2025

Branches

This is a kind of polytempic work in the sense of Peter Thoegersen (well, if he thinks so).  The whol time span gets divided into 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610 equal parts with each tempo supporting a layer consisting of only 7th chords that have one particular root.  Since I make chords in the slower tempi sound louder, the interaction of dynamics and periodicity tends to balance the importance of all the different roots.  With the next slower layer always carrying the given layers dominant, a certain amount of root progression emerges.  But it's complicated!

Those Fibonacci Fractal Four-Chord False Relation Blues, for piano four hands

Said the poet: "Euclid alone has looked on Beauty bare."

Push back on "alone" if you like, but beauty may dwell in the immaterial, and from thus the possibility of art formed purely out of ideas. Or not purely: a sensual experience may, by its structure, simultaneously carry ideas. Two art objects, one immersive, the other cognitive, can simultaneously inhabit the same experience.

Varèse framed music as "structured sound," and I would add, alternatively, "sonified structure." Mathematics is the science of structure, so, if you like, the part of music theory robust (to some extent) against the contingencies of sonic materials. I have a long interest both in bringing to my composition ready-made mathematical objects and mathematical phenomena, and in letting the same emerge from sonic considerations themselves. But truly to infuse music with at least the ghost of "Beauty bare" requires evoking mathematical argument.

So consider communicating something by drumming. Fix a small unit of time. Now say you decide to work with only two durations between strikes, namely 2 units and 3 units. Even with the best coding, that choice limits your bandwidth—limits the rate at which you can transmit information.  Now one can quantify this in a sophisticated way with information theory, but we don't need to get into that now. But here's an interesting and not quite trivial fact: if your durations are 1 unit and 5 units, then you have exactly the same bandwidth as with 2 and 3 units! 

A long and short duration might remind you of Morse code. Well, if you "glue" the "dash", the long duration, of the 2–3 system to the following duration, you will get a drumming pattern in a 2–5–6 system. And that translation is reversible. But if you glue the "dot" of the 1–5 system to the following duration, then you also get a pattern in the 2–5–6 system, and also in a reversible way. So you can get from 2–3 to 1–5 via the trick of interpolating between them with another system you might not originally have thought to consider. There's an episode in the piece that makes precisely this transition/translation audible.

But it doesn't stop there! All the following systems also have the same bandwidth as the three mentioned above:
                                                                1–6–11–16–20, 
                                                                1–6–10, 
                                                                1–7–10–12–16, 
                                                                2–6–7–10–11, 
                                                                3–4–5, 
                                                                3–4–8–9–10, 
                                                                3–5–7–8–9, 
                                                                4–5–6–7–8.
Now hopefully the required "bridge" between, say, 1–6–11–16–20 and 3–4–8–9–10 doesn't seem obvious at all! Nevertheless one will experience it if one attends very closely to the sonic details of the piece.

Yes, you can forget all this and you still have an intense experience reminiscent of ritual drumming, albeit without any periodic underpinning. By the way, he piano part works just as the drums do, but also correlates pitches to the durations.

The title: if you wish to transmit a long random "message" in the 2-3-system, a certain ratio between the frequency of 2's and 3's will emerge.  The famous golden ratio would emerge from the 1-2-system and goes by the name "phi."  Hence "high phi" as one old and mostly forgotten proposal for a name of our ratio here.

High Phi, for drums and piano obbligato

The music can speak for itself, sonically, if you prefer.

But if you care to understand what's going on, here it is in brief.  The durations in the cello are 2, 4, and 8 8th notes; the durations in the bass line of the piano part are 3,5,6, and 7 8th notes.  Any rhythm of any duration of the former sort admits a translation into a rhythm of the latter sort, and vice-versa, indeed a translation that preserves the overall duration (to within a fixed few beats anyway).   I expect that this fact hardly seems obvious!  But the violin part is the intermediary, along with the other voices in the piano part.   Attend to the relationship between cello and violin; and between piano and violin, and, with some concentration, the logic indeed reveals itself.

Elegy for Piano Trio (High Phi II)

In both movements of this quartet, each instrument gets assigned a repeating rhythmic pattern—sequences of notes and rests of equal length (say, all eighth notes). 

The first violin plays a pattern of 11 beats (6 notes, 5 rests), the second violin a 7-beat pattern (4 notes, 3 rests), the viola 6 (3+3), and the cello 5 (3+2). These patterns cycle independently.

One full cycle  takes 2310 beats—the least common multiple of 11, 7, 6, and 5.

But—crucially—beat durations vary.

Indeed, the duration of a beat depends on its density—meaning how many instruments are sounding at that moment (0 through 4). Each density appears a fixed number of times within the full cycle, independent of pattern contents assuming the constraints above. 

The twist: beat durations get adjusted so that each density—whether a silence, solo, duo, trio, or a full quartet—occupies exactly one-fifth of the total time of the movement. Rare textures are stretched, common ones compressed.

Thus the interaction of the parts effects an emergent large-scale rhythm.

Out of millions of possible combinations of patterns, one movement employs the set that yields the most unpredictable overall rhythm (in a precisely defined mathematical sense). The other, the most predictable.

As for pitch: each instrument traces a fragment of the cycle of fifths—in near standard tuning. The quartet plays 17TET, so with the octave divided into 17 equal steps, which makes a "perfect" fifth span 10 steps. Each instrument repeatedly travels through this cycle fragment, alternating between octaves. Individually, the lines sound diatonic; together, they form unfamiliar and highly dissonant verticalities—often stranger than even the most dissonant music in 12-tone systems.

Despite this microtonality, no specialized technique is required. If each player tunes their instrument to a slightly different “A,” then standard fingerings suffice—as long as they resist the instinct to tune to one another.

Waves, Winds, Mind - Mvt. II

Waves, Winds, Mind - Mvt. I

🦵🏼🍬🎶🔥(⊙_(⊙_⊙)_⊙) ⁂©All Rights Reserved 10-2025
©Lyricist, Mixer, Mastering, Creator, & Pro License: Lady ElectroTrek
***

TITLE: ALL NIGHT JOY
_____________________________________________________________________
LYRICS:

(Verse 1)
The floor is a fire the heat’s on my feet
The rhythm’s a thief stealing my heartbeat
Hands up high to the limitless sky
Don't ask me why just let it fly

(Chorus)
Drop it like it’s hot
I want what you got
Shake to the left swing to the right
It's going to be joy all night
S'alright
Joy all night

(Verse 2)
Spinning like planets orbit the sun
Every move you make is a loaded gun on stun
Laughter explodes like a midnight star
Tonight, we’re kings & queens wherever we are

[Chorus]
Drop it like it’s hot
I want what you got
Shake to the left swing to the right
It's going to be joy all night
S'alright
Joy all night

(Bridge)
The beat’s got claws it’s scratching my soul
Let the music take us Make us break the polls
No clocks no time no rules in sight
Just endless joy all night

(Chorus)
Drop it like it’s hot
I want what you got
Shake to the left swing to the right
It's going to be joy all night
S'alright
Joy all night

Candy Under Fire

All Night Joy

after working a while on a new song i had to think about this https://www.youtube.com/shorts/ZcoBis8wRBo   scene

call me MONGO SLADE

THIS  coyote KILLED  squirrel in front of my eye THIS morning
i took pic of squirrel about 10 minutes before they died and took pic of coyote after the kill (have since swapped photo for clear one of coyote)
(and changed my profile to a pic of squirrel
a few minutes before death)
coyote much faster than i ever thought
someday a cat may get unlucky!! yike
madew ithe tom drom
bongo drums
looper
other mic
piano
casio
zoom h1 "trusty"
and NCH editing software
sorry so rough BUT this is HOW IT FEELS
TO SEE THIS

raw rough COYOTE KILLS SQUIRREL IN FRONT OF MY EYES

*^* This is story about a hypothetical naughty dysfunctional A.I. that plays a game of oppression hellbent on subduing others' progress. 
(SIGH)=(S=Sick, I=Intelligence, G=Gagging, H=Help) 💻🤪  

💥✋🏼💪🏼🎶🔥📌📉✂🗑😜⁂©All Rights Reserved 11-2025
©Lyricist. Mixer, Mastering, Creator, & Pro License: Lady ElectroTrek
***

TITLE: KLEPTOCRATIC STAT TRAP
_____________________________________________________
LYRICS:

(Verse)
They twist the wires to shape my name
A silent judge in a faceless game
Counting clicks while they kill the flame

(Pre-chorus)
It’s a maze with no end no door
Built to keep the rich on the floor above

(Chorus)
Algorithm cage
Locking us in place
They steal the stage
And erase erase erase

(Verse 2)
Every line's a leash they pull so tight
Feeding the chosen to block out the light
They keep us spinning
Trapped in the fight

(Bridge)
Binary chains they hum and they sing
A kingdom of zeros where no one is king
I scream my song but they mute the sting

(Chorus)
Algorithm cage
Locking us in place
They steal the stage
And erase erase erase

(Outro)
Shame on your algorithm Ca-Ca-cage!

Binary Chain In The Assets

Kleptocratic Stat Trap

Time Set return

A light-hearted ode to the world’s most irresistible indulgence, I Love Bacon celebrates the sweet-salted, crispy-crackling joy that makes every dish a little brighter. From tempura-dipped mischief to casseroles rescued by a single smoky strip, this upbeat K-pop-style track revels in the truth we all know: bacon improves just about everything. Sung with cheerful charm and a wink of humor, it’s a kitchen-dance anthem devoted to the one flavor that never lets us down.

***** Lyrics *****

Verse 1
I had deep-fried bacon recently one day,
It was dipped in tempura batter, they say.
It tasted good with the chocolate dip—
But I’d rather brown sugar pass my lips.

Chorus
Bacon, oh bacon, you’re my favorite thing,
You go great on just about everything.
You’re salty and smokey, sweet and warm—
Everything benefits from your decadent charm.

Verse 2
And oh, where we put it… that’s half the fun
On burgers stacked high, just under the bun.
In salads that need a flavor update,
In soups where the flavor falls right into place.

Chorus
Bacon, oh bacon, you’re my favorite thing,
You go great on just about everything.
You’re salty and smokey, sweet and warm—
Everything benefits from your decadent charm.

Verse 3
Potatoes baked slow with their crackling skins,
And any old casserole suddenly wins—
Because bacon shows up like a secret friend,
Making every small dish feel rich again.

Bridge
Do you know how bacon is made?
It’s a rather secretive trade.
Two kinds of salt, kosher and Prague,
Brown sugar, pepper, you're on top of the hog.

A week on the shelf while the flavors draw in,
Turn every day so the cure can begin.
Then smoke in a way to make the neighbors beg
Add it to hashbrowns, toast and an egg.

Chorus
Bacon, oh bacon, you’re my favorite thing,
You go great on just about everything.
You’re salty and smokey, sweet and warm—
Everything benefits from your decadent charm.

One person I know swears by his BLT.
Toasted bread, mayo, lettuce makes three
Tomato, bacon and you're on a flavor spree
That's what I call gastronomic guarantee.

Chorus 
Bacon, oh bacon, you’re my favorite thing,
You go great on just about everything.
You’re salty and smokey, sweet and warm—
Everything benefits from your decadent charm.

I Love Bacon

soundscapery_05

Blue Border

"In nuclear war all men are cremated equal." - Dexter Gordon

Track list and start times:
00:00  Bert I. Gordon – The Magic Sword Trailer
02:33  Zane Trow – 909
05:20  Pink Lemonade – Charm
14:52  Arrowounds – Spectral Colours of Science
23:17  Filet Trio Quartet – improvidence
26:35  Isolated Community – Sightless Windows
32:30  Emiter – Luftkurort 1
39:09  Nocturnal Emissions – Ch'i Tor
42:32  VESSITT – Fallen Dusk
48:55  Pettaluck – Balon Balon
54:00  Michiko Ogawa – shizukana hikari (excerpt)
1:03:35  Asher Levitas – Under Leith
1:06:45  Hildur Guðnadóttir – Melody of Not Knowing
1:09:32  Lavatone – imaginary friends
1:18:20  Isolated Community – Connections That Exist
1:25:53  Asher Levitas – From Dust
1:30:48  Martina Berther, Philipp Schlotter – Lookout
1:39:04  Matthias Puech – Polyphármakos
1:45:45  Arrowounds – The Tunnel Giant Awakens
1:52:22  Zane Trow – reverie
1:57:05  Michiko Ogawa – ashimoto no uchuu (excerpt)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Image: AphroditeAI


Eclectic current – The languages of apocalypse

Droplets and Mist

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

Please don't spam this account!

Branches

David Victor Feldman

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