Harry Partch (June 24, 1901 – September 3, 1974) was an American composer. … Read Full Bio ↴Harry Partch (June 24, 1901 – September 3, 1974) was an American composer. He was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for instruments he built himself, tuned in 11-limit just intonation.
Interested in the potential musicality of speech, Partch worked out his first extended scales to notate the inflections of the speaking voice. He built his adapted viola to demonstrate the concept. He then secured a grant, which allowed him to go to London to study the history of tuning systems. While there, he met the poet W. B. Yeats with the intention of gaining his permission to write an opera based on his translation of Sophocles' Oedipus the King. He took another instrument he had built, an adapted guitar, to the meeting, and accompanied himself in one of his own songs on it. Yeats was enthusiastic, saying "a play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational", and giving Partch's idea his blessing.
Partch set about building more instruments with which to realise his opera. However, his grant money ran out, and, back in the United States, he began to live as a hobo, travelling around on trains and taking casual work where he could find it. He continued in this way for ten years, writing about his experiences in journals that were later collected together under the title Bitter Music. They frequently include snatches of overheard speech notated on musical staves according to the pitches used by the speaker. This technique (which had been earlier used by Leos Janacek and would be later used by Steve Reich) was to become a standard approach to vocal parts in Partch's work.
Interested in the potential musicality of speech, Partch worked out his first extended scales to notate the inflections of the speaking voice. He built his adapted viola to demonstrate the concept. He then secured a grant, which allowed him to go to London to study the history of tuning systems. While there, he met the poet W. B. Yeats with the intention of gaining his permission to write an opera based on his translation of Sophocles' Oedipus the King. He took another instrument he had built, an adapted guitar, to the meeting, and accompanied himself in one of his own songs on it. Yeats was enthusiastic, saying "a play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational", and giving Partch's idea his blessing.
Partch set about building more instruments with which to realise his opera. However, his grant money ran out, and, back in the United States, he began to live as a hobo, travelling around on trains and taking casual work where he could find it. He continued in this way for ten years, writing about his experiences in journals that were later collected together under the title Bitter Music. They frequently include snatches of overheard speech notated on musical staves according to the pitches used by the speaker. This technique (which had been earlier used by Leos Janacek and would be later used by Steve Reich) was to become a standard approach to vocal parts in Partch's work.
The Street
Harry Partch Lyrics
We have lyrics for 'The Street' by these artists:
2-BPM You say my love gone, I must be for the…
Bart B More We’re rocking without a band Street The reality is all abou…
Billy Vaughan and His Orchestra Midnight, you heavy laden, it's midnight Come on and trade i…
Danny O'Keefe O'Keefe We're leavin' here don't look back It's a dead e…
Don Snoop & Lil C Every time I walk Every time I run Every time I move As…
Elmer Bernstein Won't you come along with me To the Mississippi We'll take a…
H. P. Lovecraft Yeppa Yeppa homeboys That's the nigga Low-G Puttin' it down …
H. P. Lovecraft read by Sarah Jennings Frente e verso estamos Contemplando entidades em prol do que…
J. Hancock दुनिया देख पलते पासा कब किसको पता नई जब फ़क़ीर बनता…
m.O.N.R.O.E. & Legit Trip Yeah, yeah This the one Load the beat up yeah Yeah, yeah chi…
melancholic bitch Follow the street Follow the lamp line Follow the milestones…
Midfield Do you remember when we were younger Waking upon the mid…
Midnight Youth Meet me in the street Where we used to go Find out…
Morgana It seems like a dream, yet I know it happened A…
R. Kelly & Jay-Z Dear God, how can I explain myself? Oh God, bless me…
Sailor There's a place in the street where the rich people…
Scarceboy// Artur West winds urge free lonely riders to your town Over the…
Snoop Dogg Yea, turn the music up a little bit Yea, a little…
SUN... Lost on the freeway This must be LA Tired and lonely With no…
Terry & The Tunisians Ah ahh Today the girl see me then she figa I…
Tex & Niaw As I walked out in the streets of Laredo, As…
The Break Mission We stare at the street on seventh avenue By a knock-off…
THYX Waiting for a moment Just don't know where it will end The…
WC ft Snoop Dogg & Nate Dogg Yea, turn the music up a little bit Yea, a little…
[unknown] She wanna play me but it aint for free I stay…
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Tempestuous Might
I feel that this would have been a lot better without vocals, even if they do sync up with the musical narrative later on, they are almost ludicrous in the beginning.
MegaBlizzardman
It would have been ludicrous to not include the original words by Willard Motley
Alex Nelson
the vocals took it to another level for me
Geert Van Boxelaer
I am reading Harry Partch's book, and a big part of his philosophy seemed to be reestablishing the importance of words in music, music as theatre. Hearing the results, I don't necessarily agree though :)
Francisco Aragao
Oh