10/17/2021 0 Comments Composing Orchestral Music Software
Loops are repetitive sequences that play drum rhythms or instrumental melodies, for instance.The expression “peripher” implies spatial dimensions, it implies transcending boundaries and possible ventures to novel, less explored territories. Professionally pre-produced loops as well as other content are included within the program for musicians and producers. The process of music production begins with the composition of melodies and creating your own beats in the music software.The amount of musical information to process at once and the challenge of recognizability are conceptually related to distance, to the periphery of perspicacity. Here the string section is heavily subdivided, special playing techniques as “col legno battuto” or “sul ponticello” prevent a clear discernment of pitch, the winds play breathy fleeting figures and the brasses support this action by producing predominantly air sounds. The latter is particularly expressed through timbrally complex and composite textures. In the conception of structure and what concerns compositional material, PERIPHER distinguishes between stable, more tangible states versus fluctuating, harder to grasp musical material.
![]() With its pounding rhythms, strong articulated repeated notes—both elements that had been introduced to the listener before—and a clear harmonic content that begs for a resolution, there is no return. At last, at 6’37 minutes into the piece (m147), the uni-rhythmic texture takes on control. But here again, almost more as a teaser, after two measures the chordal attacks are interrupted by another go of the speedy chromatic contrapuntal lines in the strings at 6’22 (m140). The next instance is again a very short iteration of the cascading figures at 6’15 halted abruptly after two measures with a new and striking sonic fabric, finally at 6’19—as it has been introduced above—the climactic uni-rhythmic texture (m138) comes into the picture. Here, during the golden section, where distinct musical material of PERIPHER is pushed to the foreground by an emphasis on “unisono” groupings and louder dynamics, the listener is almost allowed to look at the material with a magnifying glass, to get a grasp of some of the major motives that have been drifting in and out of the composition. The source of all perceived pitch material is based on an analysis of overtone spectra of a number of percussion instruments, some of them present in the current set up, some of them not. Listening example 12 shows the material of the negative golden ratio.In PERIPHER, harmonies appear and vanish like ghosts from their secret and distant hiding places. Hence, a link is established between the negative and the positive golden ratio. In fact, m82 features similar material that follows the cascading instant at 5’13, in the middle of the piece, that leads up to the positive golden mean. During 12 seconds, the listener gets a glimpse of what the music aims at later in the piece. Putty x11However, this pitch serves as a dissonant coloring, as part of the spectrum, which is given to the softer sounding bassoons.Figure 8 shows the harmony of m147 up to m154. One might wonder about the insertion of the G#. The strings hold on to the low E, as well as the D#4 and A#3, while the woodwinds emphasize the D#, which is scored for in three registers. Consequently, the manner in which these pools of pitches and overtone structures are orchestrated is decisively important in guiding the listener through these complex sound formations.In this article we want to look predominantly at the harmonies of the climactic sections, and investigate how these relate to each other and ultimately resolve.The climactic arrival point of m186 has been prepared by a pedal point on the low E, introduced during the uni-rhythmic passages (see figures 14 + 15).Figure 7 shows the harmony of m138 + 139. Harmonic progression is determined less by function than by voice-leading. Particularly through doubling these pitches within the woodwinds and the strings. During the entire section of these uni-rhythm passages, there is a strong emphasis on the notes D# as well as the low E in the basses, which gives a strong expectation for a resolution. The basses, however, persist on the low E throughout.Both harmonies stem from analysis of piano spectra. The D gains presence through being doubled by the trombone, one octave below.This leads the discussion to the most emphasized chord within PERIPHER (m186) and the outmost contact point of the primary axis. An emphasis on the F results from being the top note of the chord and by being performed on the 1 st trumpet an instrument that cuts easily through an entire orchestra. Hence, the present chord is the result of heavy filtration on such a spectrum. The spectrum of a gong is fairly complex and contains an abundance of frequencies. These are overtones that are derived from recordings of gong sounds. And when the winds lead into the ultimate dissonant chord (m181 to m185) that leads up to the climax at m186, the voice leading opens up ascending from the D# to the F, and descending from the E to the D.Figure 9 shows the cluster harmony of m181 to m185 preceding the climax. Mdt download 1909The G is again played by the 1 st trumpet as well as doubled by the bassoon. The chord on the one hand presents clarity, with a strong emphasis on the G, while on the other hand supporting the percussionist with his voyage into new noises.Figure 10 features the climax chord. One can say that we have arrived at a large G major chord (omit 5 th) that merges with the fuzzy brilliance of the gong sound. One notices the arpeggiated falling C diminished chord in the flutes and the top strings. The abruptly entering cascading figures), the composer plays with overlapping harmonic structures, or a stress on tritones, that each could resolve in different directions. Like in other strong harmonic moments in PERIPHER(e.g. However, the listener does not feel “home” yet. This extends the voice leading ascending from an F to a G, and descending from a D to the C#. However, the most present note in the lower register is the C#2, performed by the trombone. Yet, through the use of microtonal pitch-bends and glisses the sound world of PERIPHER never sounds locked in to the tempered tuning system. However, the composer has picked these results upon their potential to imply a slight functional resolution.Figure 11 C# chord performed by the violin I – Figure 12 C chord performed by the violin IIOne has to note that for this particular orchestral project, all spectral analyses have been calibrated to the nearest semitones. Yet again, these harmonies are derived by spectral analysis, resulting here from tam-tam sounds, and not by functionality, in a tonal sense. And hence, in m200, the audience perceives a large stereo effect, where the violins I, to the left, resolve to a chord cluster upon C# and the violins II, to the right resolve to an augmented C dominant chord. The only solution to this “polytonal” dilemma is a resolution to both pitches.
0 Comments
Leave a Reply. |
AuthorHeather ArchivesCategories |