Techniques of Polytempic Polymicrotonal Composition

Cloud Ear Training Up to four independent equal-division lattices, each with its own division count, waveform, and up to six toggleable static pitches. Listen for the drift between systems — no shared overtone reference, just arbitrary equal grids sounding together. Master volume 50% + Add system Auto-advance: dyad → tetrad+ Stop all Status: loaded, waiting for taps… Each system's divisions (N-TET), waveform, and note count are independently adjustable. All systems share one base frequency (261.63 Hz) as their step-0 anchor. Mute silences a system without losing its note states; Solo silences every other system while it's active (multiple systems can be soloed at once). A compressor and master volume control keep the combined signal from crackling as you stack more voices.

No Master Clock, No Master Fundamental: Bonding Tempo to Tuning in Four Parts There's a particular kind of independence that most music, even most experimental music, doesn't attempt. It's easy to vary tempo across layers. It's easy to vary tuning across layers. It's much harder — and much rarer — to let both vary independently, in four simultaneous parts, with nothing underneath holding them together. That's the core of what I call polytempic polymicrotonality: four voices, each running its own equal-division tuning system, each locked to its own independent tempo, with no master fundamental unifying the pitch content and no master clock unifying the rhythm. Each voice is internally coherent — tuning and tempo are bonded together within that voice — but no voice answers to any other. Why this combination is rare Plenty of microtonal music exists. Plenty of polytempic music exists too — voices moving at unrelated speeds, often notated as separate tempo strata. B...