Poly etude 24 with Reaktor swapped out for Csound Cabbage vsti plug in of Iain Mccurdy's amazing FM synthesis Klang. I states that if anyone uses it without his mention he will kick some ass. So...I mention. All I did was convert it into a plug in and import it into Reaper. That's it. I swear. nothing more. OK Iain?

Poly29 mit Klangen Auf Der FM

a midi file imported into csound blue frontend and some robot voices employed in the rendering of this short work. 2024

Direct Digital Synthesis Robot Etude for Drunken Robots

Not made on my piano ;D

Using the magic abilities of a midi, sytrus, my imagination and MICROTONES! to create . . .
My little demo of whatever this is :D

Microtonal Demo! in 25edo

Experimental electro-acoustic work composed/produced by Natty Purbrick. 
Exploring microtonality through the acoustic and electronic.

Tuning Works

This is a new recording of a piece I wrote originally in 2020, for the wonderful Duo HEDDA (Sophia Goidinger-Koch, violin, Klaus Haidl, guitar). The piece was then premiered only via stream (because of COVID-19) and has since been performed mostly without any live audience, leading to the concert of January 17th, 2025 to be one of the first concerts with an actual, live, in-place audience. It was a very rewarding, lovely experience, and the piece did seem to have resonated with some of the audience members quite a bit. The performers of this concert were again Sophia Goidinger-Koch and Klaus Haidl / HEDDA.

Earlier, I wrote about the music:

The piece is a delicate interplay of small and fragile sounds, perhaps like the dance of particles or a microscopical impression of supersensitive nervous textures. It is an attempt to approach the idea, semantics and the metaphorical surroundings of "intimacy", but in a somewhat sophisticated, subtle, and - necessarily - mediated way. The two instruments mostly act as one sound-body, complementing, reciprocating, or mirroring their respective gestures and fragments. This happens in several axes of reflection: mostly, the reactions are immediate, or in very close timely range, but there are larger distances, too large, in fact, to be perceived directly, where this happens, too. Furthermore, these axes have more dimensions than just the direct imitation - they might be harmonically linked, or linked in a transposed sense, or even connected via a transformative device (which sometimes is necessary simply because of the difference of the two instruments). 

It is a very soft, very tender piece in many ways, it seems, the two instruments orbit around this idea of "intimacy", and this in itself is very intimate playing, and yet there is, in all their being connected, always an unsurmountable difference, the very threshold separating us from each other, too.

With this, I leave you to, hopefully, enjoy it!

studies in intimacy II the deep mirror (17-01-2025, HEDDA)

Vezdesushchnost [18-EDO]

ZOVNISHNIY SVIT [15-EDO]

Sirène de l'ombre, silence

i made this in like 90 minutes as part of an untimed challenge so dont expect the best music youve ever heard also ive never actually used 5 edo before

5 edo speedrun

This is a track frp, Christian Tafdrup's horrifying "Speak No Evil", which had its world premiere at Sundance Film Festival in January 2022, produced by Profile Pictures.

Stream the whole album HERE: hypeddit.com/jqsmzv

Composed, orchestrated and produced by Sune "Køter" Kølster

Recorded with FAMES Project / The Macedonian Radio Symphonic Orchestra
Conducted by Oleg Kontradenko
Recorded by Sasha Jankovic
Pro Tools operator Teodora Arsovska
Stage managers: Riste Trajkovski and Ilija Grkovski
Mixed af Sasha Jankovic, Sune "Køter" Kølster
Album finalmix by Casper Belmaati
Album master by Sune "Køter" Kølster

Soundtrack Album was released March 2022

SPEAK NO EVIL - Crossing The River Styx

My first full orchestra piece since my very favourite Symphony of Bees (https://heartfulhealing.co.uk/track10) from November.

This is Part II of a 2-part piece where I'm exploring different ways of treating orchestral themes.  Part 1 (which you can hear at https://heartfulhealing.co.uk/track17) is a much more conventional treatment, based on a traditional 8-bar melody and more tonal.  This second movement is much more exploratory, and I've given myself freer reign to write in a more personal way.  Rather than one traditional melody, there are 5 main thematic fragments (3 of which have been anticipated in the Part I) that come together in different ways through the movement, but with plenty of interesting deviations too.  It includes some evolving soundscapes and my most extensive and integrated use of microtonality to date.

You can find out more about this piece, and hear Part I, at heartfulhealing.co.uk/track17

Track 17b - Themes For Orchestra, Part II (June 2025)

These are two voice field recorded tracks, made in an abandoned U-shaped concrete military tunnel-like structure. The chatter of swallows and other ambient sounds occur. This is unedited, and no effects are added. 

tune to this moment

Hi, another one of my tracks, I have been making an Album so I haven't released much, so here is something to fill the gap :3

Made in FL Studio 21

That One Dorm

i think i used microtones but 100% didnt achieve anything decent

Tried microtones i think and      NOPE!

The final movement of what will be my first Narrative Suite, "Stardust to Ashes". It is written for two alto saxophones, grand piano and pipe organ. It requires extended techniques such as vocalized multiphonics, microtones, altissimo, scoops and turning off the organ while it is playing.

Inspirations:
Kepa Lehtinen - "Face Plant"
Moon Hooch - "On the Sun"
Snarky Puppy - "Lingus"

Fall on the Sun

Random as hell just experimenting and I'm pretty much a noob so don't expect much need an harddrive so I can stock up on sounds and vsts and some kinda audio interface so I can stop using piano roll so much and also ain't really got musical theory so limited in skill 😂

I create music, what more can i say here!?

Also i plan to create a videogame

Find out more about me and my composing journey at https://heartfulhealing.co.uk/music

Sune "Køter" Kølster (b. 1976) produces film music that combines the art of classical composition with the energy and edginess of the extreme underground music scene in Copenhagen he is coming from: 
Operating with the extremes of human nature has always been his approach to composing, touching people deep in their hearts his aim, and utilizing all compositional means necessary his technique.

With a masterdegree in Filmmusic, a bachelor in Musicology, writing for symphonic orchestras, ensembles and musicians on an international level as well as performing in various genres from hardcore punk to psychedelic jazz-folk and Middle Eastern Rembetika, Sune is having a great musical vocabulary he is using for setting the right mood in his filmmusic. Working with top-international level classical musicians, as well as recording noizy guitars and local musicians in his own studio, he tries to give each film the soul it deserves.

As one of very few western composers, Sune have developed techniques writing in the unique field between classical / modern composition and arabic / middle-eastern tonality, and is getting more and more involved in contemporary middle-eastern musicscene. This skill does not only make him a good choice for directors needing a real middle-eastern soul in their score, but also gives the music a totaly unique sound and emotional depth.

www.hannesdufek.com // hannes_dufek@gmx.net

I am a Vienna-based composer, improviser and musician. Mostly contemporary / new music, with an emphasis on socials space(s) and agencies emerging from artistic practice. Maybe consequently, I am also very interested in making music and sound for theatre and/or theatrical pieces, or other ways of working with music and sound beyond the finite space of concert practice.  

www.hannesdufek.com

Freelance composer, sound artist, improviser and musician * Dad of two (2020, 2023) * Co-founder and long-time chairman of Ensemble Platypus (2006-2019) * Member of makemake produktionen (2011-2017) * As of 2019 holder of a doctoral degree (Dr.artium)* Educator at MDW / Vienna (2023)

Some scores are available at Verlag Neue Musik and via babelscores
http://www.verlag-neue-musik.de 
https://www.babelscores.com/HannesDufek

Other links you might be interested in:
www.platypus.or.at
www.makemake.at

To all concerned: 
I am announcing publication of my new book, NOW AVAILABLE:
https://www.routledge.com/Maqam-Melodies-Pitches-Patterns-and-Developments-of-Music-in-the-Middle-East-and-other-Microtonal-Writings/Thoegersen/p/book/9789815129052
My book, Polytempic Polymicrotonal Music, is available on Amazon. 
https://www.routledge.com/Polytempic-Polymicrotonal-Music-The-Road-Less-Traveled/Thoegersen/p/book/9789814968294

I have a new album out through Magic&Unique Group Records on Spotify and other digital streaming platforms:
https://open.spotify.com/album/5qWHmcvyAemvVn2TJH1bio?si=OD5TmPptQ-ypr8WOI0EZKA&nd=1

https://whitecentipedenoise.com/products/peter-thoegersen-facebook-cantos-cdr-flea
My CD via Flea label has been out since April, 2021, featuring the wonderful Lore Lixenberg singing over my microtonal piano accompaniment
Hope you enjoy it!

https://www.newworldrecords.org/collections/vendors?q=Peter%20Thoegersen

From the liner notes on my CD now available on AMAZON and New World Records:
"The author of these notes has spent his life explaining radical music, and the music on this disc may be the most radical I've ever written about. Peter Thoegersen (b. 1967) is not yet a name known to the music world; not for any lack of connection to other famous musicians, but because he came to composition late, and because his artistic aims are so broad and complex that they have taken years to evolve. His aesthetic is well defined, and he is upfront about having a name for it: "Polytempic Polymicrotonal Music." That means he has musical layers simultaneously moving in different tempos, plus, even more radically, that he has different microtonal scales playing at the same time. Few composers have aimed at such fervent and heterogeneous multidimensionality. And yet, while Thoegersen's music can seem overwhelming at first, running through it is a level of charm and simplicity that belies the initial impression.

In total, these three pieces emphasize a particular side of Thoegersen's output. The image his music creates of ornately mathematical structures filled with intuitively friendly melodies maps on to the personality of the man himself: outspoken and acerbically ruthless in his musical opinions, Thoegersen is also marked by a jolly sense of humor and an inexhaustible love of cats and other animals that make him ultimately less imposing and more personable than he might seem at first. The same can be said for his music. And by going further than anyone else has gone in terms of this particularly American concept of fusing the polytempic with the polymicrotonal - extending and combining the conceptual worlds of Ives, Cowell, Nancarrow, Partch, Carter, even Frank Zappa and many others - he has created a special place for himself within American music."                                                             

-Kyle Gann (from the liner notes)

experiments in sound, listening, duration & perception

New tracks tagged #microtones