More on this 606th weekly Disquiet Junto project, Three to One (Compose a piece of music with three times as much silence as sound), at: https://disquiet.com/0606/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0606-three-to-one/

more halF unusuaL

halF quarteR [disquiet0606]

This track was created for the Naviar Haiku group.
501
https://www.naviarrecords.com/2023/08/09/naviarhaiku501-lull-in-the-rain/

2023-08-10

NLS - 2023 - 08 - 10 Lull In The Rain…  (Naviarhaiku 501)

An electronic composition created in Pure Data.

Drift Like a Butterfly (naviarhaiku501)

disquiet0606
Trilateral to Alone
    • Key: n/a     BPM: 42.222     Time signature: 4/4     DAW: Reaper
    • Instruments: n/a
    • Plug-ins: Ozone 10
    • IDEA: Compose a piece of music that is 75% silence and 25% sound. 
    • PROCESS: Decided to make the piece 3 minutes long or 180 seconds. 25% of 180 would be 45 seconds. Used a random number generator to get 45 random numbers between 1 and 180. Used random samples between 1 second and 3 seconds long ( mostly 1 second).Placed them on the timeline at the random numbers generated from the generator.
    • RESULT: 3 minutes piece with sounds playing randomly over 3 minutes.

More on this 606th weekly Disquiet Junto project, Three to One (Compose a piece of music with three times as much silence as sound), at: https://disquiet.com/0606/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0606-three-to-one/

Trilateral to Alone

This week's haiku, by Enomoto Seifu (1732-1815), led me to this improvisation on Mai Tai VST synth. Recorded in Studio One and edited in Reaper, with Frostbite added.
Naviar haiku challenge: www.naviarrecords.com/about/naviar-haiku/

Drifting Butterfly (naviarhaiku501)

More on this 606th weekly Disquiet Junto project, Three to One (Compose a piece of music with three times as much silence as sound), at: https://disquiet.com/0606/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co 1: https://llllllll.co/t/disquiet-junto-project-0606-three-to-one/

disquiet0606 A Quarter Of Everything

Visuals at https://youtu.be/JllskAO5fOQ

everyone gone…
in the wake of fireworks
darkness!

Haiku by Masaoka Shiki https://mypoeticside.com/poets/masaoka-shiki-poems

Picture by Clay Banks https://unsplash.com/photos/u27Rrbs9Dwc

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

visuals (YouTube)

halF fireworkS [naviarhaiku502]

recorded toungedrum with TE´s TP-7/TulaMic
then rerecorded in TE's TX-6 with reduced tempo and played backwards

More on this 607th weekly Disquiet Junto project, Silence Wave (The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music), at: https://disquiet.com/0607/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0607-silence-wave/

silent percussion(disquiet0607)

I had started out with the assignment yesterday… today, I re-read the instructions and found that I might have been on a wrong track. Is it 0-40-60-0 of overall volume? Or the ratio of sound to silence in the overall piece? 

Not being totally sure about this, I started to carve out bits and pieces from the track. I removed most of the underlying drone, dimmed it down to 40 percent maximum, cut off reverb tails, removed some notes, trying to get the „guitar“ part in front.  

* * *
Disquiet Junto Project 0607: Silence Wave 

The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music.

There’s just one step to this project:

Compose a piece of music in which the relative amount of sound to silence starts at zero (that is, no sound), rises to approximately 40 percent (that is, 60 percent silent) and returns to zero again. Keep the pace fairly steady.

Background: This project builds on the two previous ones. You needn’t have done them; do give them some consideration. In the first of the two, each participant composed a piece of music with as much silence as notes. In the second, each composed a piece of music with three times as much silence as sound. Jason Richardson proposed the first project in what has since become a sequence. As that project unfolded, Klaus-Dieter Hilf (aka RabMusicLab) commented that maybe the instruction should have read “sound” in place of “notes.” Since the first project went well, a subsequent project increased the amount of silence, and implemented Hilf’s proposal. This project takes it a step further still.

(...)

More on this 607th weekly Disquiet Junto project, Silence Wave (The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music), at: https://disquiet.com/0607/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0607-silence-wave/

Carved Out [disquiet0607]

An electronic composition, sounds created in Pure Data.

More on this 607th weekly Disquiet Junto project, Silence Wave (The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music), at: https://disquiet.com/0607/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0607-silence-wave/

Tuned Silence (disquiet0607)

This track was inspired by the Disquiet Junto Project 0608 (see below for details);
A field recording made on an IC train in the Netherlands (and already used for the track https://soundcloud.com/rabmusiclab/aankomst-amsterdam-zuid) was fed into the free transcription tool https://editor.flixier.com/transcribe/. The resulting Spanish text was translated into English. The free text-to-speech tool https://ttsfree.com/ was then used to create the voice pronouncing this text.

The field recording and the voice are accompanied by various instruments improvised to the existing soundscape.

The track-title is one of the translated sentences the AI has thought to recognize from the sounds of the train's interior.

The lyrics created by this magical approach are:

Marta,
Educates,
Alicia.
Thank you.
For if we are to what we are.
I have,
I don't know to yes.
Left number, the B.
Yes,
no nothing.
All right,
Miles,
I love me.

Sorry, Marta.
Thank you, Marta.
Don't go on.


More on this 608th weekly Disquiet Junto project, Nature-to-Text (The Assignment: Using a speech-to-text tool, turn a field recording into instructions for a composition), at: https://disquiet.com/0608/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co 2: https://llllllll.co/t/disquiet-junto-project-0608-nature-to-text/

For if we are to what we are (Disquiet0608)

Jonathan Zorn works as a composer, performer, and curator of experimental, electronic, and improvised music. His electronic music pairs improvising musicians with interactive computer systems to create hybrid, human-machine ensembles. Zorn's interest in vocal utterance has resulted in a series of pieces in which spoken language is interrupted by electronic forces, drawing attention to the gap between speech and sound. Zorn has been active as an improvisor on bass and electronics for 15 years and has performed at Red Cat, the Walker Art Center, the Verona Jazz Festival, the Library of Congress, the Seattle Festival of Improvised Music, Line Space Line Festival, and the Chelsea Art Museum. His work has been published in Ord und Bild, the SEAMUS Journal, Notations 21, and UbuWeb. 

disquiet0606 A Quarter Of Everything

Jonathan Zorn

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