retuned, remapped keyboard
makes use of the tuning system devised by Harry Partch and used in the guitar part of his "Barstow." The 19 notes per octave is a non-symmetrical subset of his 43-tone scale. Some adjacent notes are just about a "half-step" apart, in 12-tone equal tempered tuning. In other parts of the scale it may take 4 adjacent notes to span the same interval. The harmonic possibilities range from stunningly pure consonance to excruciating dissonance, and Barstow Bagatelle
uses most of that range.
I am a relative newcomer to the world of microtonal composition, but I do have visceral early memories of tuning issues. Popular songs in the 50s and 60s would occasionally shift a tiny fraction of a half step, due to splicing two sessions that were recorded at different speeds, perhaps. The extraordinarily dizzying sensation of those moments made me wonder as a child whether they were deliberate key changes or accidents. Barstow Bagatelle begins with exactly that unsettling question and proceeds to explore many tonal centers, each with its own flavor.