Name: Strange Broadcasts by Sam Harvey
Duration: 5 min
Description: Made from recordings of numbers stations and found sounds

FERAL GIRL ERA MIX

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Chris Lake x No Doubt - Hella Good Drug From God (BVRNOUT Rework)

Made from recordings of numbers stations and found sounds

Strange Broadcasts

This is a live recording made on 18th October 2016 at the Melbourne Town Hall at a concert where students from RMIT sound programs were invited to compose a work for the grand organ which is capable of being controlled over MIDI. The concert was recorded on a SoundField ambisonic system and decoded to stereo for this document. 

This piece is derived entirely from the overtones of a low C (32.703 hz to be precise). In "Corrective Services" the electronics serve to present these overtones at their precise "natural" pitch whilst the organ attempts (and for the most part fails) to present these harmonies in equal temperament. The dissonances you hear in the piece are the result of the discrepancies between the equal tempered approximations and the pure natural ratios presented by the organ's electronic "double". For instance the centre of the piece is dominated by the entirely standard chord C E G A# which are the approximations of the 4th 5th 6th and 7th harmonics of C. In equal temperament the 7th (A#) is just a straight sharpened A but in overtone tuning the A# is closer to only a quartertone sharp. In general the prime numbered harmonics of any pitch are the ones that are most deviant with regard to equal temperament. Accordingly they are a constant focus in this and other works of mine. This piece hones in on the 7th (A#), 11th (F#) and 13th (G#)harmonics especially as they are most "alienated" from the "corrections" implied by equal temperament. Gradually through this piece the harmonic series is compressed down to 0.2 of its "natural" proportions, becoming the rising scales you hear at the very end. Simultaneously although most of the piece to that point has been focused on the overtones of C the electronic "double" of the organ appears to believe the instrument is now tuned to the overtones of F# which means that pitches like C and E and G now are grotesquely out of tune when previously they were the only pitches where organ and electronics agreed on matters of intonation.

"Corrective Services" for organ and electronics (live recording)

The rich overtone harmonies produced from subtly interlocked multiphonics dominate the trio klangNarbe (‘sound-scar’) for baritone saxophone, percussion and prepared piano (2014-15), a jagged soundscape whose topography is subject to constant erosion. The metallic timbres and noise spectra of a multi-coloured percussion section (frequently played with bows) are combined with multiphonics from the saxophone and the sounds of a prepared piano, which sometimes pro- duces 17-tone multiphonic clusters. The pianist also plays inside the instrument, producing sharp accents or glissandos with a hard plectrum or generating mi- crotonal cluster-surfaces with a double-bass bow. Here the tension between con- tinuum and event – between stationary surface and sharply etched crosshatching within multi-dimensional overlaps of sonic foregrounds and backgrounds – is typical of Khorkova’s music and assumes especially trenchant forms. The contrasts in the piece are its programme: ‘klangNarbe plays with the contradiction between contrasting compositional materials that are considered irreconcilable and yet are combined in the manner of a mosaic. I create bridges across the lines of frac- ture in this material, bridges visible as scars. The term sound-scars also applies to the work’s genesis, which extended over a very long period of time and was fraught with upheavals.’
The block-like events, separated by distinct gaps, give rise to violent outbursts and accentuations: harsh cluster hammerblows, drinking glasses scraped on thun- der-sheets, roaring glissandi as the saxophonist yells into the instrument. No scar without a previous wound...
Dirk Wieschollek

klangNarbe [2014-2015] for baritone saxophone, percussion and prepared piano

SAM BEAGLEY – TRUMPET  
PATRICK LYONS – DOUBLE BASS 

RECORDED OCTOBER 1st, 2017 LIVE AT FLEECE 1: YOU HAVEN'T FINISHED YOUR APE IN NORTHCOTE 

ARTWORK - ANNA SAVAGE

https://fleecerecords.bandcamp.com/releases

Two people have never been as certain as we are about the mechanism of floating (2017)- FLEECE 1

Performed at Fleece 1.10.2017 by Patrick Lyons & Joel Hands-Otte.

Thanks Sam for recording and Lily for putting on the event!

Southern Bells

Double bass - Patrick

Performance Tilde New Music Festival 2017

Pressure

IMPROV. Nikki, Mirren, Lily 2 - 9/1/18

Depressing Mondays

Melbourne Composer of Contemporary Classical music.

samwilliamharvey@gmail.com

Strange Broadcasts

Sam Harvey

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