There is no Frigate like a book,
to take us Lands away.
Nor any Coursers, like a Page
of Prancing Poetry.
This Traverse, may the poorest take
without Oppress or Toll.
How frugal is the Chariot,
that bears the Human Soul.
Emily Dickinson
Tuesday, 28 November 2017
There is no frigate like a book - for Soprano and Piano
Another little song, this time with noodley free-chosen vowels
There is no Frigate like a book,
to take us Lands away.
Nor any Coursers, like a Page
of Prancing Poetry.
This Traverse, may the poorest take
without Oppress or Toll.
How frugal is the Chariot,
that bears the Human Soul.
Emily Dickinson
There is no Frigate like a book,
to take us Lands away.
Nor any Coursers, like a Page
of Prancing Poetry.
This Traverse, may the poorest take
without Oppress or Toll.
How frugal is the Chariot,
that bears the Human Soul.
Emily Dickinson
Monday, 27 November 2017
27 Larger scale polyrhtyhm slides
Hello everyone, last few days now!
Today's project was to start conceptualising how I could develop a piece out of the idea of polyrhythmic sliding that I was playing around with in the second or first week of MoM. This is just going to be a post discussing some of the ideas I explored today.
Conception:
The idea is two voices begin in a polyrhythmic relationship such as 3:2. Expressed in terms of tempo, such as 120bpm:80bpm, one of the voices accelerates to a tempo to create a new polyrhtyhm relationship. A blurred metric modulation. For example, the 120bpm voice might accelerate 200bpm from the previous scenario to make a new polyrhythm of 5:2 (200bpm:80bpm).
Process determining form:
I'm attracted to a sort of Reich/minimal approach for composing this. I aim to determine patterns of moving between tempo ratios from integers 1-5 that lets the piece unfold logically. It's quite easy to make and compare polyrhythms on ableton. I just set up two midi tracks with different subdivision of a quarter note in each. The logical unfolding I'm hoping will emerge through experimenting with different polyrhtyhms by triggering them in Ableton's clip view. This set up will also allow me to experiment and compare different pitch ideas. For now I'm keeping pitch to arbitrary scalic patterns in opposite directions to help distinguish the voices.
Slide time:
What's not so easy is determining the length of time for an accelerando between tempi. I prefer slow accelerandi that are similar sonically to Reich's acoustic phases. Making these resolve perfectly to a specific second tempo is tricky in itself, but the process gets messy when you have pitch.
After a good couple of hours experimenting and developing a couple of accels between voices. I'm going to leave this project for today and think about something different I'll work on tomorrow.
Peace,
Kurt
Today's project was to start conceptualising how I could develop a piece out of the idea of polyrhythmic sliding that I was playing around with in the second or first week of MoM. This is just going to be a post discussing some of the ideas I explored today.
Conception:
The idea is two voices begin in a polyrhythmic relationship such as 3:2. Expressed in terms of tempo, such as 120bpm:80bpm, one of the voices accelerates to a tempo to create a new polyrhtyhm relationship. A blurred metric modulation. For example, the 120bpm voice might accelerate 200bpm from the previous scenario to make a new polyrhythm of 5:2 (200bpm:80bpm).
Process determining form:
I'm attracted to a sort of Reich/minimal approach for composing this. I aim to determine patterns of moving between tempo ratios from integers 1-5 that lets the piece unfold logically. It's quite easy to make and compare polyrhythms on ableton. I just set up two midi tracks with different subdivision of a quarter note in each. The logical unfolding I'm hoping will emerge through experimenting with different polyrhtyhms by triggering them in Ableton's clip view. This set up will also allow me to experiment and compare different pitch ideas. For now I'm keeping pitch to arbitrary scalic patterns in opposite directions to help distinguish the voices.
Slide time:
What's not so easy is determining the length of time for an accelerando between tempi. I prefer slow accelerandi that are similar sonically to Reich's acoustic phases. Making these resolve perfectly to a specific second tempo is tricky in itself, but the process gets messy when you have pitch.
After a good couple of hours experimenting and developing a couple of accels between voices. I'm going to leave this project for today and think about something different I'll work on tomorrow.
Peace,
Kurt
Glass Insects
Every MoM I always seem to have something about glass/clear things/tiny things/insects. Glass is such a constant source of inspiration to me. Or an obsession. Some might remember Electrical Glass Ants Put On A Concert from March, made from recordings of Hyung Suk's noble performance of the cruel original.
Well this month's instalment is an Infinity for Dinner version that you can almost taste. I'm really chuffed with how it turned out. If you go through the trek of ticking loop on every video, it's worth it I think.
Also quite nice to listen to at the same time as EGAPOAC, I just realised.
Sorry for lack of browsing your work, friends. I am planning a binge tomorrow.
Love,
Alice
Well this month's instalment is an Infinity for Dinner version that you can almost taste. I'm really chuffed with how it turned out. If you go through the trek of ticking loop on every video, it's worth it I think.
Also quite nice to listen to at the same time as EGAPOAC, I just realised.
Sorry for lack of browsing your work, friends. I am planning a binge tomorrow.
Love,
Alice
Motet for Sylvia
I've had this music/words combo in my head since May. This is a little motet on a line from one of Sylvia Plath's early poems, found in a letter. I'd like to write some more secular motets like this on Sylvia Plath texts. She wrote some beautiful things in her diary and her letters.
In Memoriam for Soprano and Piano
Today I've got another little morsel for voice and piano, this time for soprano, because who isn't in love with at least one soprano, am I right?
Sad piece:
Score:
Audio:
Sad piece:
Score:
Audio:
26 Rainy Morning Melody Reharm
Alice suggested earlier in the month I reharmonise her composition from Day 4, "Rainy Morning Melody". had a crack at that today. I'd accidently copied the B natural in bar 7 as an A natural...and well fuck I also ended the melody on the wrong note.... Urgh... Sorry Alice :( Hope you dig the different take on it!!
Sunday, 26 November 2017
25 synthz
I was going to work on something a little closer related to my tempo/max/live stuff, but this was a little aside for me. I'm so into this high energy 140+bpm hyper pop madness from this artist in the US called Louis Cole.
It's like techno meets punk or something, especially from the solo at 2:40.
I just had a play around with some ideas and ran with some some pretty out melody/solo stuff towards the end. I just put a heap of stuff down, didn't really consolidate what I liked and didn't like from it.
It's like techno meets punk or something, especially from the solo at 2:40.
I just had a play around with some ideas and ran with some some pretty out melody/solo stuff towards the end. I just put a heap of stuff down, didn't really consolidate what I liked and didn't like from it.
antarctic toothfish!
ETA: Updated the midi, which I discovered was 20 ticks slower than I actually wanted! Audio's fixed now!
Antarctic Toothfish is done! Check out the score and midi!
https://drive.google.com/open?id=1wQ3kGpFxiiRSZle7I4GZO1h4dF5n00nr
Here's that fishy face again. I'll draw at some point also.
[Quick telephone update: my device arrived and works but my prettiest telephone doesn't! (only my weird jokey telephone works. I may start collecting telephones). Fingers crossed that serious non-jokey phone arriving on Tuesday from Amazon works!]
Antarctic Toothfish is done! Check out the score and midi!
https://drive.google.com/open?id=1wQ3kGpFxiiRSZle7I4GZO1h4dF5n00nr
Here's that fishy face again. I'll draw at some point also.
[Quick telephone update: my device arrived and works but my prettiest telephone doesn't! (only my weird jokey telephone works. I may start collecting telephones). Fingers crossed that serious non-jokey phone arriving on Tuesday from Amazon works!]
Piano Phase
I had some friends over and served Comfort Music in my room and then this new one on two screens with two speakers, but I made this to show the two together.
I wish the images didn't end up so close together - I'm gonna reformat this
https://www.youtube.com/watch?v=4xYrF7J8CkA
Keen to dive back in, mates <3
I wish the images didn't end up so close together - I'm gonna reformat this
https://www.youtube.com/watch?v=4xYrF7J8CkA
Keen to dive back in, mates <3
Saturday, 25 November 2017
Vastness of Pines - String Quartet No.4
I've finished the legwork on my other string quartet, the one for four violins. It has a few structural issues I think... but I'll iron those out tomorrow morning. As ever, I'd love to hear what you all think - particularly about the transition into the less tonal material in the centre. I PARTIcularly hate the midi sound on this one, as I wish so dearly to hear those emotional violins...
Score & Audio here
Because I owe him a debt, here's the Neruda:
Ah vastness of pines, murmur of waves breaking,
slow play of lights, solitary bell,
twilight falling in your eyes, toy doll,
earth-shell, in whom the earth sings!
In you the rivers sing and my soul flees in them
as you desire, and you send it where you will.
Aim my road on your bow of hope
and in a frenzy I will flee my flock of arrows.
On all sides I see your waist of fog,
and your silence hunts down my afflicted hours;
my kisses anchor, and my moist desire nests
in your arms of transparent stone.
Ah your mysterious voice that love tolls and darkens
in the resonant and dying evening!
Thus in the deep hours I have seen, over the fields,
the ears of wheat tolling in the mouth of the wind
Score & Audio here
Because I owe him a debt, here's the Neruda:
Ah vastness of pines, murmur of waves breaking,
slow play of lights, solitary bell,
twilight falling in your eyes, toy doll,
earth-shell, in whom the earth sings!
In you the rivers sing and my soul flees in them
as you desire, and you send it where you will.
Aim my road on your bow of hope
and in a frenzy I will flee my flock of arrows.
On all sides I see your waist of fog,
and your silence hunts down my afflicted hours;
my kisses anchor, and my moist desire nests
in your arms of transparent stone.
Ah your mysterious voice that love tolls and darkens
in the resonant and dying evening!
Thus in the deep hours I have seen, over the fields,
the ears of wheat tolling in the mouth of the wind
telephones
so I'm a little obsessed with telephones. I built a very crapulous lo-fi extremely-breakable telephone installation in 2013-2014 and have wanted to do SOMETHING with telephones ever since.
and one of my pieces right now is a piece for an old telephone. I'm so happy and excited. I'm working with this amazing percussionist to use the telephone and its beautiful mechanical ringer as a percussion instrument.
So I maybe didn't compose much today in the traditional sense, HOWEVER!
I did research telephone options and eventually ordered a device that will hopefully enable the telephone piece of my dreams??
Fingers crossed, friends. Tomorrow, more fishes.
and one of my pieces right now is a piece for an old telephone. I'm so happy and excited. I'm working with this amazing percussionist to use the telephone and its beautiful mechanical ringer as a percussion instrument.
So I maybe didn't compose much today in the traditional sense, HOWEVER!
I did research telephone options and eventually ordered a device that will hopefully enable the telephone piece of my dreams??
Fingers crossed, friends. Tomorrow, more fishes.
Circus Project
Hi MoMers -
I’m Katie, a viola player from Perth at school with Andrew and Christine in New
York. I love what you’ve got going on here. Andrew and I were chatting about a
project that I’ve got in the pipeline and he suggested I could reach out to see
if anyone is interested to jump on board…
I’m in the
early stages of collaborating with a NYC circus performer called Craig. We’re
going to put together a small crew to create a show – lots of aerials…
silks/rope/lyra plus handstands, etc.
I think we
have the potential to do something really powerful – the idea we’d like to
focus on is the synthesis between aural and visual. The process of organising
sound – from composition to the physical movements of playing – is at the
forefront of our discussions of narrative. Using evolution as the fundamental
theme we are considering ideas like shifting from black and white to colour
over the course of the entire performance (including projections on the walls?)
and dissolving the division between performers and audience.
As far as
music goes, I’d love make a soundtrack that leaves space for free improv and
deliberate silence between new and old compositions. I have viola and electric
5-string violin (with loop pedal and possibly effects if I can get my hands on
one). I have a percussionist in mind, and open to suggestions for other
instruments but I’d like to keep it to a small group.
You can
probably tell this is more a long-term project for us, but I’d love to hear if it sparks some interest.
24 Harmony on accel with steady tempo
Trying to go a bit further with hearing different tempi and assigning them harmony as they progress at different speeds...work in progress. Please excuse trap beat its 3:45am here in syd.
Friday, 24 November 2017
a fish sketch
Antarctic toothfish
I have a few idea cells that I'm playing with at the moment:
Onward fish!
23 Accel Decel
I've been thinking about how we perceive an accelerando whilst hearing a rit in another voice, maybe some kind of tempo counterpoint. Swapping pitches when the tempo changes direction seems to really helped outline the phrases and gives them a definite start and finish.
Thursday, 23 November 2017
22 Max For Live-ing
Acquired a stash of new max for live plugins and just spent time working through them. I set up a short aleatoric piece with many randomly determined sonic aspects.
from the homestead....
Andrew and I are in New Jersey with my folks for Thanksgiving! We've both had recordings recently, so here they are.
Mine's from a recent concert with some badass string players.
Andrew says: Here's an excerpt from a workshop. Limited time, they couldn't get it up to speed, but here is the first section. (Gotta acknowledge the Taikoz debt)
link: http://christineelisechen.com/2017/11/22/recordings-mom2017/
password: Thanksgiving
Mine's from a recent concert with some badass string players.
Andrew says: Here's an excerpt from a workshop. Limited time, they couldn't get it up to speed, but here is the first section. (Gotta acknowledge the Taikoz debt)
link: http://christineelisechen.com/2017/11/22/recordings-mom2017/
password: Thanksgiving
Wednesday, 22 November 2017
21 Mo' shepard tones/risset rhythms
So in trying to get better max algorithms for risset rhythms (rithms?) I went through the Max for live database of objects searching for anything and found this INSNSSANNANNEEE one. I just had to share it here.
Shepard Tones are the "eternal glissando illusion" where the pitch and dynamic of different voices are precisely calculated so that they appear to rise forevs. Basically your ear tracks one voice rising thats fading out, and as a lower rising pitch fades in your ear thinks they are the same voice so you just hear one "rising" voice
Here's a little video that shows whats going on, using the piano part of my quintuplet groove thing I did a few days ago.
SO YOU CAN JUST DO THIS TO ANY AUDIO IN LIVE NOW HOLY CRAP!!!1!!
I think its pretty amazing that it works for any audio example, I tried a whole heap of different stuff and the results were excellent. Also it's an audio effect too (not an instrument or midi thing), so yeh, it can be applied in realtime to an instrument in performance, obviously the instrument would have to be amplified but yeh. That's really torn me a new one today.
My plan is to basically lift all the creator of this patch's maths and apply it to a sig~ controlling a groove~. The deal with risset rhythms is they create an eternal accelerando by mapping tempo to dynamics. Hopefully I can use some of this insane programming to make a similar patch for a risset rhythm.
device can be downloaded here: http://www.maxforlive.com/library/device/477/fp-glissando
Shepard Tones are the "eternal glissando illusion" where the pitch and dynamic of different voices are precisely calculated so that they appear to rise forevs. Basically your ear tracks one voice rising thats fading out, and as a lower rising pitch fades in your ear thinks they are the same voice so you just hear one "rising" voice
Here's a little video that shows whats going on, using the piano part of my quintuplet groove thing I did a few days ago.
SO YOU CAN JUST DO THIS TO ANY AUDIO IN LIVE NOW HOLY CRAP!!!1!!
I think its pretty amazing that it works for any audio example, I tried a whole heap of different stuff and the results were excellent. Also it's an audio effect too (not an instrument or midi thing), so yeh, it can be applied in realtime to an instrument in performance, obviously the instrument would have to be amplified but yeh. That's really torn me a new one today.
My plan is to basically lift all the creator of this patch's maths and apply it to a sig~ controlling a groove~. The deal with risset rhythms is they create an eternal accelerando by mapping tempo to dynamics. Hopefully I can use some of this insane programming to make a similar patch for a risset rhythm.
device can be downloaded here: http://www.maxforlive.com/library/device/477/fp-glissando
in-progress string quartet for violins
Amongst my deadlines this month is another quartet, following the one I finished a few days ago. This is the first five pages - this music seems to be flowing a lot better for me. I don't know if it's because it's more simple or, because it's for four violins, if it's because I have lower expectations for myself, but it's more fun this time... I'll check back in at the end to see if it stayed that way!
orchestral thesis second post
I said I'd make a post about the first movement!
It is noise, so no midi.
I'm still trying to figure out the best way to notate this. I think I've found a good way. Maybe if I don't say what's supposed to happen and just show the score, you guys can tell me if it makes sense or no.
I couldn't get the images to upload to this site, so it's an external link again, I'm afraid.
Link: http://christineelisechen.com/2017/11/21/orchestral-thesis-second-post/
Password: MoM2017
It is noise, so no midi.
I'm still trying to figure out the best way to notate this. I think I've found a good way. Maybe if I don't say what's supposed to happen and just show the score, you guys can tell me if it makes sense or no.
I couldn't get the images to upload to this site, so it's an external link again, I'm afraid.
Link: http://christineelisechen.com/2017/11/21/orchestral-thesis-second-post/
Password: MoM2017
Tuesday, 21 November 2017
20 Accelerations in nature
Edit: crazy, I thought this one went through when I was hanging with Alice today...hmm
Didn't get around to posting this yesterday, but finished putting something together today for it. I'm trying find some ways of getting video in jitter to respond to to movement. This one was a bit of a failed attempt at making video in jitter output data based motion to change Ableton's operator. I didn't really get the desired result...but neverthelesss it looks cool?!
Didn't get around to posting this yesterday, but finished putting something together today for it. I'm trying find some ways of getting video in jitter to respond to to movement. This one was a bit of a failed attempt at making video in jitter output data based motion to change Ableton's operator. I didn't really get the desired result...but neverthelesss it looks cool?!
Daggertooth
Technically in the US it's another day, so another post!
I made some time to work on my fish movement by working during class! Lol.
This fish is called daggertooth. I drew it:
He is both menacing and silly. The daggertooth fish will stab you with his daggerteeth. But still he is a flopsy-fish, a fish-friend.
Score and midi link: http://christineelisechen.com/2017/11/21/daggertooth/
password: MoMNovember2017
I made some time to work on my fish movement by working during class! Lol.
This fish is called daggertooth. I drew it:
He is both menacing and silly. The daggertooth fish will stab you with his daggerteeth. But still he is a flopsy-fish, a fish-friend.
Score and midi link: http://christineelisechen.com/2017/11/21/daggertooth/
password: MoMNovember2017
Elegiac Suite - for Flute
I've had the time to finish up the Elegiac Suite, which I was posting here as a piece for Cor Anglais. I redid it as a flute piece, basically because I know a lot more flute players than Cor players, but the music is so simple it really will work for any wind instrument (bring on your kazoos)
Elegiac Suite:
Score and Audio here: dropbox
Can ya catch all the quotations? The Schumann one is, in my opinion, the most shameless - but if you all don't find it, I'll feel better about its inclusion.
Elegiac Suite:
Score and Audio here: dropbox
Can ya catch all the quotations? The Schumann one is, in my opinion, the most shameless - but if you all don't find it, I'll feel better about its inclusion.
hi friends! orchestral thesis
My schedule has been pretty prohibitive of composition lately. :( It means that things are taking longer to write than usual, because I have less time to work on them. I really wanted to finish a short movement of my fish piece and share it with you guys here!!! Soon. Over Thanksgiving break I hope to post up a storm of fishes!!!
I've had to de-prioritize fishes to work on the MSM orchestral thesis.
I thought I would share the second movement with you guys, while I'm doing all of this editorial stuff! I'll share about the first movement on my next post-- it's a bit of a different animal, and takes some explaining.
Here's the link to midi mock up and score: https://christineelisechen.com/2017/11/20/orchestral-thesis-for-mom-november-2017/
The password: MoM2017
Much love to everybody!
I've had to de-prioritize fishes to work on the MSM orchestral thesis.
I thought I would share the second movement with you guys, while I'm doing all of this editorial stuff! I'll share about the first movement on my next post-- it's a bit of a different animal, and takes some explaining.
Here's the link to midi mock up and score: https://christineelisechen.com/2017/11/20/orchestral-thesis-for-mom-november-2017/
The password: MoM2017
Much love to everybody!
Monday, 20 November 2017
Canons for String Quartet
Here is a piece that I needed MoM to finish. This piece was a commission from AYO, for use in their chamber music programs - such a cool project, as I have many many fond memories of playing chamber music at camp! That being said, I've accidentally (like always though, so is it accidental?) written something quite difficult, so good LUCK to whichever quartet gets this in the mail.
Canons for String Quartet
Score and Audio here
Canons for String Quartet
Score and Audio here
Sunday, 19 November 2017
15 second harp
If you don't know what 15 second harp is, check it out! Olivia is a lovely person and a great harpist, and currently is soliciting 15-second-long duets for harp and tuba. Today's MoM is also my 15sH.
19 Simple Phaser
Hey!
After reading Alice's post, I thought it might be useful to make something that you can quickly hear a phase with, so I threw this together on Max tonight.
It's got one of the Max samples loaded into it, so it should just be good to go as soon as you hit the toggle and turn on the audio.
<pre><code>
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Saturday, 18 November 2017
Day 18: Idea
Hey guys,
Over the last two days my right arm's been really bad. Even with left-handed computer use, I can't really get to a point where it's not sympathetically tensing. Like a back-seat driver, used to being dominant, ya know. Anyway I am terrified of RSI and the damage it may do to my output in the long run. I think I just need to take the pressure off with a few things, including MoM, for a few days and try and hardly use the computer/piano/phone/pen at all.
Heres an idea for a piece though. A simple chord progression played in hushed, sustained semi-quavers on piano (Vatche?), recorded three times, the player with a click thats a few bpm different to the last for each recording. And with eternal repeats, they would go more and more out of phase in the actual phase way. By no means an original idea, but I'm excited to experiment with the chords bleeding into each other.
Finally, Happy Birthday Christine, you aquatic burst of light.
Over the last two days my right arm's been really bad. Even with left-handed computer use, I can't really get to a point where it's not sympathetically tensing. Like a back-seat driver, used to being dominant, ya know. Anyway I am terrified of RSI and the damage it may do to my output in the long run. I think I just need to take the pressure off with a few things, including MoM, for a few days and try and hardly use the computer/piano/phone/pen at all.
Heres an idea for a piece though. A simple chord progression played in hushed, sustained semi-quavers on piano (Vatche?), recorded three times, the player with a click thats a few bpm different to the last for each recording. And with eternal repeats, they would go more and more out of phase in the actual phase way. By no means an original idea, but I'm excited to experiment with the chords bleeding into each other.
Finally, Happy Birthday Christine, you aquatic burst of light.
18 Longer phrases for precise ritardando
Hey,
So today was just a bit of an experiment. I normally work with polytempo structures inside of short phrases of like a bar or two, but today I thought I'd play around with a 64 note rit.
The steeper the curve the more dramatic the rit (right slows down at a faster rate):
I didn't have a great deal of time to put anything too musical together
on it, So I just stacked all 11 of these 8 bar ritardando on top of each other to
hear what it sounded it like ¯\_(ツ)_/¯
Have a great weekend :)
So today was just a bit of an experiment. I normally work with polytempo structures inside of short phrases of like a bar or two, but today I thought I'd play around with a 64 note rit.
Have a great weekend :)
Orchestral Thesis Piece
Today's is DEFINITELY not a 'one-a-day' composition. For our masters' degrees, the thesis component is a piece for orchestra, and Christine and I have been working hard (?) on these pieces, in advance of their deadline on the 28th.
Mine is done, although it needs to be renotated as a better score, flutes, oboes, bassoons, horns, trumpets, trombones 1&2 on the same stave, and so on. This is going to happen some time after my lesson today, but I'd LOVE some feedback, as I've still got 10 days to work on it. Please tell me what you think!
Peter Looked:
This piece is an orchestrated excerpt from my monodrama, The Mermaid. For those of you who have heard it, you might remember this as the interstitial music, describing a lover whom the central character has tried to excise from her life. He looks for her, and eventually falls out of love. This piece is trying to describe the combination of cathartic joy and loss, what she internalises from the experience, and something she's not quite ready to accept in her life, even though she wants to.
On a side note, the performance of these pieces in Feb will be inside a humungous church, with very washy acoustics. ALSO, the percussion on the track is buggy as hell
Score & Audio here: https://www.dropbox.com/sh/mghuu0omxxoolyx/AABnZr23i7c1dXRHRvhdcJR1a?dl=0
Mine is done, although it needs to be renotated as a better score, flutes, oboes, bassoons, horns, trumpets, trombones 1&2 on the same stave, and so on. This is going to happen some time after my lesson today, but I'd LOVE some feedback, as I've still got 10 days to work on it. Please tell me what you think!
Peter Looked:
This piece is an orchestrated excerpt from my monodrama, The Mermaid. For those of you who have heard it, you might remember this as the interstitial music, describing a lover whom the central character has tried to excise from her life. He looks for her, and eventually falls out of love. This piece is trying to describe the combination of cathartic joy and loss, what she internalises from the experience, and something she's not quite ready to accept in her life, even though she wants to.
On a side note, the performance of these pieces in Feb will be inside a humungous church, with very washy acoustics. ALSO, the percussion on the track is buggy as hell
Score & Audio here: https://www.dropbox.com/sh/mghuu0omxxoolyx/AABnZr23i7c1dXRHRvhdcJR1a?dl=0
some deep sea sketching
Worked on my fishes yesterday/today.
The lanternfish makes up 65% of the biomass at these deep levels of the sea. Unlike other deep sea fishes, they look fairly harmless and almost cute.
image credit: Emma Kissling [Public domain], via Wikimedia Commons
Lanternfish is going to be the lush center movement of this piece, as it's the only fish I'm including that isn't terrifying. I have some chords, but I'm not sure how I'll use them yet!
The lanternfish makes up 65% of the biomass at these deep levels of the sea. Unlike other deep sea fishes, they look fairly harmless and almost cute.
image credit: Emma Kissling [Public domain], via Wikimedia Commons
Lanternfish is going to be the lush center movement of this piece, as it's the only fish I'm including that isn't terrifying. I have some chords, but I'm not sure how I'll use them yet!
Friday, 17 November 2017
Matador (parts 1 and half of 2)
Here is the start of a new project, based on a libretto by Lewis-Allan Trathen. Brag, we're working on a longer-form opera type piece together, and this was a poem he sent me early on, not exactly related to the final idea. I'm working my way through it (I'm about half-way there) and I think I'm going to add some percussion and a double bass to the final version. I'll try and get a midi-mockup for when it's done... but GOD do I hate the way Sib performs this piece.
17 Counting and playing fluctuating tempo
So today I had a go at trying to play the fluctuating 2 bar tempo groove I posted a few days ago. Today's post is just a log of the things I noted while practicing this.
The first thing I wanted to mention is that I had genuinely had a lot fun trying to play on it. I enjoyed the challenge and feel its totally possible to feel (as in a human-like rhythmic interpretation as a groove) computer-precise accelerandos and ritardandos between accents placed within of a bar
This is the notation I used, the spacing is still weird and unprecise, in fact the second last accent is out by quite some way, but hopefully you get the idea.
Below is the piano roll. I actually ended up reading this while recording, as the playback has the bar to show where you are in the bar as a kind of visual score.
The rhythmic division of the fluctuating tempo inside of the the consistent tempo is this as follows.
bar 1
7 notes decelerate from 141bpm to ~93bpm in the space of 5 semiquavers at ~90bpm
3 notes decelerate from ~93bpm to ~83bpm in the space of 3 semiquavers at ~90bpm
5 notes decelerate from ~83 bpm to ~59bpm in the space of 7 semiquavers. at ~90bpm
bar 2 (a reflection of the first bar)
5 notes accelerate from ~59bpm to ~83 bpm in the space of 7 semiquavers at ~90bpm
3 notes accelerate from ~83 bpm to ~93bpm in the space of 3 semiquavers at ~90bpm
7 notes accelerate from ~93bpm to 141 bpm in the space of 5 semiquavers at ~90bpm
The bpm numbers are now totally different as I've slowed the master clock down for practicing from ~90 bpm to 64bpm.
I approached my practice on thispretty methodically, in a similar way to how I approach improvisation on irregular meters. Here's the summary of what I did.
- practice clapping, counting and improvising in straight 4/4-7/8 with drums from track (represented as the clave in notation). Though the notation is more accurately 4/8-7/16, I'm just counting 8th notes as pulses.
- listen to melody playback through ableton over and over whilst drinking coffee.
- practice and memorise melody. I intentionally left the Ab phrygian tonality. Thinking Bb phygian on tenor sax means lots of side keys. For me that kind of forces your hands to be more accurate or something, I dunno...
- get the runs in time to each accent, progressively added more as you go.
- record and listen back.
So the first audio example is me playing with the synthesiser and drums in my headphones, the second (at 0:22) is me with only percussion, and the the third (0:44) is me playing with no synth, but a tambourine playing the fluctuating tempo. I was happiest with the last take, and included it with and without the synth playing precisely along with me.
Next week I'll be trying to get some new melodies happening on it. woo
The first thing I wanted to mention is that I had genuinely had a lot fun trying to play on it. I enjoyed the challenge and feel its totally possible to feel (as in a human-like rhythmic interpretation as a groove) computer-precise accelerandos and ritardandos between accents placed within of a bar
This is the notation I used, the spacing is still weird and unprecise, in fact the second last accent is out by quite some way, but hopefully you get the idea.
Below is the piano roll. I actually ended up reading this while recording, as the playback has the bar to show where you are in the bar as a kind of visual score.
The rhythmic division of the fluctuating tempo inside of the the consistent tempo is this as follows.
bar 1
7 notes decelerate from 141bpm to ~93bpm in the space of 5 semiquavers at ~90bpm
3 notes decelerate from ~93bpm to ~83bpm in the space of 3 semiquavers at ~90bpm
5 notes decelerate from ~83 bpm to ~59bpm in the space of 7 semiquavers. at ~90bpm
bar 2 (a reflection of the first bar)
5 notes accelerate from ~59bpm to ~83 bpm in the space of 7 semiquavers at ~90bpm
3 notes accelerate from ~83 bpm to ~93bpm in the space of 3 semiquavers at ~90bpm
7 notes accelerate from ~93bpm to 141 bpm in the space of 5 semiquavers at ~90bpm
The bpm numbers are now totally different as I've slowed the master clock down for practicing from ~90 bpm to 64bpm.
I approached my practice on thispretty methodically, in a similar way to how I approach improvisation on irregular meters. Here's the summary of what I did.
- practice clapping, counting and improvising in straight 4/4-7/8 with drums from track (represented as the clave in notation). Though the notation is more accurately 4/8-7/16, I'm just counting 8th notes as pulses.
- listen to melody playback through ableton over and over whilst drinking coffee.
- practice and memorise melody. I intentionally left the Ab phrygian tonality. Thinking Bb phygian on tenor sax means lots of side keys. For me that kind of forces your hands to be more accurate or something, I dunno...
- get the runs in time to each accent, progressively added more as you go.
- record and listen back.
Next week I'll be trying to get some new melodies happening on it. woo
Thursday, 16 November 2017
Day 16: Extra Comfort Music
I've added higher voices and I'm stoked with how it all turned out - get ready to be comforted, friends. Hard.
alicechance.com/comfort-music
alicechance.com/comfort-music
16 Quintuplets
Just having a bit of a practice today.
I want to make my beat sub-divisions of 5 as strong as they are for 2, 3, 4 and 6. I was practicing improvising on the attached audio moving between different sub-divisions. I would've posted audio of myself playing, but it sounded crap and I've run out of time for today :( Will try again over the weekend though.
I want to make my beat sub-divisions of 5 as strong as they are for 2, 3, 4 and 6. I was practicing improvising on the attached audio moving between different sub-divisions. I would've posted audio of myself playing, but it sounded crap and I've run out of time for today :( Will try again over the weekend though.
helllooooooooo
I think this might be the last of my Sara Teasdale contralto pieces. I tried to push myself into faster and more rhythmically interesting territory, rather than doing my usual slow sad thing. :) I might want to add clapping or a hand drum to this also...
Madrigal - Police, police!
I didn't post yesterday, but I did see Thomas Adés' The Exterminating Angel with Christine, which was totally amazing. There was chilling use of police sirens and martial drums, and it's only half a coincidence that I wrote a piece called 'Police, police!' today.
Wednesday, 15 November 2017
Day 15: Comfort Music
My whole day, including the writing of this piece, was affected by watching the announcement of the postal survey this morning. I wrote this for anyone affected and hurt by it in the last few months, (including myself I think, but not as much as some.)
You can make and serve Recipe 3 at alicechance.com/infinityfordinner
ps. I recorded higher parts but I also think this piece is enough how it is. Planning to experiment with the higher parts tomorrow.
You can make and serve Recipe 3 at alicechance.com/infinityfordinner
ps. I recorded higher parts but I also think this piece is enough how it is. Planning to experiment with the higher parts tomorrow.
Tuesday, 14 November 2017
Day 14: Composition Portfolio
Hey everyone, my submission today is my composition portfolio
Would especially like feedback on the formatting of my scores because I've been told before that I need to make them look more professional and more publishable.
Looking forward to having a catch up tomorrow on what everyone's been writing in the last few days!
Would especially like feedback on the formatting of my scores because I've been told before that I need to make them look more professional and more publishable.
Looking forward to having a catch up tomorrow on what everyone's been writing in the last few days!
14 Lost Woods Fractal
Today I made a musical fractal. The first two bars of the Lost Woods theme from the Legend of Zelda is deconstructed to show that it is made from a sped up copy of its own melody. Adam Neely explains how here.
Monday, 13 November 2017
Day 13: Portfolio progress
Hello mates,
I am working hard to get my portfolio ready to submit tomorrow for uni. Part of it includes the solo sextet + SATB arrangement of 299792458 (which I will call 'the speed of light') Be assured, I have made progress over the last two days but nothing I really want to upload yet. The full score will come tomorrow though. In the mean time, please enjoy this extremely secret and not publicly sharable link to the rough mix from the premiere.
I am working hard to get my portfolio ready to submit tomorrow for uni. Part of it includes the solo sextet + SATB arrangement of 299792458 (which I will call 'the speed of light') Be assured, I have made progress over the last two days but nothing I really want to upload yet. The full score will come tomorrow though. In the mean time, please enjoy this extremely secret and not publicly sharable link to the rough mix from the premiere.
13 Fluctuating 2 bar - experiments01
Had a good muck around with some ideas from yesterday's post today. The two bar fluctuating tempo has three convergence points in each bar. I've moved it to 15/16 time signature. The accents in the changing tempo are in groups of 7,3,5, and they align with the 1st, 6th and 9th semiquavers of the steady tempo. Tomorrow the plan is to try and play this on my instrument and see how it feels. Audio and an attempt at some notation for it below. The melody below comes in after about a minute on the soundcloud link.
How far is it to Heaven?
I decided to write this when I found myself manically repeating "not all tenors are idiots", in an attempt to stave off that 'let's quit choir' feeling after rehearsal tonight.
Score & Audio here
Text by my bae, Emily Dickinson:
Score & Audio here
Text by my bae, Emily Dickinson:
How far is it to Heaven?
As far as Death this way --
Of River or of Ridge beyond
Was no discovery.
How far is it to Hell?
As far as Death this way --
How far left hand the Sepulchre
Defies Topography.
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