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Dear young composers, This is an enhanced score version of the famous and brutally silent masterpiece “4 Minutes and 33 Seconds” by the (should have stayed graphic artist but unfortunately became) music composer John Cage. Should you know the original score you can see that the score has been minimized to only two bars at 1.758 BPM in order to reduce the environment footprint of the score should you want to print it. Moreover, the performance is thus silent since no-one hear the pages turning anymore. Since the audience usually takes an important part in this music, it has its own part in this version. Initially I thought it would have been Wonderfull to set the key to F-Flat Minor all the way but since most audiences are reluctant to read such a difficult key setting I decide instead to have it in C-Flat for the first bar and then create a sparkling modulation at the second bar and go F-Sharp. When you will listen to it if you still can listen to music you will see the difference. To all of you score writing lovers I wish you a Wonderfull reading and listening. In DAW We Trust

Hey Peter, I did a little resolution building with a make-shift notation for the microtonality. I wanted to see if there exists something like a '36-tet dominant chord', something that sounds even more dominant than the normal 12-tet. I didn't find anything at all, but I still think both resolutions sound kinda cool. For the first one I tried resolving with smaller intervals, for the second I used bigger ones. I think you're right about the supermajor chords - I'm not really a fan either. About that E-1/6-flat that was made to sound like a perfect third (just intonated third): I didn't perceive it as such, and I think I know why. A perfect third is a little less than 14 cents lower than 12-tet (according to https://en.wikipedia.org/wiki/Ptolemy's_intense_diatonic_scale), and the third of the dominant only 12. So by lowering that E by 33 cents, you overcompensated, and ended up further away from the perfect third (5 or 9 cents further, but flat instead of sharp). Kind regards, Marius

Hey Peter, This is definitely among the more accessible and coherent-sounding microtonal music I've heard; well done! I probably wouldn't call it poly-microtonal since 12tet is a subset of 36-tet. But then again, is anything poly-microtonal, if you can just define a new tonal system that has all the notes used? I am wondering if it would be possible to create satisfying harmonic movement in this system. I think the major appeal of 12tet music is that you can make really convincing resolutions (like IV-V7-I). Microtonal music / experimental music often lacks those tension releases, in my opinion. Of course if that is your intention, you do you :). For example how would it sound if you changed the E-1/3-flat the 2nd violins keep landing on to a E-1/3-sharp, or even E-2/3-sharp, to emphasize that it's a leading tone? Same goes for b.9-10, 2nd vlns. I would try it myself, but my notation program doesn't really allow microtonal playback and I don't have the patience to manually tune each note in playback lol btw I especially like bar 11-12 with the microtonal echo of the melody, that's really spooky! And the way the 2nd vlns approach that B-1/3-flat on bar 11 is quite sweet. P.S. I'm not really sure but maybe I got 1/3's mixed up with 2/3's - I'm not at all familiar with 36-tet notation

Am too tired to review anything recently...