Contemporary Composition

Three strangers meet and sing together in different languages.

210913 3 Songs

Solo clarinet meditation on that war. The one with the poison gas and barbed wire.

VENUS  OF  SIRIUS

Marching And Screaming

A Strange Beauty

Crystalline Structures 1.

Improvisation on the theme of Metallurgy. The image with this track is made up of our performance kit

Metallurgism Mk2

It took me a while to think about what I wanted to do for this one. When I read it left to right, I could not get any thing from it and the same when I read it right to left. This lead me to read it top to bottom and then the whole thing came alive in my head.

The sounds were made in SuperCollider and then I sequenced and effected them in Ableton Live. I think if I was to do this again I would make the whole piece in SuperCollider, as I think this allows more variation, changes and control. I am now releasing that I prefer to working in code and not GUI audio editor.

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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


Serial Composition [disquiet0225-serialcomposition]

Unknown0000

I was very happy when I saw this challenge as this is something I have tired once in the past with not much success and have wanted to try again, this gave me the motivation to try it again, the tutorial helped a lot this time round to get (in my opinion) better results.

Equipment used and also see track image
Folio Notepad mixer - Mixer 1
Foster MN-15 Mixer - Mixer 2 (My partner brought this for me in charity shop)
Boss OverDrive OD-3 pedal (into passive DI box)
Ableton Live for recording and Compression and EQ

I started play around to at first and enjoyed finding new sounds, and was amazed at the variety you could get wth the smallest movement of the control (almost to much it was hard to make chooses). For the first attempts of recording I just hit record and recorded the whole lot, but I wasn't happy with the results of one long continues track. Then the idea came to me to find "sweet spots" and record these with silence in-between. So I set the constants of only changing 5 controls, recording 5 sections which in total should last about 3 minutes. Which is what I did and then added some EQ and compression afterwards (framing of the sound).

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More on this 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at:

http://disquiet.com/0232/

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/

NoInputMixer - disquiet0232

This, my Fifth String Quartet, continues my exploration into writing music of a more contrapuntal nature.

This work is about 24 minutes in length and I very much appreciate you taking the time to listen, and hopefully enjoy it. It has been very difficult to compose, and at this point I can’t take it any further, as additional changes only seem to weaken both the piece and myself:)

Its best listened to with headphones, though I did attempt to make it work decently computer speakers. 

Thank you again!
Bob

String Quartet V

Two cellos and wind chimes. Fractured overbearing monologue in two parts. Makes its own kind of sense when you've listened to it ten times.
The original version is 26 minutes of basically the same stuff.

Bachwards C With Background A (excerpt)

Movement of one kind is visited by something from a different direction.

Bachwards C With Background A (excerpt)

Dave Wallace

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