That microtonal music has long been the focus of attention on the other side of the Atlantic as well can be seen from the many initiatives that have emerged there in this field. However, preferences for microtonal systems can differ from region to region. For example, composers on the west coast of the United States tend to base their music on the exact overtone series, while composers on the east coast more often use equal tunings (the division of the octave into equal pitch intervals). For this reason, in 2020 Ensemble SCALA presents a programme centred on composers from North America who have engaged with music involving microtones. This includes work that has not yet been performed in the concert series, such as the new composition Scala Obscura by the American composer Julia Werntz (affiliated with the Boston Microtonal Society), which she wrote especially for Ensemble SCALA, and Furthermore… for clarinet and viola by microtonal pioneer Ezra Sims. Both works will be heard for the first time in the Fokker organ concert series. In addition, the programme includes works that have already become part of Ensemble SCALA’s repertoire, namely the static yet captivating composition Solar Neon by the well-known American/Dutch composer Ned McGowan and the enchanting Aleph 2 by the renowned composer Terry Riley. Interspersed among these works is the intricate Folding I for Fokker organ solo by Charles Corey (curator of the Harry Partch instrument collection). In this way, Ensemble SCALA presents a fine cross-section of the diverse microtonal musical styles to be found on the American continent.