***In service to TASHI WADA’s ongoing work with sound perception as a basis for direct modes of listening, he and Marc Sabat produce two sustained tones, a fourth apart, positioned along a wall, one at each end—a very slow glissando from one pitch to the other while moving accordingly. In other words, the string players' physical locations in space correspond with pitches of the sounds. One of his adapted violas of Harry Partch, who often worked with this type of harmony, was used for the recording of Gradient. The result is a sculpture-like presence shifting through all the blue notes.