beautiful! what is the scale/mode the flute is playing?

Really enjoyable - the polytonality is surprisingly easy going and first, gets pretty gnarly in the middle, and then the closing section is just really nice! Much more interesting than just a cross fade

Just a wonderful musical journey, from one realm to another, like watching liquid of different viscosities blend into each other.

very nice, the gradient worked perfectly :-)

Siempre es un placer escuchar tu música🙏

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

with 33per and Andreas Kitzmann - Not in Kansas Anymore [Disquiet0638]

Forest stream [with he_nu_ri and mikey_a] (disquiet0638)

A collaboration with @alanblip and @rabmusiclab. Thank you both :)
More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Droning Sheep {with Alanblip & RabMusicLab(disquiet0638)

I choose to work from this piece since it gave me tingles! These artists are amazing and thought I would try something slightly more "traditional"
Live Bass Soundscape - disquiet0636 https://on.soundcloud.com/bMEWdN7A9NLBmffS8
Daniel Diaz https://soundcloud.com/daniel-diaz

Krakenkraft & Etherkraken
Reflecting Fragility [disquiet0637] 2/3 (first) 
https://on.soundcloud.com/wbJ45HZykAtjyDLz6
Krakenkraft & Etherkraken https://on.soundcloud.com/y8wkG5YwApB7E34L7

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Reflections of Sliced Fragility Disquiet0638 3O3

I used @daniel-diaz track Australopithecus https://soundcloud.com/daniel-diaz/australopithecus-disquiet0637-with-tristan-louth-robins which built on  Tristan Louth Robin's (@red_robin) Epochs https://soundcloud.com/red_robin/disquiet_junto_0636-epochs-left-1-of-3-72-bpm

I knew I wanted to play some drums along with their nice groove. Played djembe, then shekere, then full kit. Added in some rhodes harmony and lead and flute leads. Some chanting voices for a celebratory or ceremonial feel. Made me think of traveling across some great plains filled with animals. Evolving this more was fun, thanks to Daniel and Tristan for the great parts to build on!

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Tres Hominis [disquiet0638] with Daniel Diaz and Tristan Louth-Robins

With @caustic_gates Left Retrograde https://soundcloud.com/caustic_gates/disquiet0637-left-retrograde-with-rplktr?in=disquiet/sets/disquiet-junto-project-0637 which built on @rplktr bass track https://soundcloud.com/rplktr/disquiet-junto-0636-left-1-of-3-disquiet0636

Played drums, synth lead and some vocoded vocals to build this out. Also used RPLKTR's bass track for a Weekly Beat submission last week when I heard his great Weekly Beat from the prior week also using it. Some commenters over there said it sounded like an alien invasion and robot being resurrected, sound about right to me. I think Caustic Gates parts from last week totally fit that vibe as well. So here's a soundtrack for some robots vs aliens action.

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Resurrected For The Invasion [disquiet0638] with RPLKTR and Caustic Gates

Thank you @AlvaroDeCampos and @blisterpop. Wonderful track you gave me to work one.
As was the case last week, the instructions for this week’s project are fairly detailed, so please read them at disquiet.com/0638 15 (rather than me stuffing them into a post here).

This is the third phase of a three-phase sequence over the course of as many weeks during which, consecutively and asynchronously, musicians build trios together.

You can participate in any or all three of the three projects. If you participated in last week’s project, please note these two things:

    be sure to set your track as downloadable
    to avoid bot issues on Soundcloud, make sure its license is set to allow creative reuse

Also important: In normal circumstances, Junto projects have a one-track-per-participant limit. However, as with the preceding project that led up to this one, you can contribute more than one track this week. The details on that are in Step 5 of the project instructions 9.

This post popped up at disquiet.com/0638 9 (thanks, powers of automation) shortly after 12:10am Pacific Time on Thursday, March 21. (I was asleep at the time.) The email containing those instructions went out around the same time, also automatically, via juntoletter.disquiet.com. (We recently switched over from TinyLetter, because TinyLetter was shut down by its owner, Mailchimp, at the end of last month.) Come morning, after I woke up, I posted the instructions here, and at my Mastodon account, plus Bluesky, Threads, and Instagram, etc. And if you’re on a platform, like Mastodon or Instagram, that uses hashtags, please use the #DisquietJunto tag. Much appreciated.

Six variations in a knot (with @AlvaroDeCampos and @blisterpop) - disquiet0638

Left track: Marsh Bone - by Raincat
Right track: Marsh Bone Epoch - by Tristan Louth-Robins

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Marsh Bone Evening Epoch (disquiet0638)

(Diaz | Sharbaugh | Winterer)
Daniel Diaz [ https://soundcloud.com/daniel-diaz ]: bass guitar
Krakenkraft & Etherkraken [Andreas Winterer] [ https://soundcloud.com/winterer ]: synthesizers and 'found sounds'
Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizer and 'found sounds'
Composed and Recorded ca. March 7 to 27, 2024 -- in France, Germany, and The United States of America.
sm5 [RAW] [32AIF].

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... "I went with my gut feeling until I had the feeling that I couldn't contribute any more." ~ Andreas Winterer ...

"Having pasted that just above this explanation of My process for this week's Junto project, I state that that was My mantra in composing My part -- about 5 or 6 notes on a KORG DW8000 synth. I recorded My part once, and then edited it with various intensities of extensive time compression techniques over a period of 4 hours, until I was pleased, and felt that My contribution was no more than a simple whisper within this piece that My collaborators had recorded."

~ Michael [Ash Sharbaugh]

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Based on Daniel Diaz and Krakenkraft & Etherkraken's work, "Reflecting Fragility" (disquiet0637 > 'right (2 of 3)':

https://soundcloud.com/winterer/reflecting-fragility-disquiet0637?in=disquiet/sets/disquiet-junto-project-0637

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Daniel Diaz' piece, "Live Bass Soundscape - disquiet0636":

https://soundcloud.com/daniel-diaz/live-bass-soundscape-disquiet0636

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More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

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"A Delicate Mirror" (disquiet0638 - center [3 of 3])

More on the 639th weekly Disquiet Junto project, Path Ways (4 of 3) — The Assignment: Rework musical trios using the constituent parts — one of two ways — at https://disquiet.com/0639/

The track is a remix of "the grounding of a english lark" by Daniel Diaz: https://soundcloud.com/daniel-diaz/the-grounding-of-an-english-lark-with-skylark-guquensne-and-alanblip-disquiet0638-trio

[Disquiet0639remix] Path Ways

1st Section: Bb Major
synthesizers performed by DD

2nd Section: A major/minor. 
Performed by
Flute (Bobby Rangell, Denver USA)
Percussion (Nico Arnicho, Montevideo Uruguay)
Fretless Bass, bowed basses drone (Daniel Diaz, Buenos Aires, Argentina)

Recorded circa 2007 in Paris, reworked and remixed Friday November 13th 2020.

Photo by Louis Maniquet 

For this challenge:
Step 1: Think about how a gradient functions, as one thing transitions into another.

Step 2: Make a short piece of music that aims to explore the idea of a gradient in sound.

As mentioned on a previous junto, lately, when I have time, I’m recycling old masters I got back this summer from a publisher deal, I have dozens of 10 or 15 years old tracks to re-listen, re-work and release or use at will.
For this junto I decided to do a gradient between two old tracks: one completely electronic (synths and treatments) and one acoustic (live in the studio performance with actual musicians and instruments)
It starts with the electro-drone song , and instead of just crossfading volumes between tracks I decided to make my own interpretation of gradient: the second song’s tracks start unmuting one by one, starting with the flute and some percussion, then bass, etc, while the first song’s tracks start fading or muting one by one.
To make things interested, the first song is in the key of Bb major, while the second plays around A major and A minor, so the long middle section of this track, where the mutation happens, is in two superimposed keys, providing dissonance and instability instead of the original track’s clear mood.

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-pr…aking-the-gradient/

Two Memories Gradient (disquiet0463)

multi-instrumentalist & composer.
music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

Two Memories Gradient (disquiet0463)

Daniel Diaz

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