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analysis of Fikra, for Carrillo Piano


here is a work in fractal technique written for the Carrillo Piano FOR one performer.

The greatest difficulty in composing in this technique for this instrument lies in the limited possibilities of defining the major level (equal sounds). There are only 11 keys on the keyboard, at a distance of 8 keys each: therefore technical difficulty for one player in playing and extreme essentiality in defining these components.

A A1, in A1 the first note of each quatrain takes up the sounds of the ternary group of A; the next 3 notes in A1 take up the drawing of A on a minor plane

A2 takes up the ternary group of A on different zooming levels

A3 resumes A

B is a descending cromatic sequence.

B1 chords are located around the sounds of B.

C ascending chromatic sequence

C1 zooming C almost to the maximum possible.

D D1

And E1 zoom very close to the limit

E2 loose zom with differences between right and left hand

F F1 we ​​have 2 blocks at the same zooming level, only in the right hand they are microtonal sounds and in the left hand they are equal semitones.


ecco un lavoro in tecnica frattalica scritta per il Carrillo Piano ad un esecutore.

La maggiore difficoltà nel comporre in questa tecnica per questo strumento sta nelle limitate possibilità di definizione del livello maggiore ( suoni equabili) . Sono solo 11 tasti della tastiera , ad una distanza di 8 tasti ciascuno: quindi diffcoltà tecnica nel suonare ed estrema essenzialità nella definizione ditali componenti.

A A1 , in A1 la prima nota di ogni quartina riprende i suoni del gruppo ternario di A ; le successive 3 notein A1 riprendono su un piano minore il disegno di A

A2 riprende il gruppo ternario di A su diversi livelli di zooming

A3 riprende A

B è una sequenza cromatica discendente.

B1 gli accordi si trovano nei dintorni dei suoni di B.

C sequenza cromatica ascendente

C1 zooming C quasi al massimo possibile.

D D1

E E1 zoom molto prossimo al limite

E2 zom allentato con differenze tra mano destra e mano sinistra

F F1 abbiamo 2 blocchi allo stess livello di zooming , solo che nella mano destra sono suoni microtonali e nella mano sinistra sono semitoni equabili.

INTRODUCTION TO FRACTAL MUSIC AND FRACTAL MUSIC: ANALYSIS of SUTRA for Carrillo Piano, Fokker organ, electric guitar.

introduction to fractal music

analysis of Sutra


the original piece, metamorphosys for 2 pf, is here subjected to further transformations relating on the fine tuning of the two pianos.

In pf 1 the concentration of fine tuned sounds increases with an octave rise

in Pf 2 the main octaves (excluding the extreme ones) have a center where microtonal sounds gather. This center changes in the various octaves.

See image

the two tunings are opposite, + and – 50 cents.

I also subjected the upper part of the pf1 to various transpositions, especially in the high octaves, so as to intercept more microtonal sounds, tracing the structure of the tuning as defined

the prepared pf represents the transformation of piano timbre. The part fits between pf1 and 2, and no tuning changes have been made.

see image


this is the second work built on the juxtaposition of two blocks, here two ensembles of strings.

This contrast is expressed on various parameters:

timbre: in the first ens the vl prevails and in the second the celli, with the violas as center of gravity.

Fine tuning: in the first the microtonal tunings prevail

pan (spatial arrangement):

the composition develops with continuous contrasts between the two blocks based on the above parameters.

the 2 ensembles play the same notes, however the same notes are time-shifted – block 2 follows block 1. in terms of tuning and octave, the individual instruments obviously make the difference


the same set of sounds is developed in the two blocks in a different way, but in such a way as to bind to each other.


a cluster of only 3 sounds is developed in the 2 ensembles.

It has a very dense texture, vertical blocks (held sounds or rhythmically obsessive, sometimes polyrhythmic) alternate with complex counterpoints between the parts



questo è il secondo lavoro costruito sulla contrapposizione di due blocchi , qui due ensemble di archi.

Questa contrapposizione si estrinseca su vari parametri:

timbrico: nel primo ens prevalgono il vl e nel secondo i celli, con le viole come baricentro.

Fine tuning: nel primo prevalgono i tunings microtonali

pan ( disposizione spaziale) :

la composizione si sviluppa con continue contrapposizioni tra i due blocchi basati sui parametri di cui sopra.

i 2 ensembles suonano le stesse note, tuttavia le stesse sono sfasate temporalmente – il blocco 2 segue il blocco 1. a livello di tuning e ottava ovviamente fanno la differenza i singoli strumenti


lo stesso set di suoni viene sviluppato nei due blocchi in modo differente , ma tale da legarsi l’uno con l’altro.


un cluster di soli 3 suoni viene sviluppato nei 2 ensembles.

Si ha una tessitura molto densa , blocchi verticali ( suoni tenuti o ritmicamente ossessivi a volte poliritmici) si alternano a complessi contrappunti tra le parti

Sariq Shifa, mimetic music

The composition of this song (the first of a cycle) was inspired by the vision of an exhibition entitled: the invisible man by Liu Bolin, the Chinese performer of camouflage photography.

In practice, given a background characterizing a given situation – a place, an object – the performer’s body, or rather its magnetic, etheric body, tends to emerge from the context – although perfectly integrated into it. You can catch a glimpse of the performer, you know it’s him, but at the same time you perceive the background: in short, they are both there, although on different levels.

I thought that this concept could be best represented with the help of microtonality.

The first work of the cycle is entirely made up of Bach’s Goldenberg variations.

The base is played by two pf and they use the Aria and the variation I. The ethereal element that will emerge is played by 2 string trios , respectively vl. Vla, cello. They have a microtonal fine tunig, respectively +/- 55, 50, 40 cents.

The base provides for the reproposition (bars 1-99) of a block of 33 bars where the Aria and var I are played simultaneously with the 2 pf. In each re-proposition the various executive parameters – dynamic, speed – will vary so as to create a continuous variation in a text that is always the same.

Here the etheric component will be inserted in various moments and modalities.

Bar 25 the vl2 dilutes the bars 25-26 of the pf1 and of the bar 32 in the eight bars, as if it were an aura that surrounds the physical part.

Bars 34-37 the cello 2 is mirrored with the v l1; the cello 1 reflects but less faithfully the pf2 left hand

bars 63-66 vl1 and vl2 play bar 64 of the pf2 right hand

bars 84-91 the strings plays 3 pf1 cells played before by the pf, lengthening and distorting them

bars 101 and ss the trio strings 1 performs the pizzicato variation IV

bars 133 and ff trio 2 performs Variation VII

bars 167 to the end . the strings take up the basic themes of the Aria, from batt 188 also the 2 pf end with the integral re-proposition of the Aria.

The strings will have to play more slowly than the two pf, and will be positioned behind the 2 pf. The presence of a director ,who can better perceive the overall result ,can be useful.

Italian version

Sariq Shifa, musica mimetica

LA composizione di questo brano ( il primo di un ciclo) è stata ispirata dalla visione di una mostra dal titolo : l’uomo invisibile di Liu Bolin , il performer cinese della fotografia mimetica.

In pratica, dato uno sfondo caratterizzante una data situazione -un luogo , un oggetto- il corpo del performer , o meglio il suo corpo magnetico, eterico, tende ad emergere dal contesto – sebbene perfettamente integrato in esso. Riesci ad intravvedere il performer , sai che è lui, ma allo stesso tempo percepisci lo sfondo : insomma ci sono tutti e due, sebbene su piani differenti .

Ho pensato che tale concetto potesse essere rappresentato al meglio con l’ausilio della microtonalità.

Il primo lavoro del ciclo è costituito interamente sulle variazioni Goldenberg di Bach.

La base è affidata a due pf e utilizzano l’Aria e la variaizone I. L’elemento etereo che emergerà è affidato a 2 trii di archi , rispettivamente vl. Vla, cello. Essi hanno un fine tunig microtonale , rispettivamente +/- 55, 50, 40 cents.

La base prevede la riproposizione ( bars 1-99) di un blocco di 33 battute dove l’Aria e la var I sono suonate in contemporanea con i 2 pf. In ogni riproposizione varieranno i vari parametri esecutivi – dinamiche , velocità- così da creare una variazione continua in un testo sempre uguale.

Qui la componente eterea si inserirà in vari momenti e modalità.

Bar 25 il vl2 diluisce nelle otto battute le battute 25-26 del pf1 e della batt 32, come fosse una aura che avvolge la parte fisica.

Bars 34-37 il cello 2 si specchia con il v l1 ; il cello 1 rispecchia ma meno fedelmente il pf2 mano sx

bars 63-66 vl1 e vl2 svolgono la battuta 64 del pf2 mano dx

bars 84-91 gli archi riprendono a distanza 3 cellule del pf1 , allungandole e distorcendole

bars 101 e ss il trio archi 1 esegue in pizzicato la variazione IV

bars 133 e ss il trio 2 esegue la Variazione VII

bars 167 a fine gli archi riprendono i temi base dell’aria , da batt 188 anche i 2 pf chiudono con la riproposizione integrale dell’aria.

Gli archi dovranno suonare sempre più piano dei due pf , e saranno posizionati dietro i 2 pf. Può essere utile la presenza di un direttore che possa percepire meglio il risultato di insieme.

NADIM,the new way for the string quartet





the first aspect to underline in this quartet is the arrangement of the instruments: in practice, it creates two opposed mini-ensembles (vl1 cello / vlavl2) quite the same, but slightly different .

The composition will therefore be based on two main blocks, which contrast, play solo, interpenetrate, then come out of the classic string quartet.
In this I was inspired by the vision of a concert of renaissance music for brass, in which the instruments were grouped in two / three blocks, opposed, in which the various instruments were present in each block in a different numerosity, thus giving its color in a different way.
Also the microtonal aspect highlights the duality: vl1 and vla have a fine opposite tuning.
Recurring element is the work on the empty strings: start and finish the piece, close the three sections present in the piece; develops on the first capotasti (A). On the whole there is a suggestive microtonal interlacement




from B begins the section in which also the cello and the vl2 will sing some microtonal sounds (both will use the symbol of less ¼ of tone). These sounds, more often than not, coincide with each other or with the empty sounds of the other two instruments: naturally tuning will not be the same in all instruments and play on this effect (see beginning of B)



the proposed fine tuning creates a repulsion effect, up and down




il primo aspetto da sottolineare in questo quartetto è la disposizione degli strumenti: in pratica crea due mini ensembles contrapposti ( vl1 cello / vlavl2) SIMILI ma leggermente diversi.

La composizione sarà quindi cotruita pensando principalmente a due blocchi distinti , che si contrappongono, suonano a solo, si interpenetrano, quindi uscendo dall’ottica del classico quartetto d’archi.
In ciò mi sono ispirato dalla visione di un concerto di musica rinascimentale per ottoni, in cui gli strumenti erano riuniti in due/tre blocchi , contrapposti , in cui i vari strumenti erano presenti in ogni blocco in una diversa nnumerosità, così dando un suo colore differente.
Anche l’aspetto microtonale evidenzia la dualità : il vl1 e la vla hnno un fine tuning opposto.
Elemento ricorrente è il lavoro sulle corde vuote: inizia e conclude il brano, chiude le tre sezioni presenti nel pezzo; si sviluppa sui primi capotasti ( A) . Si ha nel complesso un suggestivo intreccio microtonale

da B inizia la sezione in cui anche il cello e il vl2 intoneranno alcuni suoni microtonali ( entrambi useranno il simbolo di meno ¼ di tono) . Questi suoni , il più delle volte , coincidono tra di loro o con i suoni a vuoto degli altri due strumenti : naturalmente il tuning no sarà uguale in tutti gli strumenti e gioco su questo effetto ( vedi inizio di B)

il fine tuning proposto crea un effetto di repulsione, in alto e in basso C




Premiere of Qidra, Niquitoa, How music came to the word

for microtonal marimba


Non sapevo che il marimba fosse uno strumento molto diffuso in messico , sia nella musica folk che in quella strumentale.

I did not know that the marimba was a very widespread instrument in Mexico, both in folk music and in instrumental music.

Oggi , dopo l’esperienza compositiva per Ivan Cipactlii , forse ho capito alcune delle ragioni.

Today, after the compositional experience for Ivan Cipactlii, maybe I understood some of the reasons.

La composizione di Niquitoa si è basata su di un testo sia in spagnolo che in Atzeco. Ecco, la sonorità e la ritmica di questa lingua antica si rispecchiano proprio nel marimba , nel suo timbro e nelle sue possibilità esecutive. La parte in spagnolo è invece stata abbinata al vibrafono .

Niquitoa’s composition was based on a text in both Spanish and Aztec. Here, the sonority and rhythm of this ancient language are reflected in the marimba, in its timbre and its executive possibilities. The part in Spanish has instead been combined with the vibraphone.

E in particolare è forse proprio il marimba microtonale che più si avvicina all’anima atzeca, ai colori e alla intricata foresta messicana, alle movenze della danza rituale, alla lingua.

And in particular it is perhaps precisely the microtonal marimba that comes closest to the Aztec soul, to the colors and the intricate Mexican forest, to the movements of ritual dance, to the language.

E’ uno strumento che può ancora evolvere . Ad esempio si potrebbe aggiungere una ulteriore tastiera microtonale con un tuning di -30 cents, posizionandola di fronte alle altre due , con una angolazione a triangolo.

It is an instrument that can still evolve. For example you could add a further microtonal keyboard with a tuning of -30 cents, positioning it in front of the other two, with a triangular angle.

Oppure si potrebbe pensare a una tastiera doppia ma con una divisione dell’ottava in 22, 23, 24 parti. Tecnicamente è possibile realizzarla , ma servono un repertorio e dei bravi percussionisti come Ivan.

Or you could think of a double keyboard but with a division of the octave in 22, 23, 24 parts. Technically it is possible to realize it, but they need a repertoire and good percussionists like Ivan.

Pensando alla presenza simultanea di almeno due percussionisti, si potrebbe pensare anche a divisioni della ottava di 31 o più.

Thinking of the simultaneous presence of at least two percussionists, one could also think of divisions of the octave of 31 or more.

Dal punto di vista coreografico la possibilità di suonare lo strumento da varie angolature permette di pensare anche a una efficace integrazione con la gestalità rituale /religiosa e teatrale .

From the choreographic point of view the possibility of playing the instrument from various angles allows us to think also of an effective integration with the ritual / religious and theatrical gestures.

E’ lo strumento principe della mitologia atzeca , un ponte tra passato e presente.

It is the main instrument of Aztec mythology, a bridge between past and present.



Yo lo Pregunto
Yo Nezahualcóyotl lo pregunto:
¿Acaso de veras se vive con raíz en la tierra?
Nada es para siempre en la tierra:
Sólo un poco aquí.
Aunque sea de jade se quiebra,
Aunque sea de oro se rompe,
Aunque sea plumaje de quetzal se desgarra.
No para siempre en la tierra:
Sólo un poco aquí.


Niquitoa ni nezahualcóyotl
¿Cuix oc nelli nemohua in tlalticpac?
An nochipa tlalticpac zan achica ye nican

an achica ye nican
Tel ca chalchihuitl no xamani
no teocuitlatl in tlapani
no quetzalli poztequi
an nochipa tlalticpac
an achica ye nica

in the music

1  Niquitoa

2  Yo lo Pregunto

3  Niquitoa ni nezahualcóyotl

4   ni nezahualcóyotl

5  Yo Nezahualcóyotl lo pregunto:

6   lo pregunto:

7   An nochipa tlalticpac zan achica ye nican

8  tlalticpac

9  achica ye nican

10   Nada es para siempre en la tierra:

11  an achica ye nican

12   Sólo un poco aquí.

13    Aunque    chalchihuitl  sea de jade no xamani

14  in tlapani sea de oro  teocuitlatl

15  Aunque  quetzalli  de quetzal se desgarra, poztequi

16   No para siempre en la tierra

17  an nochipa tlalticpac

18   an achica ye nican

19  Sólo un poco aquí.





for the bassoon class on microtonal music and its application to bassoon and woodwinds


The microtonal music in the works

of Nicola’ Visalì

my approach to microtonal music composition

keeps free from the acceptance of a single

theory, or scale: each composition becomes the

testing ground where confront a given microtonal

instrument (whose characteristics influence the

expressive possibilities of composition) and a set

of sounds at our disposal- also the combinatorial

possibilities are so high that often each

composition becomes the place of

experimentation of new sound aggregates.

LETS REFLETC on the two key topics below


free from the acceptance of a single

theory, or scale: if you make a simple research on the web you will find a lot of microtonal scales: quarter tone scale ( 24T); 22T scale; 31T scale etc ( the octave divided in X steps)


given microtonal

instrument (whose characteristics influence the

expressive possibilities of composition): very few instruments can play a microtonal scale ( strings and trombone probably the only in westrern classical instruments) ; specially microtonal instruments can play one scale only

what apparently seems a great limitation both for the composer and the performer, instead is a GREATER FREEDOM AND POSSIBILITIES.

We will further on come back to these statements.

Now some notes , basics of microtonality


like in the realm of colours , there is not one red, yellow, blue but a continuously variation of reds, yellows…all depending from our senses to perceive this.

The same in the realm of sound. In the frequency range we can perceive , it is a continuos of Doooo, Reeee, Miiii …. Our division in 12 steps is limiting

The ability of our hearing, on average, in sensitive people, allows to distinguish sounds in progression with a minimum of 25/30 cents (1

tone eighth then). In an eighth so we can distinguish maximum of 44 sounds (11 semitones for 4).expressing ourselves in cents, then, the series of 44 sounds in the octave (1200cents) would be of the type: 25, 50, 75, 100, 125 etc. –


As at the prebaroc era , even if 12 semitones were known, they used only some…cromatism, dodecaphonia ended this process using all 12 semitones ( and they did not have tecnical problems, because the instruments were 12 semitones built instruments). SO WE CAN IMAGINE THE SAME PROCESS FOR NEW MICROTONALITY. And remember that using a set of sounds means there is an instrument that can play these sounds….

THE idea of” scale” , i mean a selection of sounds of whatever exstension ( 7, 5 ,but also 13) is present in all musical cultures . ( even if in some middle east the scale is not the basic) The scale expresses some characteristics and differentiate itself from the others . Like our minor or major, in the middle east the maqams, in india ragas, here different microtonal scales give different feelings. And we have thousands of possibilities… ( disegna alla lavagna varie scale, anche oltre l0ottava)

EVEN for harmony. Many says that harmony is possible only using 12 tempered sistem, with microtonality we should have “battimenti” and so something unpleasable. But i notice that , even with the 12 tempered sistem there was an evolution of the armony. The harmony used in the dodecafonia was unconceivable in the baroc era. So as far as we get used with this microtonal harmony we can imagine more complex chords.


In the West, the concept of microtonality was notably given prominence to during the Renaissance by Italian composer and theorist Nicola Vicentino (1511-1576), in response to “theoretical concepts and materials of ancient Greek music,” and later, by music theorists R. H. M. Bosanquet (1841- 1912), as well as Hermann L. F. Helmholtz (1821-1894), and his “translator and annotator” Alexander John Ellis (1814-1890). With regards to the adoption of microtonality by composers in more recent times, according to The New Harvard Dictionary of Music:

The modern resurgence of interest in microtonal scales coincided with the search for expanded tonal resources in much 19th-century music. Jacques Fromental Halévy was the first modern

composer to subdivide the semitone, in his cantata Prométhée enchâiné (1847). The first microtonal piece to use Western instrumental forms is a string quartet by John Foulds (1897); and

the earliest known published quarter-tone composition, Richard Stein’s Zwei Konzertstücke, op. 26 (1906), is for cello and piano., op. 26 (1906), is for cello and piano., op. 26 (1906), is for cello and piano., op. 26 (1906), is for cello and piano., op. 26 (1906), is for cello and piano., op. 26 (1906), is for cello and piano., op. 26 (1906), is for cello and piano., op. 26 (1906), is for cello and piano.

HERE are the most important microtonal composers of our times

Julián Carrillo, Adriaan Fokker, Alois Hába, Harry Partch, Ivan Wyschnegradsky, and Joseph Yasser

second part


With the exception ot the coulisse trombone ( which can be thought as a continous , stringed instrument) our wind instruments have buttoms. We can’t add by ourself additional buttons, so we have two ways : a special fingering and breath/lips regulation. I suggest better to use both in conjunction. As to the special fingering it is crucial to find the best combination of keys with permits us

a- to obtain a detuned sound ( it is not necessary to be a perfect quarter tone…)

b- the quality of sound as nearer as possible to that you play on “normal”sounds

c- possibility of multiple passages: you will never play that microtonal sound only alone, but in fast passages, in different intervals ect

in order to improve points a- and b- , the breath/lips factor will help you

as you are new in the microtonal world, I suggest this way in order to better get near this new world of sounds ( the same way I followed with Edoardo). Try by yourself ( every performer is different; also every instruments can have different special positions) and select 5 microtonal sounds ( at first I suggest in the medium register) which can suit the a- b- c- requisites, and the composer will write in that way.

At this site a microtonal fingering chart. Yu can try and adapt to you

so as not all microtonal key fingering will suit well the 3 conditions before, some microtonal sounds will be good only for slow passages, for single sounds etc. Here the composer ability will provide a good composition as well.

This principle is the same for the others wind instruments ( clarinet oboe etc)

No musical piece can use all possible sounds. So in your case, having 5 microtonal ( detuned) sounds plus your tipical sounds, this is surely a good starting point. Remeber that also the classical sounds of the bassoon belong to the microtonal universe. Little by little you could add some additional sounds so to cover all 12 semitone and obtain 24 sounds in an octave. More, as you become more sensible about the fine tuning , you could obtain more microtonal sounds between to semitones ( so tuned 50, 30 cents f.i.) so obtaining 36 and more sounds per octave.


so is it possibile to develop our existing instruments so to obtain more easily microtonal sounds. There are already some examples, and maybe in the future also the bassoon will have these facilities.


From one side we have the KINGMA FLUTE

their solution is to add more holes and more keys which can be easily played. So both the new sounds are at the same level, and no difference in playing these new positions.

Another interesting solution is the glissando flute headjoint.

in this case you can obtain a longer “tube” so that the same normal keys will play a little ( microtonal ) down

we find this second system in the trumpet.

in short they added a fourth valve which can make longer the tube a quarter tone down

So we can say in theory also in the bassoon we can add some keys so to obtain better , not all, microtonal sounds. All depends how many future bassoonists will play microtonal music

the future, a tecnological future, even if i do not like it much, is represented by the infinitone.

It is a saxophone with no keys. You use your mouth as well but do not uses your hands in the traditional way. The instrument is like the trombone coulisse: only one long tube. There is an electronically mechanism, you can guide using an Ipad, where you have designed your microtonal scale. Pressing the button on ipad connected with a microtronal sound, the ipad send a message to the mechanism and the saxophone tube opens and close so to obtain the desidered sound

CHRISTOPHER WATFORD is a Boston/New York based bassoonist concerned with the expansion of the microtonal instrument’s capabilities

SOME NOTES ABOUT MAQUIRA, the piece of the evening concert

metodologically speaking, I first asked Edoardo to indicate me 5 sounds which fitted the a- b- c- conditions below. Then I told him the make same exercises playing with those sounds some intervals, microtonal interval ( c-c+) a second ( c+ d) a third ( c+ Ebem and E) a fourth ( c+ f) and the reverse so to check if they there possibile for all the sounds chosen. As the risults of this check, I started the piece.

So i mean it is a work in progress, but IT IS STILL A MUSICAL COMPOSITION IN ITSELF, because the quality of the piece does not depend on the amount of microtonal sounds. Of course the form, the structure of it depends on the choises we made before.

So the microtonal sections are more lirical, i tried to create a discourse , rithmically unstable, focusing on one microtonal sound at a time, trying to imitate the maqam form .

The tempered sections are more virtuoso, less longer , and very often end with a tenuto microtonal sound. Rithmically more stable.

I noted that this system works very well. In future may be Edoardo will choose other sounds and i will be able to write more complex microtonal pieces.

EDOARDO , the bassoonist, intervention.

Nota di prima esecuzione Microtonale, Lausanne Maggio 2018
Volevo brevemente introdurre e cercare di far comprendere meglio quello che è ed è stato il lavoro. Prima di tutto c’è il lavoro psicologico dove all’inizio facevo difficoltà a centrare l’obbiettivo di resa del brano ovvero non riuscivo a renderlo al meglio. Dopo aver ascoltato e ricordato alcune esecuzioni di noti fagottisti nell’ambito contemporaneo mi sono accorto che un glissato dalla nota di base sino alla nota microtonale sarebbe stato di aiuto ed agevolava il mio udito… Come se ci fosse qualcosa che si muove in alto o in basso qualcosa che è sconosciuto e qualcosa di nuovo. Ed il nuovo, come anche il diverso non deve spaventare ma bensi esserci amico una volta che lo si conosce! Dopodiche attraverso delle posizioni speciali ho raggiunto il lavoro tecnico così da espletare i microtoni. Anche grazie a questo lavoro mi sento sempre più vicino a conoscere a fondo il mio strumento come se fosse un filtro… dove ci posso soffiare la mia anima.
Edoardo Filippi

I wanted to briefly introduce and try to make better understand what is and was the work. First of all there is the psychological work where at the beginning I had difficulty to hit the goal of rendering the song or I could not make it better. After listening to and remembering some performances by well-known bassoonists in the contemporary world, I realized that a glissato from the base note to the microtonal note would have been helpful and facilitated my hearing … As if there was something moving upwards or down something that is unknown and something new. And the new, as well as the different, should not scare but be a friend once you know it! Afterwards through special positions I have reached the technical work so as to carry out the microtones. Also thanks to this work I feel closer and closer to getting to know my instrument as if it were a filter … where I can blow my soul.

chakra and music : slides

here  is some slides, they are written in italian, but its easy to translate. I think they can contribuite to better make understatement of my idea of this relation.





con questo primo lavoro per pianoforte microtonale, Bakiya Ishlah, esprimo musicalmente la riflessione e le idee sviluppate nel mio post : chakra e musica.

With this first microtonal piano work, Bakiya Ishlah, I musically express the reflection and ideas developed in my post: chakra and music.


l’utilizzo di una tavolozza sonora microtonale è a mio parere una soluzione ottimale : la suddivisione , lo sviluppo dei 7 chakra principali nei vari raggi ( da 4 a 996), visti come frequenze leggermente divergenti dalla frequenza madre, si concretizza qui nei suoni microtonali ( anche se ancorati ai tasti del pf, cromatici)

The use of a microtonal sound palette is in my opinion an optimal solution: the subdivision, the development of the seven main chakras in the various rays (from 4 to 996), seen as frequencies slightly diverging from the mother frequency, is here embodied in microtonal sounds (Though anchored to the pf keys, chromatic ones)

Un altro aspetto generale cui la composizione – e tutte le successive- si conformerà è l’aspetto meccanico della ripetizione della frequenza base del / dei chakra: è una musica che, innanzi tutto, deve inviare tali frequenze ; ed essendo musica, non semplice fenomeno vibratorio ma opera di intelletto, avrà forme sue proprie.

Another general aspect to which this composition – and all the subsequent works – will conform to is the mechanical aspect of the repetition of the basic frequency of the chakras: it is a music that must first send such frequencies; And being music, not a simple vibratory phenomenon but an act of intellect, will have its own forms.

In questa composizione svilupperò i seguenti chakra: 1, 4, 7, e 6 .

il 1 e il 7 si trovano in netta contrapposizione , agli opposti: il 1 a intaccare il corpo fisico denso- con annessa animalità- e il 7 il corpo causale – il sapere superiore.

La resa musicale segue tale dicotomia , innanzi tutto, con il collocamento dei due suoni relativi il C ( 1) nella ottava “ 0 “ , il B ( 7) nella ottava “4” .

In this composition I will develop the following chakras: 1, 4, 7, and 6.

1 and 7 are in a straightforward contrast, to the opposite: the 1 to affect the physical body and the 7 the causal body – the higher knowledge.

The musical output follows that dichotomy, first, by placing the two sounds in relation to the C (1ch) in the octave “0”, B (7ch) in the octave “4”.

LA manifestazione sonora dei 2 chakra è altresì coerente con la declaratoria data.

Il C con ritmi tribali, forsennati , molto ritmati e FF

The sound manifestation of the 2 chakras is also consistent with the declaratory defined..

The C with tribal, frenzied, very rhythmic rhythms and FF





il B è più sfuggevole , pacato

B is more elusive, calm


vi è una maggiore interrelazione con i suoi 996 raggi – in pratica l’intera tastiera.

There is a greater interconnection with its 996 rays – in fact the whole keyboard.




Il F , 4 chakra, si interpone tra il 1 e il 7 chakra. Tende naturalmente verso il 7.

Ho deciso di posizionarlo nella estremità acuta della tastiera , dove sono presenti , nel suo intorno, 10 suoni – i 10 raggi-

The F, 4 chakras, interjects between 1 and 7 chakra. It naturally goes to 7.

I decided to place it in the acute end of the keyboard, where there are, in its vicinity, 10 sounds – the 10 rays-



Si trova nella prima parte della composizione , dove si attiva la presentazione dei chakra 1e 7 .

It is located in the first part of the composition, where the chakra 1e 7 are activated.

il chakra 6

mi ha dato la sensazione di una forma specchiantesi con se stessa o le sue manifestazioni – le ottave risonanti-

Gave me the feeling of a mirror-like form with itself or its manifestations – the resonating octaves-



L’ho inserito all’inizio della seconda parte della composizione . Il suo andamento è debitore di elementi sia del 1 che del 7 chakra : è l’occhio che si gira indietro e guarda avanti.

I inserted it at the beginning of the second part of the composition. Its course is debtor to both the 1 and the 7 chakras: it is the eye that turns back and looks forward.

La seconda parte continua con il retuning del 1 chakra

The second part continues with the retuning of the 1 chakra


il B4 rappresenterebbe il 1 chakra non sintonizzato del malato che, progressivamente, si risintonizza sul C5 . Il finale è un ritorno al 7 chakra.

B4 would represent the un-tuned 1 chakra of the patient, who progressively resets to the C5. The final of the piece is a return to the 7 chakras.

L’esigenza di conciliare la natura compositiva con quella di emissione delle frequenze del chakra sono state raggiunte dalla presenza di un ben strutturato disegno: al suo interno i vari blocchi si succedono senza tagli netti l’uno dall’altro ; a volte sfumando

The need to reconcile the compositional nature with that of the emission of chakra frequencies has been achieved by the presence of a well-structured design: within it, the various blocks occur without any net cuts; Sometimes shading



a volte compenetrandosi

Sometimes falling apart


L’utilizzo dei suoni microtonali e il concreto riferimento ai chakra rendono di fatto questa forma non riconducibile a passati modelli, per quanto la presenza ritmica dei chakra possano far pensare al minimalismo.

The use of microtonal sounds and the actual reference to the chakras make this form unconnected to past models, although the rhythmic presence of the chakras may suggest minimalism.

Si veda la parte introduttiva . Il 1 chakra e i suoi raggi sono introdotti in pp: la frequenza viene attivata.Controbatte la mano sinistra con incisi in FF ritmicamente marcati.Entrambi gli elementi saranno poi ripresi dal 1 chakra in A.


See the introductory section. The 1 chakra and its rays are introduced in pp: the frequency is activated. The left hand plays with a rhythmically marked FF . Both elements will then be resumed from 1 chakra in A.

Le stesse indicazioni per l’esecuzione portano a una interpretazione jazz della partitura, poco verticalizzata e con un feeling sempre cangiante.

The same indications for execution lead to a jazz interpretation of the score, with little verticality and with an ever-changing feeling.