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The mix deepens.

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Considering the ability to modulate, why not refer to all chords as relative steps:

Here’s how major triads in their three inversions can be written. First you see the inversions of the 4:5:6 overtones, then the 9:11:14 overtone triads:

.maj3-u-a135 t+0 t+17 t+14
.maj3-u-a351 o-1t+17 t+14 t+22
.maj3-u-a513 o-1t+31 t+22 t+17
@
.maj3-u-b247 t+9 t+16 t+18 t+19
.maj3-u-b472 o-1t+25 t+18 t+19 t+16
.maj3-u-b724 o-1t+43 t+19 t+16 t+18
@

Then when you want to call a chord, just start it with the key like this:

t0&maj3-u-a3*.

This translates to Csound code for three notes at scales steps 17, 17+14=31, and 31+22 = 53, which translates to 0, the tonic.

More insect life as percussion from the Dry Spring.

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These are samples from an instrument I made in 1975 or so. It’s a piece of 1/4 inch Sitka Spruce, with a contact microphone attached. I’ve glued assorted noise makers to the surface of the wood. Each is rubbed with rosined fingers, struck, or scraped with small tools. I call it a dry spring.

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Consider it a requirement that I write at least one piece in 53 tone equal before I turn 54 in March. Equal sure is easier for modulation. This one stays in the Partch tonality diamond, but it could easily just wander out at a moment’s notice.

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Added an opening half measure and more second flute parts.

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More percussion, some changes to the bass line to add glissandi, and two alto flutes instead of one.

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I added a bit of percussion: Balloon Drum, Guiro, Shaker.

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This time I’ve added a bit of intentional “munchkinization” to some of the samples. That is, I intentionally use a sample of a note two or three notes lower than normally chosen, which results in a sharper timbre. The choice is randomized. The effect is kind of like playing closer or farther from the bridge on a string instrument. The effect is applied to the finger piano and harp chords and arpeggios.

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Now that the first few measures have been complete, I need to go back and liven things up a bit. There’s too much repetition here.

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just more measures.