14 October 2022
Image - Object from Hans-Jörg Georgi

MOTIONLESS FLIGHT

02 Ulgedrugle (2009 - 2022)

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幸福な家はどれも似ている：Happy Experimental project has started!

Shinjuku - RR [First Clip Launch Session FCLS]

Scraping My Pain, Then I Heal (2021) | Michele Abondano

TRANSMISSIONS  ZX  -  5

The angles share.

Tubs

DANMUR

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

minor differences

minor differences (2019)

Website: www.micheleabondano.com
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