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Darius Heid (piano) and Oskar Tomala (zither, clarinet) started collaborating based on friendship and mutual interests in microtonal intertwinements. Extending the piano’s stubborn 12-toneness into tuning-specific music practises became a clumsy yet relevatory point of departure for their explorations. By mixing systematic tunings of the zither and intuitive approaches in improvisation they create drones that navigate through a shared space of heightened receptivity.
Darius Heid (DE) – prepared piano
Oskar Tomala (PL) – zither, clarinet

Workshop & Performance:
" - , , ”
The comparison of light and sound can be presented through the explanation of the relationship between the rainbow and white light – showed that all colors are already present in white light.
These visible colors can in turn be compared to the overtones of sound. And the rainbow itself to the harmonic series. What is essential is that the descript...

&
Darius Heid (piano) and Oskar Tomala (zither, clarinet) started collaborating based on friendship and mutual interests in microtonal intertwinements. Extending the piano’s stubborn 12-toneness into tuning-specific music practises became a clumsy yet relevatory point of departure for their explorations. By mixing systematic tunings of the zither and intuitive approaches in improvisation they create drones that navigate through a shared space of heightened receptivity.
Darius Heid (DE) – prepared piano
Oskar Tomala (PL) – zither, clarinet

Workshop & Performance:
" - , , ”
The comparison of light and sound can be presented through the explanation of the relationship between the rainbow and white light – showed that all colors are already present in white light.
These visible colors can in turn be compared to the overtones of sound. And the rainbow itself to the harmonic series. What is essential is that the description of the rainbow enables the next discovery – infrared and ultraviolet light, meaning something imperceptible "below" and "above" what is perceptible. The visible part of the spectrum thus leads us to discover its invisible part.
So what can be discovered about sound by starting with the overtone series?
Numerical designations in musical notation appear at almost every stage. What if we denote with a number one unique relationship between two sounds, regardless of the situation? The situation will
then give us context while the relationship remains the same.
During the workshop, we will perform simple exercises developing our hearing in the resolution of the harmonic series by moving between its components – intervals. To access higher partials outside of a comfortable singing range, a pile of loose organ pipes will be provided and blown into like a flute. By adjusting the pitch through closing the hole carefully, frequencies of the upper harmonic series can be resonated into. Through this intuitive, subtle and fine- tuned action, reciprocities of body, sound and instruments are revealed....

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