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Ancre gaming background music (FREE DOWNLOAD)

There are 362,797,056 ways to partition a three octave span into three aggregates.  Once you do so, reading each aggregate from low to high, you get three 12-tone rows.  If you further require that those rows feature at least 7 distinct interval classes, the 362,797,056 possibilities reduce to just 46.  One of those 46 possibilities plays the role here of a passacaglia-like chord progression.  

There are 144 ways to have three triads sit within the aggregate without any overlap.  Remarkably, one can cycle through those possibilities so that each step turns up just one new triad.  Such a cycle provides the figuration for the variations. 

The overall effect produces a counterpoint between two opposing notions of harmonic rhythm, one based on the cycle of aggregates, and one based on the the featured triads.

A Friendly Accord between Aggregates and Triads, for guitar

If a twelve-note chord features all the pitch classes, you can read it up to get a row. If the chord sits within three octaves, it can feature at most 7 different intervals (because 1+2+3+4+5+6+7+8 =36).  There are just 46 ways to partition the 36 pitches in a three-octave span into three such chords.  

Each "variation" projects one of the 46 possibilities.  You hear each of the rows three times, but with the notes transposed into the three different chords.  

As with much of my music, there is no literal repetition, but also no attempt at "high profile contrast."  Rather the music invites the listener to attend to small differences, and in this case, exactly the small differences imposed by the universe or by the mathematics or however you prefer to think about it.  

It's hard to come up with "questions" like this, questions that indeed turn out to have a manageable but non-zero number of solutions. But having fixed such a question, the set of solution lies beyond human control.  The universe provides what the universe provides.  
This accepting of what I get interests me aesthetically, as does the privilege of having sufficient computer power now in the 21st century actually to discover all the solutions. 

Score on request.

The 46 Possibilities (Not Your Grandparents' 12-Tone Music VII), for bass clarinet

On the right spring night in the right place and after a hard winter, few pleasures in New England compare to hearing a chorus of frogs near a pond or lake.  Relentless. High-energy.  The sound somehow consistent and chaotic all at the same time.  And then somehow they all just stop.

Though not mimetic, this piece celebrates that sound and the aesthetic that would prize it.

Milton Babbitt invented a twelve-tone structure called combinatorial arrays, where rows somehow combine contrapuntally to yield other rows.   He found arrays challenging to construct and would actually compose many works out of the few he managed to make.  

I've developed computer techniques to enumerate exhaustively all the arrays connected with a given row.  Just three such arrays provide all the material for this piece.

Unlike traditional serial music, I make a point of not compensating for the rigidity of the system by creating  layers and layers of fleeting intuitive details.  Straight ahead music here.  The arrays don't get transposed and that means the sound of the row itself becomes very familiar.  I do create contrast using tempo, articulation and dynamics, but I don't consider contrast an end in itself, but just a means to avoid fatiguing the ear as a strictly minimalist approach might.  But minimalism definitely informs my outlook here.



Peepers, for saxophone quartet

 If at very first this music strikes your ear as cacophonous, then perhaps after a minute or two the harmonic and contrapuntal logic may nevertheless emerge.  Though atonal and indeed strictly serial, the plan features a cycle of "harmonies," roughly as in a Baroque chaconne and highly linear voice leading.   

Part of my ongoing project to explore new ways to reconcile traditional music values with those still(!) controversial 20th century techniques widely understood to represent a complete break with the past. 

An Unceasing Storm is a Kind of Calm, for piano

Emancipation

08.Obscurity

04.Intricacy

03.Grief

A sound bit from an interview with Patti Smith by Christian Lund at the Louisiana Literature festival at the Louisiana Museum of Modern Art in Denmark in August 2012.

https://www.youtube.com/watch?v=L2EO3aXTWwg

Analog Conversations

A note to Artists - Patti Smith

A combinatorial design with 33 chords linked as 11 triple-tetrads linked by 2 notes wherein each triple-tetrad is itself linked by 3 notes.

Rozenring

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

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Handmade Artist!!!
Music, Photography, Performance
Pro 1988 / Exp 2033

Synthetic , usually composed rather than improvised, constructions based on or derived from sequences of tetrads or higher order columns of minor and major thirds. Probably breaking counterpoint and crossing the streams.

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