Jonathan Lindhorst is a Berlin based Canadian saxophonist and composer who is not only an active member of the Berlin jazz and free improvised music scene, but also plays regularly in New York and in Canada. In addition to leading his Canadian based project The Limerence Quartet, he is a member of Hover Trout, Fake Noise, Innocent When you Dream: The Music of Tom Waits, The Berlin Soundpainting Orchestra, and various other Berlin based collective projects. He has also appeared on numerous recordings and in 2016 debuted as a leader and with his album “Limerence”.
Hey, unfortunately not as far as I know. The scholarship on this subject is mostly coming out of the Dutch or English speaking world. I haven‘t encountered anything in Spanish yet.
I'm not totally clear on how you select your sequence in steering-for instance, some have repetition (1+3/3+1 followed by 1+3/3+1) and others seem mirrored (1+3/1+3 before 3+1/3+1)-does it matter which pattern you select as long as all the following sets are derived in one particular way?
Hey there! I assume you're speaking about the makeup of a complete steering of a chromatic tonality with all twelve non-repeated pitch-classes? The short answer is that the patterns are predetermined and that one simply has to memorise which ones go with which steerings. In asymmetrical hours, there needs to be an equal mixing of minor and major triads, resulting in only four permutations that are ever used: MMmm, mmMM, MmMm, mMmM. Hour III (1+3) has 3 potential steerings, hours Vm4 (1+5+1), VIIm4 (2+3+2) and IX4 (5+5+5), though the last two are really just the same thing. III/Vm4 uses MmMm pattern and has 6 transpositions, III/VIIm4 is mmMM and has 12 transpositions, and III/IX4 is mMmM and also has 12 transpositions. As I said, I have yet to detect any specific pattern that carries over across tonalities, but memorisation isn't that difficult. I've been using flash cards. I hope that answers your question.
