Deadline: 1st February 2023

All submissions to Haiku 473:

https://www.naviarrecords.com/2023/01/25/naviarhaiku473-sudden-breeze/

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 #473: sudden breeze / every strand of the spider’s web / in tune

Charrum

Cuerpo Celestial

BiM BiM

The story is told in two acts;

both acts are ‘‘é®±’Ω˙, using only

vaguest of: colours, movements, and shapes.

-

**ACT I**

Colours: blue and orange, interspersed with a bit of red, green and smudgy white;

Movements:

* erratic (chaos)
* multidirectional and short-lasting, as if viewing a galaxy from outside an event horizon*
* swirl that makes sense for only a few moments but keeps swirling,
upholding momentum but no,
no story or:

*no correlation between the sprawling, sculpting lines.*

*dimply smudged, incomplete.
* unwavering
* undisturbed, spacious movements that follow each other almost seamlessly;
* high contrast, stronger hue and light against darkness, clear black and white colours.

* laconic
* exactly two movements are shown before an interval between them.
* after the interval,
a new movement is shown.
* This continues in a repetitive loop.

Shapes:

* a simple, a very simple shape is shown repeatedly.
* the shape is painted a clear colour; the drawing is

almost technological in

a way, purely outlines and

a simple pattern.

Time:
* the first act has two sequential musical compositions by Ocsid.
* the two compositions are shown along with two identically long repetitions: of

music and visuals.

* the compositions stay in medias res.

**ACT II**

Colours: bright, opaque white, pitch black and subtle smudgy beiges.

Movements:

* short, staccato and fast
* light, quick brush
strikes against the paper, adding light, white pigment onto the beige, almost white canvas.

* slightly slower in both moves, but overall very quick and comprised:

of four different movements that are in a repetitive loop.

* controlled
* follows some invisible lines,
sometimes a movement or two branches out and then follows the main line again.

* pixelated

* at first the movement is

a continuosly fluid one, but towards

the end of the composition,

it seems like the movement

is comprised of countless small movements;

technically it still is

a fluid movement, but

visual it seems that these

small movements are

composed of smaller

moves and so on –

the brush-stroke can

be seen as individual blobs:

two in one, four in one, eight, sixteen and so on.

Shapes:

* a line is drawn against

the paper, growing thicker and

thicker as the movements expand and

multiply; it is thick enough

to be called a hexagon,

but with a few quick movements

it becomes a line again.

Time: the second act
* has a longer

composition, which

starts out with

a wibe, and

almost slow,

dragging

movements

and slowly builds

up to a

stronger,

blistering,

pythonian

signature

ﬁnale.

.˛˘ ⁄>\\⁄√/|¸ •.

sudden breeze
every strand of the spider’s web
in tune

haiku by Mark Miller

picture by Tamas Kolossa https://unsplash.com/@kolossaphoto

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

fundal shed

halF suddeN [naviarhaiku473]

Kothluwalawa

Wana Gi naviarhaiku473

Electronic composition, sounds created in Pure Data.

Web (naviarhaiku473)

Music in response to poetry.  

         sudden breeze
every strand of the spider's web
                 in tune

This work is licensed under CC BY 4.0._full

Sudden Breeze Every Strand In Tune (naviarhaiku473)

sudden breeze
every strand of the spider’s web
in tune

Mark Miller is an award-winning poet and photographer who has published four books of poetry, the latest being Light and Counterlight (Ginninderra Press, 2020), a selection of his haiku from over 400 that have been published in international journals and anthologies. His haiku have been featured on buses and trains, on the walls of a public swimming pool, and on art installations in parks and malls. Mark lives in Shoalhaven Heads, Australia.

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

Deadline: 1st February 2023

haiku by Mark Miller

picture by Tamas Kolossa https://unsplash.com/@kolossaphoto

Every Strand Of The Spider's Web (Naviarhaiku473)

This is a recent rework of a previously shared track, 
https://soundcloud.com/daniel-diaz/silencio-first-demo-version

I reduced and simplified the arrangement and instrumentation, and I feel that this one's the good version for proper release (but I might be wrong), so it is my first 2023 single.


Shared on Feb/2nd/2023 for https://llllllll.co/t/disquiet-junto-project-0579-memory-serves

This is the version I finally released,
https://open.spotify.com/track/0RG0q9pSfrl725mBlcLqjf?si=42df3429ed664047

Silencio (version 2) disquiet0579

winter dawn
all forest paths
are mistakes

---------------------------------------------------------------
Haiku by Yossarian https://twitter.com/InFacsimile
Picture by Simona D'Auria https://unsplash.com/@sidphoto
Music : Nukumori Eugene / Nx  https://a-tale-of.bandcamp.com/
IG: www.instagram.com/jinsei_books

Winter Dawn - 雪路  [naviarhaiku474]

Disquiet Junto 0585 - The Assignment: Fast forward an old track to make a new one.
An abstract ambient track of around 9:30 was the source, from a 4 track EP I made a few years back using only the Reaktor Ensemble “West”, a simple Buchla-inspired instrument made by Icaro Ferre.
I'd usually use a tape machine for this but felt like doing it digitally this time. Sliced the original track in half bar intervals then only kept one out of every 3 to drop the track to just over 3 minutes. Pulled all the remaining slices together and bounced the result, leaving the clicks from slicing as a rhythmic element.
Added a reversed version of this which you can hear panning left and right.
Added some found percussion recorded with various farm machinery on my in-laws property.
Added a few simple tonal elements.
-------------
More on this 585th weekly Disquiet Junto project, Generations (The Assignment: Fast forward an old track to make a new one), at: https://disquiet.com/0585/

More on the Disquiet Junto at: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0585-f9/

disquiet0585 17.3.23 - F9

2023-05-22

Quiet Sunday

Generative synth patches and some field recordings.

Blink and it's gone

Title:
Earth

1: "Earth", 05:02 (00:00)
2: "Parting", 06:22, (05:02)
3: "Trees", 05:28, (11:24)
4, "Insects", 1:35, (16:52)
5, "Visitor", 04:23, (18:27)
End (22.50)

Dates:
01-Nov-2025 (inception), 01-Nov-2025 (finalised), 04-Nov-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund
Music Video by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/earth

Description:
After recording "Granie Demo3 - Lyra Dreams The Halloween Edition" (Ref. [1]), I had to have a wind down session just jamming out, or was it going more hyper -- you be the judge.

Tracks 1, 2, 3 and 4 were recorded DAWless on the Granie, feeding it the Soma Lyra 8. Granie is my granular synthesiser Ref. [2].

Track 1 used a definite tuning library, whereas for tracks 2, 3 and 4, it was all modified and improvised. The tuning is listed below, negative frequencies meant play backwards, these were the grain play-back frequencies, which may differ to the human perceived frequency.

Grain Bank 1 frequencies [Hz]:
1: -1.635
2: 0.265
3: 0.985
4: 1.465
5: 2.165
6: 2.865
7: 4.165
8: 12.465

Grain Bank 2 frequencies [Hz]:
1:14.
2: 3.
3: 13.
4: 20.
5: 25.
6: 32
7: 28.
8: -2.4

Grain Bank 3 frequencies [Hz]:
1: 3
2: 14
3: 17
4: 22
5: 23
6: 25
7: 41
8: 47

Grain Bank 4 frequencies [Hz]:
1: 117
2: 122
3: 125
4: 129
5: 131
6: 136
7: 141
8: 40

The tuning was determined one grain bank at a time, all by ear, ensuring each new bank's ith note worked well with the next bank's ith note.

For track 5, I was curious what the tuning of track 1 would sound like with a fixed discrete tuning instrument, so took the raw track 1 tuning and put it into Ableton Live, an exact replica of tuning but with no granular synthesis human perceived tuning corrections. Some selective octave reduction was also used, this tuning is shown below:

ID, Bank, Local, FreqRatio, Cents
0, 0, 0, 1.000, 0c
1, 0, 1, 0.162, -3150c
2, 0, 2, 0.602, -877c
3, 0, 3, 0.896, -190c
4, 0, 4, 1.324, 486c
5, 0, 5, 1.752, 971c
6, 0, 6, 2.547, 1619c
7, 0, 7, 7.624, 3517c
8, 1, 0, 1.070, 118c
9, 1, 1, 0.229, -2549c
10, 1, 2, 0.994, -11c
11, 1, 3, 1.529, 735c
12, 1, 4, 1.911, 1121c
13, 1, 5, 2.446, 1549c
14, 1, 6, 2.141, 1318c
15, 1, 7, 0.183, -2936c
16, 2, 0, 1.835, 1051c
17, 2, 1, 8.563, 3718c
18, 2, 2, 10.398, 4054c
19, 2, 3, 13.456, 4500c
20, 2, 4, 14.067, 4577c
21, 2, 5, 15.291, 4721c
22, 2, 6, 25.076, 5578c
23, 2, 7, 28.746, 5814c
24, 3, 0, 1.118, 193c
25, 3, 1, 1.166, 266c
26, 3, 2, 1.195, 308c
27, 3, 3, 1.233, 362c
28, 3, 4, 1.252, 389c
29, 3, 5, 1.300, 454c
30, 3, 6, 1.347, 516c
31, 3, 7, 0.382, -1665c

I used a bell instrument, ok, this is weird, the tuning, not the instrument, but it worked, 8 notes for each of the Granie banks, strung together into 32 notes and just stuck with only using those 32 notes. I realised I needed a timing track, so picked a drum set and set the Push2 midi controller into 1/16th repeat note mode and improvised some drums into a 21 bar section. Improvised on the Bells track into 18 bars. Put the percussion and bells into looped playback and improvised on the Lyra 8 -- one take, improvised tuning oh ya.

This was all done in the session view of Live, then bounced into the arrangement view ready to play back and do the mastering by putting in volume swells for interest.

You can hear the whole album on my YouTube channel at:
https://youtu.be/Dd1BKzmb1hU

References:
[1]	Granie Demo3 - Lyra Dreams The Halloween Edition, Link: https://youtu.be/5HTL0VaQpvI
[2]	Granie, Granular synthesiser by Norman Freund, purchase at: https://normanfreund.gumroad.com/l/granie


Insects

Partager, écouter, faire partager les émotions

Naviar is a music community and label. Through regular publications, open projects and events, we explore the connection between experimental music and traditional Japanese poetry.

To join the Haiku challenge, visit https://www.naviarrecords.com/about/naviar-haiku

Wana Gi naviarhaiku473

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