That is where my stuff is. All of it is stereo in one way or another
that few artists do. For instance, my a-cappella stuff is two-part
mixed solos, where I silence the left channel of one recording, then
silence the right channel of another and mix them. My earliest works
had left and right sides at a constant perfect fifth or perfect fourth
apart. That coincides to about a year before I joined a choir and
learned anything about complex harmony, where the two parts *do not*
move together. I only hav about five works, two quartets, that do not
move together. If I hav enough raters to estimate my stuff, then
"Orchard Farmer" is my best one, and naturally, I did not write it in
a mechanical form before I recorded it (most of my stuff is simulated
a-cappella, where I hav a reference in my ears), so it is one that I
will need to reverse enjineer and record again if I will provide an
instrumental or printable reference.

Most of my synthesizer work has simple, parallel harmonies that work
out to different instruments for my ears, and I recently adapted it to
do four-part. That is where it is showing a weakness that I expect
will motivate me to learn ChucK or some other more sophisticated
"script synth" than the one I wrote in BASIC. My synth does not
simulate four different well-known instruments. It is little more than
a sine-wave calculator. It does very nice glides, though. I recently
tuned gliding completely out of the work that I am now avoiding with
this message. It is still legato. Even in the future, when I learn
ChucK, I expect that long periods of legato will characterize my work.