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MP3 Jon Catler - BLUES: Electric Blues

Rock, jazz, classical, improv, guitar

7 MP3 Songs
BLUES: Electric Blues, CLASSICAL: Contemporary


Danice Gomien and Walter Moore, vocals
Jon Catler, 3-tone equal temperament guitar
Johnny Reinhard, bassoon

Jon Catler, Just Intonation and fretless guitar
Johnny Reinhard and April Chapman, bassoons
Henry Lowengard, hammered dulcimer

Jon Catler, 31-tone electric guitar
Johnny Reinhard, electric bassoon
Bradford Catler, fretless electric bass
Bil Bryant, percussion

Jon Catler, 31-tone electric guitar
Johnny Reinhard, electric bassoon
Bradford Catler, fretless electric bass
Bob Muller, percussion

Jon Catler, Just Intonation electric guitar
Meredith Borden, vocals
Johnny Reinhard, electric bassoon
Hansford Rowe, Just Intonation electric fretted bass
Mike Cullens, drums

Jon Catler, fretless electric guitar
Neil Haverstick, 19-tone equal tempered guitar
Johnny Reinhard, bassoon
Dave Eggar, cello
Guy Tyler, double bass

Jon Catler, 64-tone Just Intonation electric guitar
Meredith Borden and Dorien Verheijden, sopranos
Julianne Klopotic, Maxim Moston, Tom Chiu,
Alisa Regelin, Amy Kimball, and Conrad Harris,
Anastasia Solberg, viola
Sean Katsuyama, cello
Mathew Fieldes, double bass
Jennifer Grim, Susan Friedlander and
Ron Kozak,flutes
Derek Floyd, oboe
Michiyo Suzuki, Bb clarinet
Johnny Reinhard, Sara Schoenbeck and Janet Grice,
John Charles Thomas, trumpet
Greg Evans, horn
Julie Josephson, trombone
David Braynard, tuba
Christine Bard, timpani
Paolo Bellomia, conductor

The opening work, Religion est une salope was first premiered on the opening concert of the American Festival of Microtonal Music, on March 7, 1981. It s title refers to the ease in which religion takes on adherents.

Jon Catler’s Sleeping Beauty is based on the story The Sleeping Beauty in the Wood by Charles Perrault (1628-1703). Each of the movements uses a different aspect of Just Intonation, regularly up to the 13th harmonic of both the overtone series and undertone series (its mirror inversion). In the first movement, the Princess is cast under a spell and must sleep for 100 years, only to be awakened by a Prince. Overtones are generated by inserting a bridge in the middle of the guitar neck and playing the princess theme with a bottleneck slide on the strings opposite the pick-ups. The pick-ups amplify only the overtones of the “sleeping” strings. The “Queen” chords, which open the next movement, begin with a 9:11:13 triad on an “A” overtone series. The harmony moves between this and a “B” undertone series, from which one gets E minor. After the Prince Theme, two notes played together on the Just Intonation guitar result in a third note, which is heard but is not actually being fingered on the guitar, called a “difference tone.” In the third movement, the Prince returns to save the Princess and the children from the Queen. In the epilogue, past themes return briefly.

Planet Slicer I is in 31-tone equal temperament and uses chords derived from the gamelan’s slendro scales, in this case stacked tempered 8/7 intervals.

Planet Slicer II is taken from a live performance of the AFMM Ensemble on the road in Nice, France, as part of the C.I.R.M. Cote d’Azure Festival.

Timepeace embraces the idea of neutrality. It was written for an AFMM Ensemble tour to Switzerland and was performed in Zurich, Kreuzlingen, and in New York. The neutrality of the intervals corresponds with the political neutrality espoused by the Swiss using the metaphor of a Swiss watch.

In 1994 Jon Catler was commissioned by the American Festival of Microtonal Music to compose JOINT, a piece in a polymicrotonal system, combining 31-tone and 19-tone equal temperaments. The simultaneous expression of these two different tuning systems suggested a three-against-four rhythm. Joint finds the nexus point between 19-tone equal temperament and 31-tone equal temperament, keeping in mind Just Intonation priorities at all times. Part of the plan was to bring together Denver, Colorado’s guitar original, Neil Haverstick to collaborate with New York’s guitar wizard, Jon Catler. “The piece is based on the cross rhythm of 3 against 4, implied by 31-tone equal temperament’s 4-note semitone against 19-tone equal temperament’s 3-note semitone. These ‘traveling notes’ result in a sort of harmonized bend which lends itself to the blues.

Jon Catler’s Evolution for electric guitar and orchestra is written in 13-limit Just Intonation. The piece begins simply, with one note evolving into two, then more, and soon an overtone series based on “A” emerges up to the 16th overtone, with other pitches being added as the piece evolves. The composer writes of his piece that “this Harmonic Symphony evolves the orchestra into a purely-tuned organism, capable of enveloping the energy of rock guitar.” Later in the piece, the voice enters in retrograde of the original theme, which signals the arrival of Man. The piece reaches its apex as 2 voices “battle
for existence.” The composer credits the “sustenance” of the piece to his work with La Monte Young. The original mode that evolves reveals the influence of Mr. Catler’s study of the music of Oliver Messiaen’s compositions.

Jon Catler is one of the world’s leading innovators on guitar. A transplanted New Yorker from Boston, he has founded and directed as solo guitarist a number of different rock bands, all featuring alternative tunings. He has devised his own system of tuning based on Just Intonation or the pure intervals of the Harmonic Series. Mr. Catler can be heard as featured soloist on the Gramavision double-CD La Monte Young and the Forever Bad Blues Band, on The Microtones'' recording Cowpeople on the M-Tone label, on the Just Intonation CD Steel Blue on the Koch International label, and on the Catler Brothers CD Crash Landing, the Birdhouse CD: Birdhouse, Evolution For Electric Guitar and Orchestra, all on the FreeNote label. He recently published The Nature Of Music, a book on harmonic series tuning, and he directs the World Out Of Tune Festival.

All compositions © Jon Catler
Produced and Directed: Johnny Reinhard afmmjr@https://www.tradebit.com
Recording Engineer: Norman Greenspan
CD Cover Artist: Orlanda Brugnola
Type Design: Dolores Cotton and V9 Digital
Edited/Mastered by James Rosenthal
Support from New York State Council on the Arts, the Maldeb Foundation, and the LLL Foundation



Johnny Reinhard, Director, AFMM
318 East 70th Street, #5-FW
New York, New York 10021 USA

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