More on this 182nd Disquiet Junto project (“Do a rendition of Ethan Hein’s laptop orchestra score by yourself”) at:

http://disquiet.com/2015/06/25/disquiet0182-divergeconverge/

The piece is based on Ethan Hein’s score, more on which here:

http://www.newmusicbox.org/articles/brahmss-third-racket/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Disquiet Junto Project 0182: Diverge Converge

selections

Lapsteel dreams, of other lives and other realities it may have had.
As desk, providing support for the writing of memoirs.
A 2x4, and all its opportunities.

Buildings from the lap steel parts up, I choose to focus pitch and harmony on the whole tone scale to imply the dream state in question.

062015 Disquiet

Plucked the G string of my viola and looped it for the length of the piece. Then took that sample and stretched then octaved then flitered and finally repeated  using various pedals before taking each of the layers off until left with just the clean pizzicato again.

More on this 182nd Disquiet Junto project (“Do a rendition of Ethan Hein’s laptop orchestra score by yourself”) at:
http://disquiet.com/2015/06/25/disquiet0182-divergeconverge/

The piece is based on Ethan Hein’s score, more on which here:
http://www.newmusicbox.org/articles/brahmss-third-racket/

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

StagnantTransient Disquiet0182 - Divergeconverge

https://hearthis.at/sevenism/refocus-interdependence-fx-v2-disquiet0182-divergeconverge/

I wanted to do something simple where the sound of the variations was clear - it came out simpler than i was expecting (largely due to time constraints). I was thinking of the concept in terms of interdependence - how the samples all depend on each other as does the layering fx. 

it's meant to be listened to as a meditation where the bowl refocuses you on the present but also challenges your expectation of what the bowl will sound like and thus help accept what's going on.

I recorded the sound of my meditation bowl with a dictaphone so that it picked up the sounds of my meditation (basically the ticking clock) so the bowl and the tick provide the basis. I then looped this in audacity and pitched the sound down by 7% for a few iterations (then after the 1/2way mark it gradually goes back to the original pitch) then i vamped with a note on my kalimba in time to the tick (although this was way quieter than i wanted)

Mixed down into live which weirdly stretched the sample by ~125% but i was in that 'accept the present moment' state so went with it, then i cued up some guitar fx in podfarm so each bell gets more screwed (echo platter>'lux spring>analog square chorus>rez synth>double bass) until the middle and it goes back to 'normal'

Even when bypassing the fx it still really altered the sound so i bookended the final track with the original meditation sounds. 

this explanation makes it all sound far more complex.. 'something simple' pfft! 
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Disquiet Junto Project 0182: Diverge Converge
Do a rendition of Ethan Hein’s laptop orchestra score by yourself.

Step 1: The following is Ethan Hein’s score for laptop orchestra. You will record a version that you will do by yourself — an orchestra of one:

Each performer loads a short, shared sample. It should have a distinct attack and decay, for example a bell or gong. It can be pitched or unpitched, musical or unmusical.

Each performer triggers the sample repeatedly, either as a steady loop or at any arbitrary time interval.

After a few repetitions, each performer manipulates the sample as they see fit, via pitch shifting, time stretching, filtering, or other effects. Transformations should be gradual and clearly perceptible.

Once the entire ensemble is playing altered versions of the sample, the performers begin to undo their manipulations, preferably in the reverse order that they were originally applied.

When all performers have resumed playing back the original sample, the piece ends.

More on this 182nd Disquiet Junto project (“Do a rendition of Ethan Hein’s laptop orchestra score by yourself”) at:

http://disquiet.com/2015/06/25/disquiet0182-divergeconverge/

The piece is based on Ethan Hein’s score, more on which here:

http://www.newmusicbox.org/articles/brahmss-third-racket/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

full track

re.focus {interdependence fx} v2 (disquiet0182-divergeconverge)

I took a simple loop of a guitar strum and fed it through delay, resonator and reverb effects on the iPad. Whilst recording a live take I didn't realise I was capturing the sound of my dog and the clock on the wall but I left them in because I liked the sound. I flipped the recording and played it along with the original from the midway point. I enjoyed the process of gradually warping the guitar into a drone but wanted the effect to be more pronounced than it actually turned out to be. I was also frustrated that a lot of the sonic detail you can hear over headphones gets lost when it's played through speakers but it's all part of the learning process I guess.



Disquiet Junto Project 0182: Diverge Converge
Do a rendition of Ethan Hein’s laptop orchestra score by yourself.

Step 1: The following is Ethan Hein’s score for laptop orchestra. You will record a version that you will do by yourself — an orchestra of one:

Each performer loads a short, shared sample. It should have a distinct attack and decay, for example a bell or gong. It can be pitched or unpitched, musical or unmusical.

Each performer triggers the sample repeatedly, either as a steady loop or at any arbitrary time interval.

After a few repetitions, each performer manipulates the sample as they see fit, via pitch shifting, time stretching, filtering, or other effects. Transformations should be gradual and clearly perceptible.

Once the entire ensemble is playing altered versions of the sample, the performers begin to undo their manipulations, preferably in the reverse order that they were originally applied.

When all performers have resumed playing back the original sample, the piece ends.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the early afternoon, California time, on Thursday, June 25, 2015, with a deadline of 11:59pm wherever you are on Monday, June 29, 2015.

Length: The length of your finished work is up to you, but between one minute and four minutes is probably best in this context.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0182-divergeconverge” in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 182nd Disquiet Junto project (“Do a rendition of Ethan Hein’s laptop orchestra score by yourself”) at:

http://disquiet.com/2015/06/25/disquiet0182-divergeconverge/

The piece is based on Ethan Hein’s score, more on which here:

http://www.newmusicbox.org/articles/brahmss-third-racket/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


Trail(disquiet0182-divergeconverge)

Disquiet Junto Project 0182: Diverge Converge
Do a rendition of Ethan Hein’s laptop orchestra score by yourself.

I’ve been reading the Andrew Hodges biography of Alan Turing which includes descriptions of the Turing Bombe, an electro-mechanical logic machine conceived by Turing at Bletchley Park, England to help crack the German Enigma code during World War II. When operating it was described as sounding like a battery of knitting needles.

I started with a simple square wave and played with the frequency to imitate the sound of logic signals. Passed this through a modulation effect and improvised with the settings using liberal amounts of feedback and regeneration. Created with Thor on an iPad. 

There is a second, over-the-top version on my Soundcloud page.

More on this 182nd Disquiet Junto project (“Do a rendition of Ethan Hein’s laptop orchestra score by yourself”) at:
http://disquiet.com/2015/06/25/disquiet0182-divergeconverge/

The piece is based on Ethan Hein’s score, more on which here:
http://www.newmusicbox.org/articles/brahmss-third-racket/

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

Image by Antoine Taveneaux from Wikimedia Commons


The Turing Bombe [disquiet0182-divergeconverge]

Disquiet Junto Project 0221: Morning Music
The Assignment: Compose something — quiet, peaceful, refreshing — you’d want to wake up to.

Took a bit of the opening music from NPR’s Morning Edition. Time stretched various amounts, layered and edited, bit of Borderlands added to create a dreamy soundscape. 

Thanks to BJ Leiderman for the Morning Edition theme music.

I posted a second, extended  version on my other Soundcloud page at:
https://soundcloud.com/project-dirigent/my-morning-edition-extended-version-for-radio-and-very-large-orchestra-disquiet0221-morningmusic

The photo associated with this project is by Alf Eaton, used thanks to a Creative Commons license: https://flic.kr/p/8NUM/

More on this 221st weekly Disquiet Junto project (“Compose something — quiet, peaceful, refreshing — you’d want to wake up to”) at: http://disquiet.com/0221/

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

Creative Commons license granted. 


Dreamscape [disquiet0221-morningmusic]

Thin Snow Scatters On the Wind (naviarhaiku256)

Naviar Haiku 256

Thin snow scatters on
the wind, melting as it falls
Cries for help for light 

Robert Hayden (1913-1980) published his first book of poems, Heart-Shape in the Dust, in 1940.

Even though he was interested in African American history and often expressed his concerns about race in his writing, he didn’t want to be identified as a black poet. William Meredith wrote about him: “Hayden declared himself, at considerable cost in popularity, an American poet rather than a black poet, when for a time there was posited an unreconcilable difference between the two roles. There is scarcely a line of his which is not identifiable as an experience of black America, but he would not relinquish the title of American writer for any narrower identity.”

Thin Snow Scatters On The Wind (naviarhaiku256)

Naviar Haiku 257
Daybreak (abstract)
daybreak;
from the middle of the rain
a skylark song

haiku by Uejima Onitsura https://terebess.hu/english/haiku/ryokan.html
picture by Aaron Burden https://unsplash.com/@aaronburden

Daybreak (abstract) (naviarhaiku257)

Disquiet Junto Project 0362: Operational Surrealism
The Assignment: Make a piece of music informed by a key text from the art movement.

The Sewing Machine and the Umbrella for Piano and Percussion disquiet0362

Particles of Me for Mallets and Strings (naviarhaiku270)

snowing
through the blizzard
particles of me

haiku by Alan Summers www.callofthepage.org
picture by Ian Battaglia https://unsplash.com/@ianjbattaglia