Recording here

Score here

CAUTION: Score is meaningless as to pitch without retuning, key given at bottom of this page

The title

New Auntsappealed to me because the homonymous relation among "new aunts" (British/New England pronunciation), "new ants" (Midwestern pronunciation), and "naunce" is analogous to the slight melodic changes the piece is based around. I googled "nuance," and the most common noncommercial uses had to do with the need for more nuance in our political discourse, so perhaps listening to this piece will encourage that. Or perhaps not. There are 27 pitches to the octave here, in an 11-limit just-intonation system, though the entire melody takes place within barely more than a perfect fifth.The scale (given in a typographical approximation of Ben Johnston's notation) is as follows:

Pitch: A A^ Bb^- B- B C7 C C# C#+ C# LD7- D- D^- D# Ratio: 1/1 33/32 11/10 10/9 9/8 7/6 6/5 5/4 81/64 9/7 35/27 4/3 11/8 45/32 Cents: 0 53.3 165 182.4 203.9 266.9 315.6 386.3 407.8 435.1 449.3 498 551.3 590.2

D# LE7 E F7 F E# LF# F#+ G7 G# G# LA7 A7+ 81/56 35/24 3/2 14/9 8/5 45/28 5/3 27/16 7/4 15/8 27/14 35/18 63/32 639 653.2 702 764.9 813.7 821.4 884.4 905.9 968.8 1088.3 1137 1151.2 1172.7 (If you don't have enough experience with just intonation to make sense of this chart, try reading the step-by-step Just Intonation Explained section.) In Johnston's notation, + raises a pitch by 81/80, - lowers it by 80/81, # raises it by 25/24, b lowers it by 24/25, 7 lowers it by 35/36,

Lraises it by 36/35, ^ raises it by 33/32, and F-A-C, C-E-G, and G-B-D are all perfectly tuned 4:5:6 major triads.The score (available here as a PDF) uses conventional notation that does not indicate pitch, but merely tells the keyboardist which keys to play. The keyboard is tuned as follows, with respect to A 110 hz defined as 1/1:

Key:Pitch:Ratio:Tuning (relative to normal 12tet):A#1 F7 14/9 F2 - 35.1 cents B1 E L45/28 F2 + 21.4 cents C2 F 8/5 F2 + 13.7 cents C#2 F# 5/3 F#2 - 15.6 cents D2 F#+ 27/16 F#2 + 5.9 cents D#2 G7 7/4 G2 - 31.2 cents E2 G# 15/8 G#2 - 11.7 cents F2 C7 7/3 C3 - 33.1 cents F#2 C 12/5 C + 15.6 cents G2 C# 5/2 C#3 - 13.7 cents G#2 C# L18/7 C#3 + 35.1 cents A2 D7- 140/27 C#3 + 49.3 cents A#2 D# 45/16 D#3 - 9.8 cents B2 E 3/1 E3 + 2 cents C3 G#L 27/7 G#3 + 37 cents C#3 A7 35/9 A3 - 48.8 cents D3 A7+ 63/16 A3 - 27.3 cents D#3 A 4/1 A3 + 0 cents E3 A^ 33/8 A#3 - 46.7 cents F3 Bb^- 22/5 B3 - 35 cents F#3 B- 40/9 B3 - 17.6 cents G3 B 9/2 B3 + 3.9 cents G#3 C7 14/3 C4 - 33.1 cents A3 C 24/5 C4 + 15.6 cents A#3 C# 5/1 C#4 - 13.7 cents B3 C#+ 81/16 C#4 + 7.8 cents C4 C# L36/7 C#4 + 35.1 cents C#4 D7- 140/27 C#4 + 49.3 cents D4 D- 16/3 D4 - 2 cents D#4 D^- 11/2 D#4 - 48.7 cents E4 D# 45/8 D#4 - 9.8 cents F4 D# L81/14 D#4 + 39 cents F#4 E7 35/6 E4 - 46.8 cents Enough information is given here to facilitate a performance - kindly contact the composer if this is contemplated. The piece is performable on a four-octave keyboard.

Kyle Gann

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