I love the title and I love the warm surges on the bass/feedback-ish side of things. The textures are cool

stillness:
the sound of petals
sifting down together.

Miura Chora (1729-1780) was a Japanese poet from Toba (present-day Mie Prefecture). Early in his career, he came into contact with the Teimon School, and bonded with the great Yosa Buson. An admirer of Matsuo Bashō, he strived for a return to the simple tones and spirit of the latter's poetics, criticizing the vulgarization of haiku of his era and advocating the so-called "return" to a Bashō's style.

Haiku by Miura Chora: https://www.goodreads.com/author/show/7303145.Ueda_Akinari

To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

more halF unusuaL

halF siftinG [naviarhaiku571]

Part of the Naviar Records Haiku Challenge: https://www.naviarrecords.com/naviarhaiku571-stillness/

YT Short: https://youtube.com/shorts/h8tnEwxBL4s?feature=share

sifting down together-naviarhaiku571

This was my contribution for Disquiet Junto Project 0676: Sub Melody. The assignment: Bury a slow melody deep inside a drone.

Here’s a copy of my post on the Disquiet Junto 0676 discussion thread on Lines:

I really enjoyed these drone projects. Wanted to create a minimal atmospheric vibe with this one. Tried to keep the melody as low key and simple as possible. 

Created in Ableton Live using Slate + Ash Choreographs, along with some samples. Valhalla Delay, Valhalla Supermassive and Output Portal were the effects used. Photo taken in San Francisco in 2008, back when I used to live in the SF Bay Area.

More on the 676th weekly Disquiet Junto project, Sub Melody — The Assignment: Bury a slow melody deep inside a drone — at https://disquiet.com/0676/

Resonant Spaces [disquiet0676]

A generative meditative piece inspired by the following haiku:

stillness:
the sound of petals
sifting down together.

by: Miura Chora

Miura Chora (1729-1780) was a Japanese poet from Toba (present-day Mie Prefecture). Early in his career, he came into contact with the Teimon School, and bonded with the great Yosa Buson. An admirer of Matsuo Bashō, he strived for a return to the simple tones and spirit of the latter's poetics, criticizing the vulgarization of haiku of his era and advocating the so-called "return" to a Bashō's style.

(from: https://www.naviarrecords.com/naviarhaiku571-stillness/)

The Vulgarization of Haiku [ naviarhaiku571 ]

This track was inspired by this week's Disquiet Junto project, which was to create a drone with a melody well hidden in the soundscape. I composed a drone - as in last week's track - based on sounds I created for another endeavour, and hid a slow, soothing melody within the soundscape.  

More on the 676th weekly Disquiet Junto project, Sub Melody - The Assignment: Bury a slow melody deep inside a drone - at https://disquiet.com/0676/

The Melody Within (Disquiet0676)

Composition pour le Naviar Haïku Music challenge 571.
Sur un haïku de Miura Chora (1729-1780):
stillness:
the sound of petals
sifting down together.

www.naviarrecords.com/haiku-music-challenge/


Petal's Stilness

The opening hit represents the strong trunk of the tree from which the wind strips the tree of its leaves and flowers where the high notes of the piano thru a delay represent the sound of the petals sifting down together. There's a drastic 'ping' that occurs that's meant to symbolize a pebble thrown into a still pool of water and how the ripples bounce back and forth and mix together but ultimately calm is once again restored.

Stillness (naviarhaiku571)

Inspired by Naviar Haiku 584:
https://www.naviarrecords.com/naviarhaiku584-heaven-and-earth/
Thanks to Marco Alessi from Naviar Records for the weekly challenge!
Photo by zenbytes (Germany, 2018)

snow fluttering down - Naviarhaiku584

This week's task is rather serendipitous in that I am actually engaged in some minor wood working this weekend. I recently built a small Buchla 100 system (and its case), consisting of what is shown in the image and the as yet unhoused (and not shown) 114 touch control module, which is what the piece of unstained pine sitting on top of the Buchla is destined for. I selected pine because my woodworking skills are still rather rudimentary so working with higher priced and more difficult lumber makes me nervous. Plus, there is something comforting about pine's ubiquity and approachability. Making a mistake with pine seems excusable. Doing so with walnut or oak less so. That said, I got to thinking about the pine that I picked up at my local lumber shop in terms of the conditions under which it is grown and the vast quantities of trees that are stripped from the land so that people like me can make boxes for their vintage synthesizers. Sonically, I imagined this as a somewhat discordant drone, with peaks and valleys and occasional moments of harmony. The trees grow, mainly in a state or quietude, before they are cut down and processed to the sound of chain saws and saw blades. And then everything goes quiet again as the next crop is planted.  Graphically, I notated this imagined scenario as a series of constant lines, punctuated here and there with peaks, valleys, bright and dark spots, representing in part the knots and impurities in the pine but also the experience of the piece of wood in its transition from tree to commodity. Everything you hear was created on my humble System 100, which was first fed through the Empress Zoia pedal using the "soft focus" effect created by Christopher H.M. Jacques and then further transformed in Logic using "fragments," and "motion" from Arturia, with hints of the unprocessed Buchla emerging here and there. And there was panning. Lots of panning, so headphones are the preferred listening approach.

disquiet0690

Dawless generative Ambient with eurorack modular system

Underwater Radio

indecisive - super slowed

Musical experimenter using all sorts of techniques, ideas, and devices.  Open to exchange of ideas and materials and collaboration on tracks.

The Vulgarization of Haiku [ naviarhaiku571 ]

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