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Harry Partch

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Harry Partch (June 24, 1901 – September 3, 1974) was an American composer. He was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for instruments he built himself, tuned in 11-limit just intonation.

Biography

Partch was born on June 24 1901 in Oakland, California. Both his parents were Presbyterian missionaries. He learned to play the clarinet, harmonium, viola, and guitar as a child. He began to compose at an early age using the chromatic scale normal in western music, but burned all his early works after becoming frustrated with what he saw as the imperfections of that particular system of musical tuning.

Interested in the potential musicality of speech, Partch worked out his first extended scales to notate the inflections of the speaking voice. He built his adapted viola to demonstrate the concept. He then secured a grant, which allowed him to go to London to study the history of tuning systems. While there, he met the poet W. B. Yeats with the intention of gaining his permission to write an opera based on his translation of Sophocles' Oedipus the King. He took another instrument he had built, an adapted guitar, to the meeting, and accompanied himself in one of his own songs on it. Yeats was enthusiastic, saying "a play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational", and giving Partch's idea his blessing.

Partch set about building more instruments with which to realise his opera. However, his grant money ran out, and, back in the United States, he began to live as a hobo, travelling around on trains and taking casual work where he could find it. He continued in this way for ten years, writing about his experiences in journals that were later collected together under the title Bitter Music. They frequently include snatches of overheard speech notated on musical staves according to the pitches used by the speaker. This technique (which had been earlier used by Leoš Janáček and would be later used by Steve Reich) was to become a standard approach to vocal parts in Partch's work.

In 1941, Partch wrote Barstow, a vocal piece that takes as its text eight pieces of graffiti he had seen on a highway railing in Barstow, California. The piece uses his 43-tone scale, and is scored for his custom-built instruments.

In 1943, Partch received another grant, and was able to settle down somewhat and work with more dedication on the music. He returned to his Oedipus project, although the executors of Yeats' estate refused permission for him to use Yeats' translation, and he had to make his own (a recording with Yeats' translation has since been released, Yeats' text having passed into the public domain). He also started work on US Highball, a piece that used many of his jottings from his hobo years as text. The work is, essentially, the story of a hobo's trip from San Francisco, California to Chicago, Illinois, a journey that Partch had himself undertaken.

Around this time, Partch was also working on a book, eventually published as Genesis of a Music. It is an account of his own music, with discussions of music theory and instrument design. It is considered a standard text of microtonal music theory.

Partch's tuning had its origin in an extended version of Max Meyer's tonality diamond, whose diagonals produce Otonalities (o=over, or 'major') and Utonalities (u=under or 'minor') in Partch's scheme. The 11-limit tonality diamond is clearly embodied in Partch's diamond marimba. Due to peculiarities of media reporting, Partch is famous for his 43-tone scale, even though he used many different scales in his work.

Partch went on to write The Bewitched, a sort of cross between a ballet and an opera and Revelation in the Courthouse Park, a work based in large part on Euripides' The Bacchae. Delusion of the Fury (1969) is seen by some as his greatest work. He died on September 3 1974 in San Diego, California of a heart attack.

Partch ran his own record label, "Gate 5", to release recordings of his works. Towards the end of his life, Columbia Records made recordings of some of his works, including Delusion of the Fury, which helped in large part to bring him to the attention of the musical world. He remains a somewhat obscure figure, but is well known in experimental and microtonal circles, where he is considered by many to be one of the most significant composers of the 20th century.

Harry Partch's instruments

Harry Partch's desire to use a different system of tuning required him to drastically modify existing instruments and build new ones from scratch. He was, in his own words, "a musician seduced into carpentry".

His "adapted" instruments include the Adapted Viola, a viola fitted with a cello neck to allow more accurate intonation, and the Adapted Guitar, a guitar with the equal tempered frets replaced by a complex system of justly tuned frets.

He retuned the reeds of several reed organs and labeled the keys with a color code. The first one was called the Ptolemy, in tribute to the ancient music theorist Claudius Ptolemaeus, whose musical scales included ratios of the 11-limit, as Partch's did. The others were called Chromelodeons, a portmanteau of chrome (meaning "color") and melodeon.

Partch also designed and built many instruments from scratch:

  • The Diamond Marimba was a marimba with keys arranged in a physical manefestation of the 11-limit tonality diamond.
  • The Quadrangularis Reversum was an inverted Diamond Marimba with auxiliary keys on either side.
  • The Bass Marimba and the Marimba Eroica had more traditional linear layouts.
  • The Mazda Marimba was made of Mazda light bulbs and named after the Zoroastrian god Ahura Mazda.
  • The Boo was made of bamboo.
  • The Spoils of War and the Gourd Tree with Cone Gongs are among his many percussion instruments assembled from junk, the "Spoils of War" being a set of tuned artillery shell casings
  • The Cloud Chamber Bowls were glass bowls from a cloud chamber, suspended in a frame.
  • The Zymo-Xyl (from the Greek words for "fermentation" and "wood") was a xylophone augmented with tuned liquor bottles and hubcaps. (Partch lamented that there was no Greek word for "hubcaps".)
  • The Kitharas (named after the Greek kithara) were large upright stringed instruments, played by sliding pyrex rods along them and plucking. Their sound is one of the most unmistakable in Partch's music.
  • The Harmonic Canons (from the same root as qanún) were many-stringed zithers with a complex system of bridges.

In 1990, Dean Drummond's Newband became custodians of the original Harry Partch instrument collection, and frequently perform with and commission new pieces for Partch's instruments.

The instruments have been housed in the Harry Partch Instrumentarium at Montclair State University in Montclair, NJ since 1999. In 2004, for the first time in the lifespan of the collection, after years of borrowed spaces, the instruments moved into their first permanent home. The lower floor of the new Alexander Kasser Theatre of MSU was built and designed specifically for the instruments, where they are likely to stay for a long time. Concerts by Newband and MSU's Harry Partch Ensemble may be viewed several times a year in this concert hall.

Discography

Albums

Harry Partch: Enclosure V (Innova 405)


Videos

Harry Partch Enclosure VI (Innova 404)

Bibliography

  • Blackburn, Philip (1998) Harry Partch: Enclosure III, Saint Paul: Innova. ISBN 0-9656569-0-X
  • Gilmore, Bob (1998). Harry Partch, A Biography, New Haven: Yale University Press.
  • Partch, Harry (1974). Genesis of a Music, New York: Da Capo Press. ISBN 0-306-80106-X
  • Partch, Harry (1991). Bitter Music: Collected Journals, Essays, Introductions and Librettos, Champaign: University of Illinois Press.
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