I starting by rendering different sounds including: a rhythmic loop (step), bass clarinet, bowed instrument.
The whole thing was assembled in Live, where I have a few plug-ins running on some of the tracks.
The approach was to try to make as musical as possible with a very simple form. I really like minimalistic music and when I heard the bass clarinet with a multi tap delay, I knew I wanted to come up with something Steve Reiche'esque. Parts come in and go.The percussion is so maimed that is hard to recognize.
I hope all of you will enjoy it
The idea of Xenophonie is inspired by Bill Sethares and his book "Tuning, Spectrum, scale".
The sound itself if made via additive synthesis.
The sound is "inharmonic" but the partials fit to the choosen scale that divides the proportion 13/8 into six parts of qual "length".
Although all intervals and chords are far away from the conventional tempered system, they sound somehow "consonant."
My aim was to create an instrument, that could be used during a live performance.
This instrument should be at least as interesting, variable and lively as a Steinway-piano.
This was a piece done in Dr. Richard Boulanger's Csound course at the Berklee College of Music. It had a few simple guidelines: you can only spend 6 hours on it and all of the sound must originate from Csound.
All of the 'sound' in this piece was done entirely in Csound and then compiled in Logic. Most of the instruments I used were taken directly from the Csound catalog (I did this a few years ago, I wish I could site better).
Hope you enjoy - any questions or comments, please feel free to fire them my way:
This is my 6 hour Csound composition, that I wrote for Dr. Boulanger's Csound class using instruments from the Csound Catalog.
Hello again! "Wandering To Nowhere" was my submission for Dr. B's Csound Catalogue Contest. The rules of the contest meant I had six hours to prepare and compose the entire piece using only sounds from the Csounds Catalogue - I spent the first two hours rendering instruments, cutting the wav files in Peak and making a couple of Kontakt instruments out of a few of the pitched instruments. I then spent the next four creating the sequence in Logic, using the Kontakt instruments as MIDI tracks and using the remaining samples by dropping them onto audio tracks.
Hello! My name is Kristen, and I'm one of Dr. Boulanger's Csound students at Berklee. Recently we were challenged to compose a one-minute notelist composition entirely in Csound - mine is called "Jungle Game." It emulates classic retro 8-bit video game music, since that's one of the things I enjoy most. :)
“Zooming into Pollock”, for Electronic Sounds (2009) – 4’59’’
Jorge Meletti - Brazilian Composer
Zooming into Pollock stands as a musical investigation regarding sound and its relationship with both music’s surface detail and its underlying deeper structures. It was motivated by both some works as well the technique of the American Artist Jackson Pollock, especially that of spontaneously pouring and dripping liquid paint on canvas.
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells-
From the jingling and the tinkling of the bells.
Edgar Allen Poe, The Bells, 1849
Part of Fragments of a Bohlen-Pierce Composition. Read more at The Csound Blog.
This is a fractal AC piece in C major with 4/4 timing. Sort of. The C major scale is chosen from 53-TET, and the 4/4 beats are divided up strangely to demonstrate the capabilities of my rhythm programming system, which is done in Python, inspired by Jacob Joaquim's dseq language. The fractal is applied in various ways, most obviously to the sequencing of the pluck instrument, but also to provide tonal variation to rhythm instruments.
The piece features many new or improved instruments, as I work to create a larger orchestra for my AC system.