James McDaniel
Bio here.
Claudia Jean McDaniel - Chalk
Bio here.
Cover Art
By Kyle Eisenbraun
Acknowledgements
We wish to give thanks to the following people who gave their invaluable assistance, advice, encouragement and hands-on assistance which made it possible for this book to be written. Any author should readily admit that the success of any publication endeavor of this kind is the result of the accumulated knowledge and ability of those who give the necessary creative perspective at the right time.
Mark Arnette who steered us towards several people in the academic world who took time from their busy teaching schedule to listen to our esoteric harmonic proposals.
Dr. Richard Bourassa of Linfield College, for accepting the possibility that we could find a way to be a part of the theories on how to harmonize music.
Dana Libonati, also of Linfield College, for reading and commenting on our early efforts in formulating the structures of trilogues and transtonality in general. His suggestions were both grammatically and technically crucial to our work. His willingness to comprehend and approve of our often inchoate ideas were of the highest importance to us. Also, he and his daughter, Alyssa, were willing to devote much time and effort into putting our handwritten music into legible prints and recordings. All of this gave us the courage to proceed through all of the sometimes confusing (and laborious) work necessary to complete much of the book.
Svetlana Kucher who, as a senior at George Fox University, took the time to type the entire Transtonal Directory and also to prepare the first printing. Lana has become a CPA and is also a successful large church choir director whom I admire as a person with much ability.
Clifford Waits the heart and soul of the Portland Community College professional music department. He gave me my first studies in how to write music. He was also generous with his praise by declaring to his assembled students of our music theory class that "it is never too late in life to learn".
Pat Taylor, a friend of many years who was the first to print the text of this book into a readable piece of work. This came at a time when all of our efforts seemed to be crude and getting nowhere. The result was a new determination to proceed further.
James LaRocca, a composer and creator of many original Compact Discs who helped us by filling in some incomplete parts of the book printing such as the A and B analysis of our compositions. As with all of the other people mentioned here, his enthusiasm for our theoretical proposals made us believe in what we were doing.
Molly McArthur, an always helpful commentator on the subject of how to write a book.