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<h2>IMPORTED REVISION FROM WIKISPACES</h2>
In '''Free Style JI''', pitches are not chosen from a fixed just scale, but
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
instead determined by their ratio with the previous melody note or with a note
: This revision was by author [[User:xenjacob|xenjacob]] and made on <tt>2007-10-10 06:00:34 UTC</tt>.<br>
in the current harmony.<ref name="polansky1987harrison" />
: The original revision id was <tt>9237157</tt>.<br>
: The revision comment was: <tt></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 used this term; it means that you compose music such that each pitch you choose is chosen from the infinitely large pool of rational numbers.


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 ==


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.
Lou Harrison defines the Free Style in his Music Primer<ref name="harrison1970primer" />:


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.
<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>


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>
Lou Harrison's use of Strict and Free Style is discussed in <ref name="dalton2017freedom" />.
<h4>Original HTML 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;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 used this term; it means that you compose music such that each pitch you choose is chosen from the infinitely large pool of rational numbers.&lt;br /&gt;
== Music ==
&lt;br /&gt;
 
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;
Harrison composed three pieces in Free Style, the first being his 1955 ''Simfony in Free Style''.
&lt;br /&gt;
An [https://johnnyreinhard.bandcamp.com/track/lou-harrison-simfony-in-free-style-premiere American Festival of Microtonal Music (AFMM) recording]
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;
is available online.
&lt;br /&gt;
 
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;
Harrison's second piece in Free Style is his 1963 ''At the Tomb of Charles Ives''. There is an
&lt;br /&gt;
[https://johnnyreinhard.bandcamp.com/track/lou-harrison-at-the-tomb-of-charles-ives AFMM recording] as well as an excerpt
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>
of a [https://soundcloud.com/center-21stcentury-music/lou-harrison-at-the-tomb-iof-charles-ives performance by the Slee Sinfonietta].
 
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.
 
Larry Polansky's 1986 ''B’rey’sheet'', for singer and live interactive
computer, uses Free Style JI through a computer program written in
[https://github.com/philburk/hmsl HMSL].<ref name="polansky2018words" />
There is a [https://newworldrecords.bandcamp.com/track/breysheet-in-the-beginning recording on Bandcamp].
 
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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