Each composition on this album uses a nonoctave tuning. After completing This is Not For Realsies, I wrote the software applications Li'l Miss' Scale Oven and IntervalCalc in order to see if I was right regarding my ideas about how music is perceived and what the scale -- the building block of melody and harmony -- really means. I succeeded wildly in showing that the octave, which has been thought to be a necessary part of music, is not only totally unnecessary, but very restraining. You will hear how music written without octaves can be as beautiful and consonant as anything ever heard before -- perhaps even more so. It doesn't sound weird, strange or hurt your ears either -- in fact it sounds far more fluid, more organic, more soothing, healing, mesmerizing, energizing than anything you've heard before.

S U B J E C T	L E N G T H	T U N I N G
Jellyfish Lake/Warblers of Palau	6'15"	(12/7)(1/14)
Apprehension	3'30"	(12/7)(1/14)
Indictment	1'19"	(12/7)(1/14)
Conviction	2'21"	(12/7)(1/14)
El Diablo	7'06"	(7/5)(1/13)
Refuge in Persia	4'18"	Septivity
Jesse James	1'27"	Nuevo Renaissance
Alignment	8'01"	(12/7)(1/14)
S U B J E C T	L E N G T H	T U N I N G

Sounds no one has ever heard before; states never experienced

All the scales used on this album are ones newly discovered by myself. Each is unlike anything you have ever heard before. The beat patterns which result from the interactions among the overtones of each instrument shimmer and glow. The music may access emotions you have never experienced. You may see and feel things you never imagined. I have been cataloging the emotional and physical impacts of each of the different scales by journalling my experiences and comparing my results with those of others who experience the music. I ask that you too write me and tell me of anything you experience while listening.

This album results from my first impressions and experiences with these new scales. The first experience we have with something totally alien can be among the most profound.

Walking through volcanic meadows, picking flowers

It's like walking into a giant field in the mountains -- a meadow. Covered with wildflowers everywhere -- untouched, unspoilt. Each flower different from the others and different from anything you have ever imagined. You can pick them all day and never see the same flower twice. Each of those flowers is a song. The meadow is one of the new scales.

The meadow of the standard western tuning -- twelve-tone equal temperament? Only dirt is left from overgrazing. And the flowers? You've seen them all before. All music being written today sounds the same as the music being written yesterday. They have overpicked the field and now they are buying plastic flowers made in a factory in China.

But I have gone to a remote island, climbed an unknown volcano, and found a meadow full of incredibly beautiful flowers no one has seen before.

"This is Not For Realsies" was the first step -- that picture on the cover is of two friends walking across the crater atop 15,000 foot altitude Volcon Irazu in Costa Rica. There were bizarre flowers and fruits everywhere. But that was only one volcano, one meadow. There are thousands of other secret volcanoes I know about -- volcanoes upon which hitherfore, only gods, and never mere mortal man has tread upon. But I have been given the key, the path. I am privledged to be the first to see these unknown vistas, to smell these incomprehensible perfumes. I love it. And I am continually amazed.