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Musical Works

by Peter Wakefield Sault

Copyright © Peter Wakefield Sault 1981-2013
All rights reserved worldwide

Musical Works

All music composed, performed, recorded, engineered and produced by Peter Wakefield Sault except where otherwise noted.

Electric Plectrum Guitar1
Title Year Instruments2 Time Recorder
1988 G/B/D 4'28" Tascam 234
Astreia (Slight Return)
1989 G/B/D 2'41" Tascam 234
1990 2G/B/D 5'7" Tascam 238
Fugue No.3 (J.S.Bach)
1993 G 1'37" St. Cassette
I Want To Be Loved (Jimmy Reed)
1990 V/2G/B/D 3'39" Tascam 238
1994 2G/B/D 2'22" Tascam 238
Just Like That!
1988 G/B/D 4'18" Tascam 234
Mushroom Madness
1994 2G/B/D 6' 6" Tascam 238
1981 G 1'16" St. Cassette
Since You've Been Gone
1990 3V/2G/B/D 3'30" Tascam 238
The Last Time (Jagger/Richards)
1990 V/G/B/D 3'25" Tascam 238
The Spirit Electric
1994 2G/B/D 7'11" Tascam 238
1994 G/B/D 5'37" Tascam 238
Tristan's Lament
1994 2G/B/D 6'48" Tascam 238
Formal Composition
1995 Yamaha DOM-30 1'32" Cakewalk
Clarinet Concerto (with apologies to Edvard Grieg) - A work in progress
2007 Audigy FM Synth 1'56" Cakewalk
Transcendence - A work in progress
2013 TTS1 7'11" Cakewalk
Computer Music (All works in progress :-)
Crystal Skull
2012 - 3'33" -
2011 - 7'23" -
2011 - 1'55" -
2013 - 4'16" -
Natural Aesthetics7
2003 WaveMaster9 1'58" Digital
ODEION Natural No.1
2000 Yamaha DOM-30 4'26" Digital
Sequenced Classics
Symphony No.4 "Italian", Allegro Vivace (Felix Mendelssohn)
2012 TTS1 13'00" Voyetra SPG
Electric Piano
Prelude No.1 (J.S.Bach)
2006 Yamaha YDP-101 1'50" Digital camera

1. Fender Stratocaster guitar and Gibson Grabber bass throughout. No "punch-ins" were used in the production of this music and all performances are continuous and as "live" as any recording can ever be.

B = electric bass, D = drums, G = electric guitar, V = voice. Multiples of each are indicated by an adjacent digit (e.g. 2G = two guitar parts).

3. Song by Jimmy Reed
4. Thanks to Matty for the bassline.
5. Written on the tenth anniversary of his death and addressed to John Lennon
6. Words and music by Mick Jagger and Keith Richards

Natural aesthetics are those which are inherent in the system of naturally tempered dodekaphony known as Just Intonation. You can find out more about natural temper and Just Intonation in The Ring of Truth.


Babylon is a trivial example of the application of the Rule of The Natural Aesthetic, or Path of Correlative Intervals, discovered by the composer within the system of Just Intonation. It is performed (synthesized) using instrumental voices tuned to Just Intonation and is in the key of F#, where F# is tuned to 360Hz. The rule constrains motion such that each note of a line must be separated by a correlative interval from the notes adjacent to it and alternate to it and from the respective and simultaneous notes of any other line. This also applies to the internal relationships of chords. Correlative intervals within Just Intonation are fully explained in The Ring of Truth.


WaveMaster is an audio odd-job program. Here it was used to precisely retune samples to the exact desired frequencies.


ODEION.EXE is a computer program for DOS 6.22, first conceived in 1986. It applies the Rule of The Natural Aesthetic and other scalar and rhythmic constraints to an otherwise random sequence of notes to generate endless melodies, realized as MIDI files. The nomenclature of this piece indicates the particular parameter set used and the sequential run of the program with that parameter set. Natural No.1-003 - “Third Time Lucky” - was generated in less than a millisecond. Although ODEION compositions should really be performed in Just Intonation, with modulation enabled by dynamic retuning, there is currently no synthesizer in existence which provides that facility (which requires that the synthesizer be addressable by vibration number rather than pitch number), so this version of Natural No.1-003 is performed using a standard MIDI synthesizer (an ancient Yamaha DOM-30) and is therefore in static equal temper at international concert pitch throughout.

Natural No.1 demonstrates that aesthetic archetypes are inherent in the system of natural dodekaphony, or just intonation. This means that our judgment of musical (specifically dodekaphonic) structures, both creative and appreciative, really does have a numerical basis at an unconscious level. (Expression, or polish, is another matter entirely.) This implies that the higher functions of mind, such as intellect, are governed by nodal numerical relationships of which we are not directly aware but which may form the very foundation of our consciousness and powers of reason. Relationships, I would hasten to add, capable of virtually infinite variety. It also means that dodekaphony is a universal, aeonian truth. Were there to be intelligent sets of ears on some far distant place in another galaxy, they too could discover dodekaphony and they too would love Beethoven, bearing in mind that the discovery of dodekaphony seems to have been a singular event which could easily never have happened, not unlike the manifestation of the original self-replicating molecule from which all life hereabouts is descended.

At some time this piece will be recreated using dynamically retuned Just Intonation.

Musical Works

Copyright © Peter Wakefield Sault 1981-2013
All rights reserved worldwide

Classical Music Archives Recognized Contributor