2024

# 15

The aggregate contains six tritones, 0-6, 1-7, etc.
In 1-out-of-64 rows, the PCs of each tritone sound in just that order.
Then perhaps also the time-point gap between PCs 0 and 6 is smaller than the gap between 1 and 7, etc.  

This piece is made up all of the 957 rows that meet all these requirements.

Specifying the gaps between the tritones, one has a kind of jigsaw puzzle: to find a row with exactly those tritone time gaps.  

Sometimes such a puzzle has no solutions (for example when the sum of the gaps is odd).  

With gaps 1-2-3-4-5-7 one finds 38 solutions, the most, and these begin the piece; with gaps 1-3-5-7-9-11 one finds 1 solution, the least if not zero, and that row ends the piece.  Between, all the rows occur organized according to which puzzle they solve, the puzzles ordered so that the number of solutions weakly decreases.

With each statement, each tritone gets its own octave.

If one has the ear for it, one can attend to these details, or else just take in the energy of it all.  I would like this to looking at a descriptive picture either as a visit to a virtual 3D place (e.g. a fictive city street, mountainside room) or as a decorated planar region, typically bounded by a rectangle.  When musicians talk about "movement" and "line" and "implications," that's happening the musical equivalent of virtual space.  In reality, notes and sounds find all their places by compositional fiat and don't actually generate or cause one another.

The cover image more or less encodes the score.

Rational Exuberance (Not Your Grandparents' Twelve-Tone Music VI), for organ and piano

There are 362,797,056 ways to partition a three octave span into three aggregates.  Once you do so, reading each aggregate from low to high, you get three 12-tone rows.  If you further require that those rows feature at least 7 distinct interval classes, the 362,797,056 possibilities reduce to just 46.  One of those 46 possibilities plays the role here of a passacaglia-like chord progression.  

There are 144 ways to have three triads sit within the aggregate without any overlap.  Remarkably, one can cycle through those possibilities so that each step turns up just one new triad.  Such a cycle provides the figuration for the variations. 

The overall effect produces a counterpoint between two opposing notions of harmonic rhythm, one based on the cycle of aggregates, and one based on the the featured triads.

A Friendly Accord between Aggregates and Triads, for guitar

If a twelve-note chord features all the pitch classes, you can read it up to get a row. If the chord sits within three octaves, it can feature at most 7 different intervals (because 1+2+3+4+5+6+7+8 =36).  There are just 46 ways to partition the 36 pitches in a three-octave span into three such chords.  

Each "variation" projects one of the 46 possibilities.  You hear each of the rows three times, but with the notes transposed into the three different chords.  

As with much of my music, there is no literal repetition, but also no attempt at "high profile contrast."  Rather the music invites the listener to attend to small differences, and in this case, exactly the small differences imposed by the universe or by the mathematics or however you prefer to think about it.  

It's hard to come up with "questions" like this, questions that indeed turn out to have a manageable but non-zero number of solutions. But having fixed such a question, the set of solution lies beyond human control.  The universe provides what the universe provides.  
This accepting of what I get interests me aesthetically, as does the privilege of having sufficient computer power now in the 21st century actually to discover all the solutions. 

Score on request.

The 46 Possibilities (Not Your Grandparents' 12-Tone Music VII), for bass clarinet

Terminus

"Der Pilz"

flippophil

I asked the mirror on the wall
Who was the biggest fool of all
But the mirror just stared back
I got no answers I got no track

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

You said I love you I love you so
Never ever gonna let you go
But that's not true and you know I'm right
But I ain't going without a fight

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

I heard you whisper
I heard you whisper
I heard you whisper
I heard you whisper I love you

Instrumental

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

You said I love you I love you so
Never ever gonna let you go
But that's not true and you know I'm right
But I ain't going without a fight

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

Outro

I Heard You Whisper

Yesterday I flew with my wings, I remember it well

Playing around with some beats paired with edits from an Alesis Ion and ASM Hydrasynth running thru a Big Sky reverb pedal- Peace! We need more of it!

OneKind- Head Space

A somewhat sloppy but hopefully still interesting little piano improvisation recorded in Cape Verde, West Africa in 2024. 

Verde

24 7 26

Flotilla of Hope

Throughout:
Hope and Heart, Here we are

Show our soul
Show our sane
Show we know to feed now
Sail
Pure power to you
Be gone sulphuric drone
Hate can't mute heart
If this hope we clone

Oh fine flotilla
Great humanity
We pray a path for your good sanity
Show them we're here
Show them we care
Show them new hope
To add to their prayer

Brave brother and sisters
The sith won't win
Forward fearless knots
Al Nakba to thin
No highjacked god can stop your love
The world is watching with most human dove

Feed the children
Sustenance of normal
Show them human hearts can hold them
Give real rights
Help them survive
Show them Earth has loving eyes

Flotilla of Hope
Our greater good
Flushed fear because we know we should
Aside evolution selection awaits
If heart can win and protect these traits

God power good humans
To all of you
Here's praying your hearts can make it through
Show the kids were here to break hate wall
Show the true love can prevail for all

Flotilla of Heart

the latest composition from this series of songs, no further editing at the moment
work in progress

VI. il poema del'assenza ( Let the ghosts sing )

Yearning Instrumental Demo is an unreleased draft from the creative forge of DestKorn, published under my side project Harmonic Echo. The piece is built on the intimate interplay of piano and violin, carrying a deeply melancholic, fragile atmosphere.

This is intentionally a demo version – it reflects the moment of creation, raw and unpolished, offering a direct glimpse into my creative process. It is not about perfection, but about capturing a feeling that later grew into the final track.

Yearning Demo ist ein unveröffentlichter Rohentwurf aus der Schmiede von DestKorn, veröffentlicht auf meinem Nebenprojekt Harmonic Echo. Dieses Stück basiert auf der innigen Verbindung von Piano und Violine und trägt eine melancholische, fast zerbrechliche Stimmung in sich.

Es handelt sich um eine Demo-Version – sie spiegelt den Moment der Entstehung wider, roh und ungeschliffen, ein direkter Einblick in meinen kreativen Prozess. Hier geht es nicht um Perfektion, sondern um das Festhalten einer Stimmung, die später zur fertigen Version führte.

Credits
Music, arrangement, mix & master: DestKorn / Lyrics : ~
Artwork: DestKorn
℗ 2025 DestKorn | © 2025 DestKorn. All rights reserved.
Unauthorized use, reproduction, or distribution is prohibited.

Yearning Instrumental Demo

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

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# 15

David Victor Feldman

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