As featured on citiesandmemory.com 

This recording is made up of two tracks.

The first is a standard stereo take from the inside of the aircraft, whilst the second is a simultaneous mono recording from a contact mic on the floor of the plane. I have adjusted the volumes on the two recordings so we move between them as the track progresses.

Air plane take off

If anyone has any ideas as to what the beeping is on this track please let me know.
Recorded with A JrF C-series contact, into Tascam DR-40 via a Hosa impedance transformer. No DC, no nearby  equipment apart from overhead single phase power line (?).

Ants on contact Mic with unidentified beeping.

I've used the various symbols on the painting to create a generative sequence. With each symbol representing a different "operation" or movement in the melody.
The operations used are:

Horizontal dash = Up a semitone
Double Horizontal = up a tone
Vertical dash = Down a semitone
Double vertical Dash = Down a tone
Red box = An downward three note turn (inverted gruppeto)
White box = A upward three note turn (gruppeto)
White dash = Inverted mordant
Red dash = Mordent 

With these operations I constructed a tone row beginning on C and the first 8 bars of the piece follows this "set", I then extemporised and extended the basic pattern for the remainder of the piece.
Not a "serial" work by the strictist definition, as there is much repetition within the tone row, but it does use all twelve tones. 
 Some interesting colours being generated and actually quite a recognisable melody. The harmonies are mostly quartal or quintal voicings  alternating between C-F-Bb and D-G-C with chromatic movements here and there.
  

More on this 225th weekly Disquiet Junto project (“Sight read a late-1940s painting by Argentine artist Lidy Prati as a graphically notated score”) at:

http://disquiet.com/0225/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image originally posted (and viewable in larger scale) at

http://blakegopnik.com/post/142806762364

Twelve Tone March (disquiet0225-serialcomposition)

The album "Fire and Water" available now on Bandcamp
An exploration of the English countryside in winter and the shades of light and darkness that dwell there.

https://djwmusic1.bandcamp.com/album/fire-and-water-2

Extract from the album Fire and Water (available now)

A Four track Composite recording of a small hill stream
It consists of a contact microphone mounted on a metal post, the base of which was placed in the river bed. A JrF hydrophone and left and right split stereo tracks from the inbuilt Microphones of a Dr40 PCM recorder.
Somerset UK 2015

Somerset Stream, Stereo Mic, Contact Mic and Hydrophone

The second of three twelve tone pieces employing fractal forms.

12 Tone fractal #2

The third of three twelve tone pieces employing fractal forms.

12 Tone Fractal #3

The first of three twelve tone pieces employing fractal forms

12 Tone fractal #1

I took as my starting point for this weeks piece, the Surrealist notion of automatism. Namely I assigned each note of the Chromatic scale to a number and used an app to generate random groups to form chord centres. I then arranged these into the piece you hear in an ABABCBB form. This in itself created an interesting internal juxtaposition musically as the piece alternates between functional harmony and discordant tone clusters,
I then over-layed this piece with audio of a discussion from the houses of Parliament on Brexit. This was reversed and certain sections looped to emphasise the contextual dissonance.
Due to the fact that the Brexit process is possessed of its own surrealist logic and operational games of chance, I felt that any further treatment was unnecessary.

More on this 362nd weekly Disquiet Junto project — Operational Surrealism / The Assignment: Make a piece of music informed by a key text from the art movement — at:

https://disquiet.com/0362/

Thanks to Peggy Nelson, for having proposed this project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0362-operational-surrealism/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image adapted (cropped, text added, etc.) from a Flickr photo by Audrey Un Riz, thanks to a Creative Commons license:

https://flic.kr/p/hjFN6h

https://creativecommons.org/licenses/by-nc-sa/2.0/

Recording of Brexit debate used under terms of "fair usage" for the purposes of satire and/or parody. And further more for no commercial gain.

Disquiet0362_Operational Surrealism

My initial idea was to cast the piece as a modern Ambient style tune. 
But it occurred to me that Satie was basically the Eno of his time.
So instead I turned to the master of Electroacoustic music, Karlheinz Stockhausen.
In Particular his use of tape recorders and ring modulators on pieces such as "Mantra" and "Mixtur".

More on this 363rd weekly Disquiet Junto project — Gymnopédie Rats: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre — at:

https://disquiet.com/0363/

Many thanks to Peggy Nelson and Alex Hawthorn for having proposed this project, at the tail end of last week’s project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0363-gymnopedie-rats/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image from the International Music Score Library Project:

https://imslp.org/wiki/3_Gymnop%C3%A9dies_(Satie%2C_Erik)

Disquiet0363_Satie Vs Stockhausen

3-9-7-1-5

Field recordings and audio art made from them.

I am based in the south west of England and am keen to collaborate and contribute. 

Daniel John Williams

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