This music comes out of a flash of understanding that there was a possibility to use the pitch relationships of the 8th octave of the overtone series built on the note "A" as a complete universe of music semantics. Without a running undertone series, as has been Western Traditions since Babylonia, there is no "dissonance" as we have inherited. Every pitch in "true" or "128 tuning" are designed by nature to fit like positioned peas in a pod. Ed Broms gave me the numbers up even further to the 9th octave. Using his calculations, I manufactured fingerings on my bassoon over one long, hot summer, and put them into a book. Then I set out to compose using a strong improvisational language. After an earlier version of Vibra was premiered in NYC, I coached a group in West Virginia, then there was a lecture on 128 at the Rimsky-Korsakov in St. Petersburg, Russia. A concert of 128 in Monterrey, Mexico was the "highlight" of my bassoon recital, according to the correspondent of "El Norte." April 12-15, 2014 at Spectrum in NYC will feature 128 tuning on the American Festival of Microtonal Music series. The Concerto for Fretless Guitar was rehearsed over the telephone, individually. To my utter amazement it comes across as "relatively" easy listening. Michael Hafftka was joined by string quartet and a duo of bassoons. Michael Hafftka, fretless guitar soloist Richard Carr, violin Anastasia Solberg, viola Cush Solberg, cello Joshua Morris, double bass Johnny Reinhard and Shelley Monroe Huang, bassoons Trill is a stimulating concept piece, plucked from a live performance at Spectrum in NYC. Trill is for bassoon viola, two fretless, guitars, and viola. Johnny Reinhard, bassoon Richard Carr and Anastasia Solberg, violas Michael Hafftka, fretless six-string guitar, and Angelos Quetzalcoatl, fretless 11 string guitar Tour de Fours treats the solo power of strings and bassoons. A four was strictly followed which indicated entrances and departures of instrumentalists. Tour de Fours is for violin, viola, cello, bassoon, and double bass. Richard Carr, violin Anastasia Solberg, viola Cush Solberg, cello Joshua Morris, double bass Johnny Reinhard, bassoon Vibra was my signature piece in 128, with many performances in many combinations. But the Boston performance with electric fretless bassist Bradford Catler stood out. In addition to fretless bass we had viola, flute, 2 clarinets, and bassoon. Bradford Catler, fretless electric bass Todd Brunel and Glenn Dickson, Bb clarinets Richard Carr, violin Matt Samolis, flute Johnny Reinhard, bassoon On a Bevy of Strings is rather self explanatory, and the most free of the pieces on the True album, for bassoon and two violas and two amplified fretless guitars. This was from a live performance by the American festival of Microtonal Music at Spectrum in NYC. Johnny Reinhard, bassoon Richard Carr and Anastasia Solberg, violas Michael Hafftka, fretless six-string guitar, and Angelos Quetzalcoatl, fretless 11 string guitar Alice in Wonderland is the major work on this album. 13 master musicians come together to bring the story to life using only the music on their instruments, but in pure harmonic tuning. Theremin and double bass are now the Queen of Hearts and the King of Hearts. Johnny Reinhard/Sara Schoenbeck, Alice, bassoons Rob Schwimmer, Queen of Hearts, Theremin Toby Twining, vocals Skip La Plante, homemade instruments Anastasia Solberg, viola Cush Solberg, cello Todd Brunel, clarinets Vito Ricci, mandolin Michael Hafftka, voice, percussion Joshua Morris, King of Hearts, double bass