The Mayan Odyssey is a virtual symphony that takes the listener on a sonic journey through the inner workings of the Mayan Calendar. By listening to the Mayan Odyssey, you will be able to hear how these diverse cycles were woven together into a tapestry of cosmic patterns. The Mayan Calendar is a truly holistic structure because it interlocks cycles of physiology, biology, agriculture, astronomy, and spirituality into a complex assemblage of time. It provides a conceptual framework of how these cycles of the cosmos correspond together in an intricate network of repetitions. It is also based on a numbering system, 20 and 13, that are completely foreign to Western traditions of timekeeping and numerical division. These findings led me to want to explore how these numbering cycles, based on 13 and 20, would sound and whether a music based on these Mayan cycles could provide a way to reconnect to these natural cycles. Music, and art in general, are mediums which humans have used throughout time to remind (remind) us of the world we believe in and our place in it. We can often get caught up in our daily rhythms and forget that the cosmos is full of rhythms and cycles that are happening simultaneously every instant. Music provides an available and powerful way to reorient our mind to some rhythm, whether to aid in a workout or to help us relax at the end of the day. The goal of this music is to take the listener on a journey that explores both Mayan culture and also cycles of nature which they studied for millennia and attempted to track in books, architecture, and music. Style: To compose a musical piece based on these Mayan cycles, I relied on several devices that are commonly referred to as "minimalist." These techniques include: • a constant rhythmic pulse • additive process • phase shifting (we do this through polyrhythmic combinations, not changes in tempo) • linear transformation • metamusic • influence of nonwestern traditions The constant rhythmic pulse throughout the piece is played by eighth notes on the marimba in a 13/8 time signature. This pulse symbolizes the duration of a day in the Mayan calendar. Simultaneously, the vibraphone marks the beginning of a 20 beat cycle on top of the pulsing 13's of the marimba. This vibraphone symbolizes the start of a Tzolkin month which consists of 20 days. Throughout the piece, this relationship of 20 against 13 is explored The marimba/vibraphone duet forms the rhythmic and harmonic backbone of the piece. On top of this foundation are played the various flute and violin sections. These solos mark the Venus cycle which is the basis of the Popul Vuh narration. They continue this rhythm of 20 against 13 but since they begin with the Venus Cycles they are out of phase with a Tzolkin cycle creating another layer of rhythmic development. Arrangement: The piece is divided into 14 episodes: 1 prelude and 13 episodes that narrate the story. Each of the 14 episodes can be conceived as a small piece or section where a certain musical idea is developed. Each of these small pieces explores the relationship of 13 and 20 within the 260 beat cycle of the tzolkin. This development is accomplished through both an additive/subtractive process and a form of an inversion or transposition. This latter device is used when the Venus cycle moves from a morning to an evening star. We hope you enjoy listening to this piece. For more info on the structure of the piece and the relation to the Mayan Calendar, visit the Album Website. Larry Gomez