Mixed friends 8

A study of Aeolian mode or 'natural minor key'. This mode lacks the leading tone on the seventh, therefore the rule of harmony has to be different from the usual minor key. Harmonic progressions in modal music tend to 'oscillate' near and around the tonic. This gives modes a unique soundscape which can be felt as archaic and unsophisticated, but when done carefully can be strangely charming.

Prelude In D-sharp Aeolian

Joy Lisney - 'Thread of the Infinite'

Performed live at West Road Concert Hall by Cambridge University Chamber Orchestra, directed by Thomas Gould, 13th May 2017.

Joy Lisney - Thread Of The Infinite (Thomas Gould/Cambridge University Chamber Orchestra)

My first attempt at an 'epic' fugue. By epic it means the fugue is comparatively grand in length, complexity, and emotional gravity. It is almost 5 minutes long, consists of no less than 5 episodes, one main subject and several secondary subjects, modulating through at least 5 different tonal centres ('keys'). I also notice that my preludes and fugues are gradually more dissonant but still maintain tonality.

Fugue In D-sharp Minor

This work was revised and recorded on 2/12/2022

Imps and Ogres, Apparitions for String Orchestra

The task this week was to take the first part of an eventual trio and add the second part. Knowing that Junto submissions tend to be ambient and textural, my plan was to find one of those and add a beat to it. But then I listened to "Left Chair" by moduS ponY which already has a beat, and thought it would be fun to build on top of it:

https://soundcloud.com/moduspony/left-chair-disquiet0315?in=disquiet/sets/disquiet-junto-project-0315

I added a sample of "Sugar Rum Cherry" by Duke Ellington, slowed down, stuttered a bit, and run through Ableton's Drum Buss and Echo effects.

More on this 316th weekly Disquiet Junto project (El Segundo: Record the second third of a trio, adding to a pre-existing track.) at:

https://disquiet.com/0316/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0316-el-segundo/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is adapted from a photo by Martin Kenny and is used via Flickr thanks to a Creative Commons license:

https://flic.kr/p/neoFUH

https://creativecommons.org/licenses/by-nc-sa/2.0/

Plucks And Hand Drums (disquiet0316)

I borrowed title from one Czech folk song.

We waited for the spring and so far came frost (Piano Day 2018)

This is a practising routine. I do improvise over changes a lot, but sometimes I like to be able to flow melodically with no harmonic content informing my playing.
I've been improvising on my Sekine custom fretless, trying to find a melodic, lyric way around melodic ideas (Nicholas Slominsky informed some) without sticking to a tonality or tonal centre, being as abstract and hybrid as I could.
Played some slow drums, then add nonsense harmonies on synth pads (particularly blur sounding to keep me away from "playing changes"), and improvised on top of it.

A fast version of the same method follows.
dd april 2018

Keyless Fretless Slow

CCCXXVII was created for Disquiet Junto Project 0327: Time Zoned
Engage with the number 327. Compose a piece of music with three separate and distinct through-lines. Think of each of the three lines as an individual voice. The important thing is that the three through-lines occur in your composition simultaneously. One voice should be in 3/4 time. One should be in 2/4 time. And one should be in 7/4 time.


Thanks Marc, Ethan and Nate for an excellent, inspiring challenge.

I created 3 grooves:

Upright basses(x3 bowed) playing a 2/4 tango groove
DX7 playing my favourite 7/4 gimmick (I used it all over the place since 1988)
Lead Saw synth playing in ¾

Each accompanied by a drum loop using the same sounds but in the matching time signature.

I played separately over a click track you can hear (a string sample and an arpeggiator)

Then I did a mash up of the 3 to create polyphony. It is complex, progressive and a bit chaotic but was a lot of fun.

It goes like this:

7/4
2/4
3/4
3/4 + 2/4
3/4 + 7/4
7/4 + 4/4
7/4 + 4/4 + 3/4


Cheers

DD

Created Friday 6th April 2018 in Paris, France

FREE DOWNLOAD

More on this 327th weekly Disquiet Junto project (Time Zoned: Create a piece of music that is simultaneously in 3/4, 2/4, and 7/4 time) at:
https://disquiet.com/0327/

CCCXXVII (disquiet0327)

Sleeping Dragon

Sleeping Princess

Boson Spin - Ambient Bite 286

Boson Spin - Go Into 123

More on this 331st weekly Disquiet Junto project (Disquiet Junto Project 0331: Born Under a Bad Sine / What does it sound like when a robot has the blues?) at:

https://disquiet.com/0331/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0331-born-under-a-bad-sine/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet 1 for Slack inclusion.

The photo associated with this project is by BrotherMagneto, used via Flickr and a Creative Commons license:

https://flic.kr/p/6MYqH3

https://creativecommons.org/licenses/by-nc/2.0/

more halF unusuaL

halF amseL [disquiet0331]

2018-05-04

departure into the realm of sleep

This started from a idea to use a 'V - I'  sequence that has been used though out the ages..  (reminds me of a staircase).
It starts with that downward zig-zag in the bass at the start, accompanying the 1st theme.  (The 'zig-zag' motif becomes the main cell for exploitation.. The opening melody is also that - though 4x faster than the bass)
 Then the R.H. in the next sequence uses that bass line  inverted as a melody (going upward) -  and the LH takes the melody from the opening, though played in the relative major -   becoming a 2 part invention.  And then  it continues to morph..  
Initially my  intention was for this to work in my progressive studies book, but I didn't keep the guard rails on…  and it ran away with me.

Haunted Staircase 51 ……………………………………………………………fnl 1

Created for:
Disquiet Junto Project 0331: Born Under a Bad Sine
What does it sound like when a robot has the blues?

Can’t quite tell for other cities, but believe me: this is  the kind of music robots like to listen to in my hometown when they get sad and low.
Buenos Aires is a melancholic city, and robots are not spared.

I won’t be surprised if this track becomes a hit among robots, my vacuum cleaner got weird while I was mixing this earlier this morning.
Me too, mind...

Bandoneon performed by Olivier Manoury, the rest by D.D.

Created in Paris, France 
Friday 4th May  2018.
Image by Franck V.


More on this 331st weekly Disquiet Junto project (Disquiet Junto Project 0331: Born Under a Bad Sine / What does it sound like when a robot has the blues?) at:
https://disquiet.com/0331/

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

When Robots Cry in Buenos Aires

When Robots Cry In Buenos Aires (disquiet0331)

Thanks a million to Mike Nelson https://soundcloud.com/mike-nelson-93/tracks for starting this track and letting me finish it!

Wink at the Moon (w/Mike Nelson)

3.0.0.4.

Curly Compositions from a German Composer.

Mixed friends 8

Robert Knote