Partchs

Partchs refers to the circle of works, people, and instruments associated with the American composer and instrument designer Harry Partch (1901–1974). The term is used in music history to describe Partch’s experimental approach to tuning, scale, and instrument-building, which sought to move beyond Western equal temperament.

Partch developed a theory of just intonation that organized the octave into a 43-tone scale. He rejected the standard 12-tone tuning and proposed a system based on natural harmonic relationships and a personal set of intervals. He also devised a notational framework to represent his scales and intervals, enabling performers to read his microtonal music.

To realize his music, Partch designed and built an extensive family of original instruments, collectively known as the Partch instrumentarium. The lineup included Chromelodeon (an electric reed organ), a Kithara, marimbas, and other string and percussion devices, as well as Cloud-Chamber Bowls—tuned glass bells used as resonant sound sources. These instruments were integral to performances such as Delusion of the Fury (1966–67), one of his most ambitious theatrical works.

The Partch legacy continues through scholarly study, performance groups, and archival collections that preserve his scores, instrument designs, and recordings. His work is regarded as a foundational influence in the history of microtonality and experimental music, inspiring later composers and performers to explore tuned systems outside the conventional 12-tone equal temperament.