fave listening of this month

*

in the pic: Manuel Göttsching

"musica assoluta" (dicembre 2022)

Deadline: 21st December 2022

All submissions to Haiku 467:

https://www.naviarrecords.com/2022/12/14/naviarhaiku467-beautiful-chaos/

To participate:
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)
- When choosing a title for your piece also include the assignment number, for example “Title of your track (naviarhaiku110)”
To submit your track:
- If you’re a Soundcloud user, upload it on Soundcloud and send me the URL via private message, or tag me in the track.
- If you upload your music on Youtube, Bandcamp or anywhere else, upload your submission and then send me the link by email at marco@naviarrecords.com or contact me on Twitter, Facebook or Instagram
- If you don’t use any music platform, upload it to this Dropbox folder and I’ll include it in the weekly playlist. If you choose this option, make sure you include your name in the track’s title. www.dropbox.com/request/JvKyUfuCSzJ3gRNRocZz
Your track may be included in Naviar's weekly podcasts and free (pay-what-you-want)compilations. If you can, please set the track as downloadable on Soundcloud and allow others to remix/reuse it by using a Creative Commons License.

Naviar Haiku Challenge: www.naviarrecords.com/about/naviar-haiku
Naviar Records store: www.naviarrecords.bandcamp.com
Subscribe/support the project: www.naviarrecords.com/support-us/

haiku #467: beautiful chaos / the leaves’ quixotic dance / in autumn winds

Naviar Haiku submissions

Piano Pieces

無常 - 過去の時間, Impermanence Past Time

Taking over three years to come to fruition, this collaboration between Japanese artist Gallery Six and New Zealand ambient duo Saltmarsh has finally come to light.

We had planned for a physical release for a long time, with the idea sparked as early as mid-2019, but the state of the world (no further explanation required, we're sure) seriously hindered our ability to make this dream come to life. Finally, with the help of the seriously talented Dave Norman (Softseed Music/Zegema Beach Records/Tomb Tree Tapes), these beautiful tapes are now available for your listening preasure!

Produced by Hidekazu Imashige
Cover art by Tomcat McCone

Buy Cassette

Memories In A Diary

Melodies On A Path - Pt3 , "Walking home", (Piano Version)

Only Despair

Päev korraga

A moment of your time please [97]

15Dec22

This is my naviarhaiku467 submission
https://www.naviarrecords.com/2022/12/14/naviarhaiku467-beautiful-chaos/
:D

beautiful chaos [naviarhaiku467]

beautiful chaos
the leaves’ quixotic dance
in autumn winds

haiku by Jessica Renee Dawson https://twitter.com/live_the_light

picture by Autumn Mott Rodeheaver https://unsplash.com/@autumnmott

For more information visit http://www.naviarrecords.com/about/naviar-haiku

clix faith quo

halF quixotiC [naviarhaiku467]

This track was created for the Naviar Haiku group.
467week haiku
https://www.naviarrecords.com/2022/12/14/naviarhaiku467-beautiful-chaos/

2022-12-16

Beautiful Chaos  ( Naviarhaiku 467 )

Electronic composition, sounds created in Pure Data.

Quixotic (naviarhaiku467)

I improvised a little dance using warm autumnal chords that capriciously changes about to represent the leaves falling and swirling around, sometimes stopping, starting, and eventually settling on the ground after a last little flutter.

beautiful chaos
the leaves’ quixotic dance
in autumn winds

Jessica Renee Dawson, lives on Vancouver Island, and has studied poetry, and English through North Island College. She has taken poetry workshops under notable poets, Lynne Knight, and Jan Zwicky. Her works have appeared in journals including: Poetry Quarterly, Under the Bashō, The Tulane Review, Wild Plum, and NonBinary Review. She is also a former Stand Up For Mental Health comedian, and an award winning artist.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

The Quixotic Dance Of The Autumn Leaves (NaviarHaiku467)

taking a tiny fragment of recorded sound of @stellato-strings and I playing and slowing it way way down, this is my response to this week's Naviar Record Haiku prompt. I took the image at the entrance of a garden in Regent's Park.

beautiful chaos
the leaves’ quixotic dance
in autumn winds

Jessica Renee Dawson, lives on Vancouver Island, and has studied poetry, and English through North Island College. She has taken poetry workshops under notable poets, Lynne Knight, and Jan Zwicky. Her works have appeared in journals including: Poetry Quarterly, Under the Bashō, The Tulane Review, Wild Plum, and NonBinary Review. She is also a former Stand Up For Mental Health comedian, and an award winning artist.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 21st December 2022

haiku by Jessica Renee Dawson https://twitter.com/live_the_light

The Leaves' Quixotic Dance (naviar467)

A piece composed for the Naviar Haiku http://naviarlab.tumblr.com/

"Someone else's clock / During the long night / I count all the strikes"

This is a modular piece that uses two quantisers that are transposed throughout the piece such that they are never in the same key.  These drive two pairs of oscillators, one from each pair ring modulated with one from the other pair to give the bell like sounds. A lot of complex sequencing involving prime numbers and different length sequences ensures it never quite repeats.

Someone Else's Clock [naviarhaiku101 - Someone else's clock]

Through the ages
rising above the mountains
tonight's moon

Haiku by Inoue Shiro

http://naviarlab.tumblr.com/post/136732575773/naviarhaiku105-through-the-ages

The repeating sequence represents starlight (and the 'ages'), the brassy sound is the mountain, and the higher shimmering melodic line that appears gradually is the rising moon. 

Tonight's Moon [Naviarhaiku105 - Through the ages]

My attempt at some music for Naviar Haku 106: Sunrays.
I tried to represent the needles underfoot by the crispy noises, the dark mystery of the pine forest with the deep foreboding bass, offset by the brighter rays of sunlight, and then cut through by brighter shafts of light.

I am guessing the poem is saying that the pine trees look like snake gourds (which I hadn't heard of before - they are long and thin and hang down off their vines - I can imagine the trunks of pines would look like them in the bright sunshine?)

"Sunrays - 
Between the pines we see 
snake gourds"

Poem by Ichihara Tayo-Jo

Sunrays [Naviarhaiku106 - Sunrays]

This is my entry for this week's Naviar Haiku:

"The sleet falls / As if coming through the bottom / Of loneliness"
Haiku by Naito Joso

This is as usual 100% modular,  one take, straight into the  computer. The reverb is Strymon BigSky, and the Mix and Tone levels are being controlled by the modular via the expression pedal input. 

The Sleet Falls [Naviarhaiku107 - The Sleet Falls]

My entry for NaviarHaiku 114 - http://naviarlab.tumblr.com/

"Where do you come from? / Borders on Earth fall away / as we fly upwards" - poem by David Pulsford

This is a modular piece that uses multiple LFOs and envelopes both as modulation sources and as a method of triggering events (using a comparator) - meaning that the outcome is derived from simple rules but exhibits complex behaviour - much like the universe. And us. 

From Whence We Came (Naviarhaiku114 -where do you come from?)

This week's Disquiet Junto project: Sight Read a painting as a graphical score. 

I examined the painting, noting the different types of symbol. I interpreted them thus:  
Black = Octaves and fifths
Red = Minor chord
White = Major chord
Horizontal line = broken chord (i.e linear) 
Vertical line = chord stab
Square = Held chord with broken chord underneath.
Where there were two lines above each other, I played two lines together. 

Examining the score closely, and you will notice that the third vertical line on the fourth row is actually more to the left than the other vertical lines - in that way I realised that each black line is three units long (hence the broken chords being three notes long). Each stab occurs at the third unit of a block of three , except that one on the fourth line that is on the first position. That is what gives rise to the unusual little syncopation just before the two major chords. 

This recording is of me literally sight reading the score at the piano.
I have tried a different one without the gaps as well, but I made a mistake so I need to re-record it when I have time. 

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 Killer (disquiet0225-serialcomposition)

This week's Disquiet Junto project: Sight Read a painting as a graphical score. 

(A stretched and pipe-organesque version of this is here: https://soundcloud.com/ikjoyce/reinterpretation-reinterpreted)

This is my second reinterpretation, and is a more reflective piece. 
I examined the painting, noting the different types of symbol. 
For ths version, I interpreted them thus:  
Black = Octaves and fifths (A and E)
Red = D minor 7th chord with A bass.
White = A Major
Horizontal line = broken chord (i.e linear) 
Vertical line = chord stab
Square = Held chord with broken chord underneath.
I played an almost continuous three note broken chord in the left hand throughout, adjusting slightly towards the end.

Examining the score closely, and you will notice that the third vertical line on the fourth row is actually more to the left than the other vertical lines - in that way I realised that each black line is three units long (hence the broken chords being three notes long). Each stab occurs at the third unit of a block of three , except that one on the fourth line that is on the first position. That is what gives rise to the unusual little syncopation just before the two major chords. 

This recording is of me literally sight reading the score at the piano.

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

Reflective Reinterpretation (disquiet0225-serialcomposition)

This week's Naviar Haiku was a little different for me, as it was one of my own poems being set! I have never tried setting them to music before (I had actually forgotten I had written them until recently), so this is my attempt. I am really looking forward to hearing what everyone creates! 

My track was created using multiple ad-libs on the BassStation2, plus some piano, and a little bit of Dark Energy. 

Poem by ikjoyce: "Hush descends / Darkness envelops all: / Dreamers soar" 

http://naviarlab.tumblr.com/post/143476960738/naviarhaiku121-hush-descends 

Dreamers Soar (Naviarhaiku121 - Hush descends)

For this week's Naviar Haiku, I improvised at the piano, imagining looking at the rippling waters below. I tried also to represent the bridge as a rising and later falling motif. This is the best performance I did, but annoyingly it was recorded too hot and distorts :-(  So - here is another recording which is cleaner but maybe not as interesting in my opinion : https://soundcloud.com/ikjoyce/the-river-naviarhaiku122-mid-point-of-the-bridge-take-2

Poem by r-d-w: "Mid-point of the bridge / I hover above / the river's currents"

http://naviarlab.tumblr.com/post/143836265323/naviarhaiku122-mid-point-of-the-bridge


The River (NaviarHaiku122 - mid point of the bridge) Take 1

For this week's Naviar Haiku, I improvised at the piano, imagining looking at the rippling waters below. I tried also to represent the bridge as a rising and later falling motif. Annoyingly the best performance was recorded too hot and distorts :-(  So - this is a different take, which is cleaner but not as interesting in my opinion. 

Poem by r-d-w: "Mid-point of the bridge / I hover above / the river's currents"

http://naviarlab.tumblr.com/post/143836265323/naviarhaiku122-mid-point-of-the-bridge


The River (NaviarHaiku122 - mid point of the bridge) Take 2

This will be my place for Naviar Haiku and Disquiet Junto entries.
-Experiments may appear on YouTube from time to time: 
https://www.youtube.com/user/ikjoyce
-Albums will be released on Bandcamp: 
https://ikjoyce.bandcamp.com/

New album "The Endless Solitude Of A Skylark's Song" now available:
https://ikjoyce.bandcamp.com/album/the-endless-solitude-of-a-skylarks-song

Album 'Selene' now available on Cassette / Download from Naviar Records: 
https://naviarrecords.bandcamp.com/album/selene 

**Albums now available on iTunes, Amazon, Deezer, Spotify, and Google Play**  

I make electronic ambient and drone music using modular synthesis to explore themes of nature, space, isolation, man/machine interaction, and the borders of the sleep/wake cycle.