Aeolian
18/08/10
Today I start on the soundscape for the third movement, “Rotations”. The opening 3 or 4 minutes will be processed live. The winds perform aeolian (breathy, airy) sounds on elaborate chromatic passages. The computer will process these sounds, creating resonances of the effect. What processes I will use remains undecided – there are almost limitless options; filters, reverbs and granular transformations are only a few of the possibilities. I would like to capture certain frequencies and send them to the speakers, elongated, spurious and in rotation, quickly moving throughout the space. To assist my work I have extracted a winds-only mockup – using sounds from IRCAM’s sound collection on the UVI workstation – and will use this file to work with the processing through Max/MSP. I recorded myself playing this section on the flute to assist as well.
Sample 1 is myself playing the airy sounds on the flute. It is layered a few times to create the effect of multiple instruments. I will post another version at some point with the processing. This is without any processing.
Score sample (PDF opens in new window)
This movement will also have copious sounds triggered at precise moments. The process is similar to the second movement (see earlier post “Dis-shovel’d”). I create a midi mock-up of the score. From this I add sound files at specific moments in Digital Performer.
Sample 2 is a midi mock-up of the section that occurs immediately following the airy, processed opening. It is meant to be in stark contrast to the opening. There will be multiple sound files playing throughout. These have not been created yet.
Score sample (PDF opens in new window)
Later in the score there is a moment that I am particularly fond of. A slow meandering line builds and is juxtaposed with a solo violin that takes us on some misadventures in 5/8 and other asymmetric time signatures before reaching maximum density.
Maximum density (PDF opens in new window)
After this I return to similar material as the opening, but this time, rather than wind turbines, we will hear water.
Sample 1 is myself playing the airy sounds on the flute. It is layered a few times to create the effect of multiple instruments. I will post another version at some point with the processing. This is without any processing.
Score sample (PDF opens in new window)
This movement will also have copious sounds triggered at precise moments. The process is similar to the second movement (see earlier post “Dis-shovel’d”). I create a midi mock-up of the score. From this I add sound files at specific moments in Digital Performer.
Sample 2 is a midi mock-up of the section that occurs immediately following the airy, processed opening. It is meant to be in stark contrast to the opening. There will be multiple sound files playing throughout. These have not been created yet.
Score sample (PDF opens in new window)
Later in the score there is a moment that I am particularly fond of. A slow meandering line builds and is juxtaposed with a solo violin that takes us on some misadventures in 5/8 and other asymmetric time signatures before reaching maximum density.
Maximum density (PDF opens in new window)
After this I return to similar material as the opening, but this time, rather than wind turbines, we will hear water.