I began work on a commissioned piece for computer-driven pipe organ entitled Für Simon Jonassohn-Stein (the organ in question was housed in Cologne in the church of St. Peter, whose original name was Simon son of Jonas). The pitch material comprised 79 just-intoned intervals spread over the full 4½-octave range of the organ, their ratios containing factors up to 2±6, 3±3, 5±1 and 7±1, and the minimum harmonicity set at 0.07. Even though the organ’s 54 half-steps were tuned to the regular 12-tone chromatic scale, the composition of the work was effected as though the pitches were just-intoned; this corresponds to the general practice of composing 12-tone tempered music with the harmony (but not the sound) of just intonation in mind. The meter was chosen for the piece was a slow 3x2, the half-note pulse indispensabilities being [5 0 3 1 4 2]. Four chorales were composed, partly interspersed and partly synchronized with "improvisations" by my program Autobusk in the same harmonies as the chorales and in meters 2x2x2, 3x2x2, 2x3x2, 2x2x3, 2x2x2x2 and 2x2x2x3, whereby the fastest pulse is a 16thnote.