe this search as analogous to any understanding of the workings of nature itself.
    In speaking about infinite tonalism I am not saying that the human ear may hear all possibly sounds in the universe and in fact it is the scholarly system of scales and tonalities that we have discovered today that will help lead us in searching for an infinite amount of tonal center possibilities. It is the combination of these systems, put together in odd and different ways or graphings that bring about overtone subtleties. This subtlety may not ring out as just one tone and even at that the overtones may be completely out of immediate distinguishable range. But being that the making of music is by nature an emotional or intuitive outpour rather than only a scientific expelling of audible fact we must exercise the affect intuitively or emotionally that subtle overtones are having on us. Even if they are inaudible to the human ear they are still none the less vibrations on the planet. We are sensitive to the meaning of many vibrations we can not touch, hear or see. I believe the present systems of music handed down to man through all its cultures are great tools by which to reach and keep searching from these overtone subtleties. It is not necessary to invent ways for man to scientifically hear an infinite amount of pitches in all ranges, but more so that we work with the potential of mans emotional range and intuitive genius. From intuitive awareness we can go beyond scientific or tangible proof to the abstract of feelings, images as in dreams or hypnosis, etc. To stimulate man toward his origin and chaotic creative beginnings. And more so to meld together this abstract and factual experience we have on earth. I think scientist as well as metaphysicians would love to be aware of the most certain connection between their two studies.
    Searching for these overtones is an infinite search like unto our infinite search for new truths.

—Steve Cohn

© 2021 Modern Improvisation and Steve Cohn

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