Origin of Code

UNTIL DAWN

Ninepin

Ambient Bite 599

Time Set return

Wind Gestures

soundscapery_06

Step into the warm static jacuzzi of weird and wonderful stylophone stylings. Let the weirdness wash over you...
Stylophone Jam Session 2
Tidus on Bowie stylophone and stylus percussion and table percussion, some synth work some Otamatone work.
Mitchell on stylophone beats stylophone genx2 harmonica and voice changer some synth work and some Otamatone work.
took turns on synth post recording 

photograph of physical model by Tidus

Mods For Baldi

curgklurt

There are fundamentally 713 distinct ways to partition the aggregate (a.k.a chromatic scale)into four trichords.  Of these, 290 have no trichord type repeated and these I'm calling the tetra-trichords.  Call two tetra-trichords neighbors if they share at least three trichords types.  

This piece follows a loop, from neighbor-to-neighbor, through most of the space of tetra-trichords, 288 of them.  The two omitted tetra-trichords only neighbor one-another, so refuse to play along.  They deserve a piece all their own (I'll get to it!).

So this is fundamentally "twelve-tone" (but not row) music, as in all twelve tones are more or less constantly active and in equal proportions.  But thinking of the trichords as the-new-notes, the aggregate becomes a kind of super-chord, and the whole piece a super-four-part-chorale, with consecutive super-chords always sharing a common "tone" (actually, a common trichord) for good (super)-voice-leading.  

So this is twelve-tone music with no direct input from common practice, yet very audibly working with analogous ideas.

My Travels Through (Most of) Tetra-trichord Space, for flute, clarinet, bassoon and celesta

Droplets and Mist

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

Please don't spam this account!

My Travels Through (Most of) Tetra-trichord Space, for flute, clarinet, bassoon and celesta

David Victor Feldman

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