redox

I See It Now, Pt. 1 (Single Edit)

This work wouldn't count as "12-tone music" even though it is based on an extraordinary tone row recently discovered by the composer.  And it also wouldn't count as "tonal" even though it unabashedly deploys some triadic harmonies.  And it's also not one of those pieces that pushes to the boundary of atonality or, though primarily atonal, flirts with suggestions of root progressions.  

To explain: there are about half-a-billion 12-tone rows total, and still about  10 million when you count only up to the usual transformations.  But this row
[ 0 3 1 9 2 8 10 11 6 5 4 7 ]
enjoys a unique, 1-in-10,000,000 property.  Consider the ten internal 3-note sequences 
[ 0 3 1 ], [ 3 1 9 ], [ 1 9 2 ], [ 9 2 8 ], [ 2 8 10 ],  [ 8 10 11 ], [ 10 11 6 ], [ 11 6 5 ], [ 6 5 4 ],[ 5 4 7 ].   They all turn out mutually
so different each-to-each that you can't mistake one sequence for a transposition of another even if some or all of the notes get nudged up or down a semitone!  So that means, in principle, the listener can know where she is inside the row even with only dodgy relative pitch!

Multiply by 7 and semitones turn into 5ths.  So instead of using the original row to control pitches, this piece uses the related row [ 0 9 7 3 2 8 10  5 6 11 4 1 ] roughly speaking, to control key centers.  Since this new row stands to the cycle-of-fifths as the original one does the chromatic scale, now instead of inflecting up or down a semitone,  you get to replace any chord note with its dominant or subdominant.   The result: no collision between the 10 3-chord progressions can occur, no matter what the substitutions. 

The hidden skeleton of this work comprises four statements of the second row (but overlapping, and with the middle two transposed). Thus one may think of the work as 40 variations, each exploring one of the 3-chord sequences, but with constant substitution as described above.  Each variation consists of 15 phrases (for no particular reason).  But the phrases move from low to high,  making them easy to count off when you first try to follow the structure.  Eventually your ear will just "get it" and after a few listens you'll find you don't need to count to hear the harmonic changes that distinguish each variation from the next.

Altocumulus stratiformis translucidus undulatus, for solo piano

Inspired by the techno DJ sets of Mazuu. Catch her on twitch at: https://www.twitch.tv/mazuumusic

Released via Headphone Music Label

Goddess of the Sea

PaidInTheStreets V2

A track that didn't quite make it onto Binary Forecast.

SeeYouSoon

My first official release. I hope you enjoy! You can download the EP for free at:

http://www.kahvi.org/releases.php?release_number=403

Binary Forecast

Graphene

My first official release. I hope you enjoy! You can download the EP for free at:

https://redox.bandcamp.com/releases

Reliqua

Xenith

Null

Juxtaposition - two things being seen or placed close together with contrasting effect.

Discordance makes better harmonies.
The wrong range is the right range.
A listing rhythm is the only rhythm.
Backward is forward.

Broken in a pleasant way.

Juxtaposition Blues

Old Ways (Radio Edit)

Wonder

The Roland D-110 drives the bassline and the general structure of the track. The sound generated by the Roland unit is dynamic and has this real feel to it, allowing space for interesting ghost notes and general dynamic touch. 
The bassline, combined mystery-creepy feel of the atmosperic FM generated sound and a downbeat drum track, resulted in an in a surprisingly interesting "high tech robotic dublike thing".

Reliqua

redox

Recent comments

DjSilverRain

city at worlds end

Related tracks