Anything (Prelude)

LDSR 237 - ckswanecamp(4)

LDSR 240 - ckswanecamp (1)

23Feb26
https://soundcloud.com/stan_magendanz/sets/soundtrackery
😎

Soundtrackery_11

no recognizable parts_06

https://open.spotify.com/album/3Sx6JtqerCxuGlwtKq8CYa?si=-S_OqMuaReyuDr76IoulJw

Как тень ясна

Warehouse job

Considering what's inside for a change_02

The color green

WATER  GAMES    6

Title:
Indivisible

Dates:
14-Mar-2026 (inception), 15-Mar-2026 (finalised), 17-Mar-2026 (released)

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

1: Indivisible - Part 1, 09:39
2: Indivisible - Part 2, 06:06
3: Indivisible - Part 3, 07:19
4: Indivisible - Part 4, 05:08
5: Indivisible - Part 5, 04:39
6: Indivisible - Part 6, 04:30
Total 37:21

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

SUMMARISED VERSION, see my BandCamp or Social Media page https://www.facebook.com/norman.freund.545/ for
full details.

Description:
An exposition of relative tuning schemes based upon prime numbers. All performances using the Soma Lrya 8 and Soma COSMOS with the help of multi-tracking digital recorder, FindTheBeat.

Prime number ratio schemes used:
Scheme 1:
3:5:7:11:13:17:19:23

Scheme 2:
43:47:51:53:59:61:67:71

Scheme 3:
3:4:5:6:7:8:9:10

where tuning ratios, r(i)
r(1):r(2) ... r(i-1):r(i) ...
are the relative ratios between adjacent notes
r(i)/r(i-1)=f(i)/f(i-1) for note index i
f(i)=frequency [Hz] of note index i
f(i)=fref*r(i)/r(1) for i=1,2 ... 8
fref=fixed reference frequency in Hz

Before each live performance. The Soma Lyra 8 was tuned to specific frequencies selected from the above three choices. In some cases, during the performance, the tuning was altered artistically.

Part 1:
***
Relative Tuning ratios of
3:5:7:11:13:17:19:23
with a reference frequency 30 Hz

The first oscillator with a frequency 30 Hz would normally be barely heard, but with higher harmonic content and combined with 50 Hz of the second oscillator gave an interesting beating effect.

Part 2:
***
Part 2 took a 1 second portion of Part 1 recording and played it back in three tracks simultaneously but at different speeds of x-1.6 (backwards), x1.6 (forwards), x3.22 to provide a background drone. The Lyra 8 was then played melodically over this freely improvising the tuning.

Part 3:
***
Relative Tuning ratios of
43:47:51:53:59:61:67:71
with a reference frequency of 215 Hz

The Lyra 8 has certain "sweet" spots for frequencies, the root of 215 Hz was one of these but was also conveniently 43*5. "Sweet" can have many meanings, here it just meant a frequency that gave a spectrum the suited the evolving mood this piece put me in.

This tuning was weird and pleasant all at once. The "sweet" spot soon turned into a gritty spot, ah the luck of the draw. This did put me on a different trip for this part. The COSMOS was purely for reverb for Part 3.

During the performance, once the feel of the tuning was established, I slowly began to erode it through small changes in tuning, then by the end the relation to the original tuning became irrelevant.

Part 4:
***
A three second portion of Part 3 recording was played back simultaneously at three different play back speeds of x-0.3 (backwards), x0.6 (forwards), x 0.7 (forwards), acting as a drone. Then improvised on the Lyra 8, freely adjusting tuning. Extensive use of artistic live adjustments of feedback gain and delay times native to the Lyra 8 were used here.

Part 5:
***
Part 5 provided a contrasting harmony, aiming for  a more consonant tuning with relative tuning ratios of
3:4:5:6:7:8:9:10
with a reference frequency of 102 Hz

Just one track recorded on the Lyra 8, plus some creative looping on the Soma COSMOS using the Rhythmic firmware, algorithm #5 favouring 1/6 rhythmic ratios.

Part 5 is the calm before the storm.

Part 6:
***
Going off with a bang!

I used the same tuning of Part 5 but gradually increased the distortion amount. When using such low Just Intonation ratios like 3:4:5 ... , distortion can work really well. This time the COSMOS was used only as a reverb unit, no tuning adjustments on the Lyra 8.

As the distortion was increased, different harmonics came to the fore.

There was also a sense of entropy going on here, starting with a pure tuning with little distortion, adding more distortion, a gradual erosion.

Indivisible - Part 1

Welcome to my place of musical experiments and my endless journey of exploring new sound textures, rhythms and melodic ideas. I am a multi-instrumentalist coming from a background of having actively played, harmonica, recorder, piano, organ, clarinet, tin whistle, pan pipes, guitar, violin, Shakuhachi, jaw harp, didgeridoo and accordion. My genre is mostly a fusion of Jazz and Soundscape, however I often seek inspiration from a wide variety of music, Celtic, Rock, Heavy Metal, Classical, Folk, Micro-tonal, just to name a few. I also build my own instruments, various Shakuhachi using them either directly in recordings or sample the sounds to incorporate in pitch shifting tools in Ableton Live. I often set myself a music challenge, taking every day sounds not considered musical, sampling, transforming and moulding them into a virtual musical instrument. Experimenting with evolving polymeters is a favourite feature of my works. I have been classically trained but soon ventured into free improvisation, which is my happy place.

I am based on the South Island of New Zealand, enjoying the great outdoors there. I often take inspiration from this for my music and associated cover art.

I have a no cover’s policy, all my works being original compositions, the only exception would be the odd jazz interpretation of a Bach piece from the Baroque era. My percussion sections do not use any artificial intelligence drum machines, nor do I use auto tuners for my violin playing. Paid likes and plays — none of that either. 

I also participate in musical collaborations, from accepting sound samples to see what I can do with them, to instrumental collaborations. Send me a message if interested.

Please join me on this wonderful journey of music exploration.

Indivisible - Part 1

Norman Freund

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