This piece is made from a small sample of an original song by myself and Joseph Capps, using granular synthesis (software courtesy of Benny Riebel) and intuitive use of mathematics of harmony and a bit of musical fiddling lead to this polyrhythmic, arhythmic, 'microtonal', pure harmony just intonation, ambient, chill-out track. Enjoy!

Granulaurora

Each of these 6 tracks features a 6-stage call and response, the player (Hepzibah Deane) is asked to play for 4 seconds, roughly keeping to 120bpm (2 bars) and then wait for 16 seconds, within this 16 seconds is played back to them the 'response' which is made up of layers of the 'call' with there waveforms changed in speed by factors based on small numbers (2, 3, 4, 1/2, 1/3, 1/4, etc) (eg: half speed = 2 x duration and one octave down) such that a polyrhythmic, harmonic layered texture, which almost resembles a very short Fugue, is created. The responses start off using factors related to 2 (octaves) and progress through different, intrinsically linked, polyrhythmic, harmonic patterns up until factors related to 7. The 6 tracks all use the same algorithms to generate their 6 responses, but are all unique thanks to the unique 'call' each time. 

Call & Response Flute 6

Call & Response Flute 5

Call & Response Flute 4

Call & Response Flute 3

Call & Response Flute 2

Call & Response Flute 1

My interpretation of a fugal piece of music incorporating septimal (to do with 7) intervals and temporal patterns. The 'subject' at the beginning of the piece (first 25 seconds) is taken from a sample of J.S. Bach's Partita in A minor [played by Heppy Deane, recorded by Tom Copley, available here: http://www.heppymusic.co.uk/listen/] slowed down to one tenth its original speed (making it lower pitched and slower without destroying the waveform). The rest of the piece is made up of layers of the same sample at different 'speeds' altered in such a way that gives octave, perfect fifth and septimal based intervals and polyrhythmic patterns.

Mattheusic