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<h2>IMPORTED REVISION FROM WIKISPACES</h2>
In '''Free Style JI''', pitches are not chosen from a fixed just scale, but instead determined by their ratio with the previous melody note or with a note in the current harmony.<ref name="polansky1987harrison"/>
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
: This revision was by author [[User:guest|guest]] and made on <tt>2008-05-27 00:56:15 UTC</tt>.<br>
: The original revision id was <tt>25255563</tt>.<br>
: The revision comment was: <tt>Added details to JI free style and history-kraig grady</tt><br>
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
<h4>Original Wikitext content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Lou Harrison invented this term from a technique he applied first in the middle section of his piece "At The Tomb of Charles Ives"; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. David Doty realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.


In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there.
== Definition ==
Lou Harrison defines the Free Style in his Music Primer<ref name="harrison1970primer"/>:


Toby Twining's //Chrysalid Requiem// makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.
<blockquote>
After only a brief study of intervals it becomes clear that there are two ways of composing with them: 1) arranging them into a fixed mode, or gamut, & then composing within that structure. This is Strict Style, & is the vastly predominant world method. However, another way is possible — 2) to freely assemble, or compose with whatever intervals one feels that he needs as he goes along. This is Free Style, & I used this method first in my Simfony in Free Style. Lovely new devices & expressions are possible in this style…
</blockquote>


Chuckk Hubbard's [[http://www.badmuthahubbard.com/jisequencer.html|No-scale JI Sequencer]] is offered as a tool, with which Chuckk himself composed //Big Giant Worms// in 2006.
Lou Harrison's use of Strict and Free Style is discussed in <ref name="dalton2017freedom"/>.


Two pitch calculators which could also be helpful: [[http://jjicalc.sourceforge.net/|JJICalc]] and jim altieri's [[http://tweeg.net/software.html|interval calculator]].</pre></div>
== Music ==
<h4>Original HTML content:</h4>
Harrison composed three pieces in Free Style, the first being his 1955 ''Simfony in Free Style''. An [https://johnnyreinhard.bandcamp.com/track/lou-harrison-simfony-in-free-style-premiere American Festival of Microtonal Music (AFMM) recording] is available online.
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;FreeStyleJI&lt;/title&gt;&lt;/head&gt;&lt;body&gt;Lou Harrison invented this term from a technique he applied first in the middle section of his piece &amp;quot;At The Tomb of Charles Ives&amp;quot;; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. David Doty realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.&lt;br /&gt;
 
&lt;br /&gt;
Harrison's second piece in Free Style is his 1963 ''At the Tomb of Charles Ives''. There is an [https://johnnyreinhard.bandcamp.com/track/lou-harrison-at-the-tomb-of-charles-ives AFMM recording] as well as an excerpt of a [https://soundcloud.com/center-21stcentury-music/lou-harrison-at-the-tomb-iof-charles-ives performance by the Slee Sinfonietta].
In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there.&lt;br /&gt;
 
&lt;br /&gt;
The third piece is Harrison's 1974 ''A Phrase for Arion's Leap'', for which there is an [https://johnnyreinhard.bandcamp.com/track/lou-harrison-precision-piece-a-phrase-for-arions-leap-babin-tsuda-reinhard-yallech-2 AFMM recording]. Also see [https://eamusic.dartmouth.edu/~larry/scores/other_peoples_scores/lou_harrison/arions_leap_recopied.4.pdf Larry Polansky's transcription], which gives the stepwise intervals in the original score in bold and the absolute intervals below.
Toby Twining's &lt;em&gt;Chrysalid Requiem&lt;/em&gt; makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.&lt;br /&gt;
 
&lt;br /&gt;
Larry Polansky's 1986 ''B’rey’sheet'', for singer and live interactive computer, uses Free Style JI through a computer program written in
Chuckk Hubbard's &lt;a class="wiki_link_ext" href="http://www.badmuthahubbard.com/jisequencer.html" rel="nofollow"&gt;No-scale JI Sequencer&lt;/a&gt; is offered as a tool, with which Chuckk himself composed &lt;em&gt;Big Giant Worms&lt;/em&gt; in 2006.&lt;br /&gt;
[https://github.com/philburk/hmsl HMSL].<ref name="polansky2018words"/> There is a [https://newworldrecords.bandcamp.com/track/breysheet-in-the-beginning recording on Bandcamp].
&lt;br /&gt;
 
Two pitch calculators which could also be helpful: &lt;a class="wiki_link_ext" href="http://jjicalc.sourceforge.net/" rel="nofollow"&gt;JJICalc&lt;/a&gt; and jim altieri's &lt;a class="wiki_link_ext" href="http://tweeg.net/software.html" rel="nofollow"&gt;interval calculator&lt;/a&gt;.&lt;/body&gt;&lt;/html&gt;</pre></div>
James Tenney's 2006 string quartet ''Arbor Vitae'' makes algorithmic use of Free Style JI.<ref name="winter2008arbor" /> There is a
[https://collectionqb.bandcamp.com/album/arbor-vit recording by Quatuor Bozzini] on Bandcamp.
 
== Software ==
* [[Chuckk Hubbard]]'s [http://rationale.sourceforge.net/ Rationale]
* [https://jird.readthedocs.io/en/latest/ Jird]
 
== Notations ==
Notations which are capable of notating the whole of free-JI:
* [[Rational Comma Notation (RCN)]]
* [[Color notation]]
* [[Sagittal notation]]
 
== References ==
<references>
<ref name="harrison1970primer">
  Lou Harrison, [https://www.scribd.com/document/672011588/Lou-Harrison-s-Music-Primer Music Primer], Edition Peters, 1970
</ref>
<ref name="polansky1987harrison">
  Larry Polansky, [https://eamusic.dartmouth.edu/~larry/misc_writings/out_of_print/harrison_item.pdf Item: Lou Harrison's role as a speculative theorist], A Lou Harrison Reader, Soundings Press, 1987
</ref>
<ref name="dalton2017freedom">
  James Dalton, [https://zurnalai.lmta.lt/wp-content/uploads/2019/06/MKP-17-Dalton.pdf The Freedom of Control and the Control of Freedom: Free Style vs Strict Style Just Intonation in the Works of Lou Harrison], Principles of Music Composing: ratio versus intuitio XVII, 2017
</ref>
<ref name="polansky2018words">
  Larry Polansky, [http://archive.soundamerican.org/sa_archive/sa20/sa20larrypolanskyafewwords.html A Few Words About Tuning], Sound American (SA20), 2018
</ref>
<ref name="winter2008arbor">
  Michael Winter, [https://www.sacredrealism.org/artists/catherine-lamb/the-interaction-of-tone/articles/On_Arbor_Vitae.pdf On James Tenney's Arbor Vitae for String Quartet], Contemporary Music Review 27.1, 2008
</ref>
</references>
 
== Further reading ==
* David B. Doty, [https://www.dbdoty.com/Words/LHInterview_01.html Interview with Lou Harrison]
 
[[Category:Just intonation]]
[[Category:Terms]]
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