Looking at the 'big composition' for 2023

[Ben Asaro]

With Jamuary in the rear-view mirror and a scheduled week off to ruminate on all of the sounds and such from the month, I've been trying to come up with a single 'mission statement' for this composition, similar to my other big pieces. I've done a piece based on bell changes, with subtle changes and ever-shifting relationships between the notes ... I've done one with a chord progression that takes a full hour to resolve ... and I've challenged myself by recording a live performance using two of the most notoriously unwieldy synths (the Subharmonicon and Lyra-8) at the same time. I enjoy the fact that my big compositions tend to merge technological, philosophical, and music-theoretical related areas into a single piece.

Jamuary really got me interested in looping phrases ... and loops within loops. And combined with my late-2022 experiments with the 'timbral garden' and modulating modulators, and granular synthesis, and really looking at ways to sequence sound so that it's NOT just imitating a band from the '70s; particularly viewed through the lens of Minimalism.

So the mission statement I came up with is:
Microcompositions using waveforms that can be pushed into shapes and materials and then sequenced.

As for how it would look, I imagine it like being interconnected gears. In the center is the largest gear, representing my key center; this also serves as the function generator for the entire piece. This is made up of microcompositions composed of individual loops. Each loop can be an exploration of a motive, timbre, or rhythm/meter.



My plan is to start SMALL and get a proof of concept going first.

[Folderol]

Where do we send the food parcels?

[OneWorld]

With Jamuary in the rear-view mirror and a scheduled week off to ruminate on all of the sounds and such from the month, I've been trying to come up with a single 'mission statement' for this composition, similar to my other big pieces. I've done a piece based on bell changes, with subtle changes and ever-shifting relationships between the notes ... I've done one with a chord progression that takes a full hour to resolve ... and I've challenged myself by recording a live performance using two of the most notoriously unwieldy synths (the Subharmonicon and Lyra-8) at the same time. I enjoy the fact that my big compositions tend to merge technological, philosophical, and music-theoretical related areas into a single piece.

Jamuary really got me interested in looping phrases ... and loops within loops. And combined with my late-2022 experiments with the 'timbral garden' and modulating modulators, and granular synthesis, and really looking at ways to sequence sound so that it's NOT just imitating a band from the '70s; particularly viewed through the lens of Minimalism.

So the mission statement I came up with is:
Microcompositions using waveforms that can be pushed into shapes and materials and then sequenced.

As for how it would look, I imagine it like being interconnected gears. In the center is the largest gear, representing my key center; this also serves as the function generator for the entire piece. This is made up of microcompositions composed of individual loops. Each loop can be an exploration of a motive, timbre, or rhythm/meter.



My plan is to start SMALL and get a proof of concept going first.

Give Steve Reich a call, he’s been down this road

[Martin Walker]

You're a brave and inspiring man Ben!

[resistorman]

You're a brave and inspiring man Ben!

Amen!

[BJG145]

Sounds intriguing - look forward to seeing how this develops.

[Arpangel]

Ben, are the individual loops, elements synchronised, or free running, or do you have the option to do both?

[Ben Asaro]

Ben, are the individual loops, elements synchronised, or free running, or do you have the option to do both?

If by syncronised you mean fed from a single clock source, then the answer is probably not.
If by syncronised you mean played in time, I am sure there will be elements that will be played that way because syncopation is fun.

[Arpangel]

Ben, are the individual loops, elements synchronised, or free running, or do you have the option to do both?

If by syncronised you mean fed from a single clock source, then the answer is probably not.
If by syncronised you mean played in time, I am sure there will be elements that will be played that way because syncopation is fun.

Sounds interesting, look forward to hearing it.

[Ben Asaro]

Thanks! I just hope it doesn't end in a train wreck!

[Martin Walker]

Thanks! I just hope it doesn't end in a train wreck!

Even if it does, I suspect it will still be an enjoyable listen

[adamburgess]

What a great way to start a piece. Really interesting mindset!

Looking forward to see what transpires

[RichardT]

It’s a very interesting idea - my only comment is that almost all the key centres are very closely related to the main key centre. Is there a way some of them could be a bit more distant? It might create some intriguing effects.

[Ben Asaro]

It’s a very interesting idea - my only comment is that almost all the key centres are very closely related to the main key centre. Is there a way some of them could be a bit more distant? It might create some intriguing effects.

Good observeration -- This is just an example of the overarching concept, not the actual score. I also find it helpful to start with very simple lines when first trying out something this big.
The main key center is also the function generator for the overall composition and there's no rule that says that it can't change. For now, though, I'm avoiding modal interchange until I know the core concept works!

[Ben Asaro]

As a side point: everyone is free to take this idea and run with it. None of these ideas are proprietary by any stretch!

[tea for two]

Just before like literally a day before Ben returned to the forum Dec15
I had a subconscious wish that Ben was back on the forum

Universe made it real.
Ben was going to return anyways.
Just occured next day after I subconsciously wished it

::

We can all do this with our wish.

Our wish has to be
1.Subconscious. We cant force think it force wish it.

2. Local and small. Then it maintains balance of the universe. Anything larger or global doesn't occur as it upsets the balance of the universe

3. Selfless and decent. Then this is most likely to occur. Although subconsciously wishing for ourself also works if it doesn't do anything adversely to anybody and won't harm us down the line.
There's that saying be careful what you wish for well it's subconsciously wishing for ourself things that unknown to us would harm us down the line.
So to be safe not sorry our subconscious wish should be selfless decent.

Right as you were.
Ta.

[Ben Asaro]

[Drew Stephenson]

As a side point: everyone is free to take this idea and run with it.

We may be free to do it but it doesn't mean we're all capable of doing so!
But thank you anyway.

[Ben Asaro]

Hot on the heels of Jamuary, I was working out of town all last week. I am back home today and looking forward to starting work on the proof of concept for the new composition!

I have a kind of floaty idea in mind that I wanted to try in Jamuary but never got round to it. Let’s see if I have better luck this time!

[Ben Asaro]

Another looper arrived in the post yesterday, a BOSS RC-1. This gives me a mono looper for guitar and a stereo looper for everything else at the ready.

Part of the proof of concept is for me to come up with the instruments I would like to play -- because in an ideal world I will be collaborating with others on this -- and for the modular I'm going to try to use Euclidean Circles to generate complex melodies. Here's v1 in block diagram form:



The idea is that the VCOs are generating set pitches with the NerdSeq acting as a shift register, and keeping the note choice very simple: I am going to start with 4 pitches.

Euclidean Circles will be used to create interlocking melodies by opening each VCA based on their patterns. I guess the biggest question is WHY am I doing it this way? The short answer is: to avoid falling into the trap of repeating myself. By stepping away from the idea of 'step sequencing' and preconceived melodic ideas. By forcing myself to slow down and really commit to a note choice.

Will it work? Dunno!
I'll be testing it over the weekend, tho!

[MarkOne]

As a side point: everyone is free to take this idea and run with it. None of these ideas are proprietary by any stretch!

Are we though? Given the most current understanding of quantum physics this is a deterministic universe, so given a set of conditions everything is ultimately predictable, so are we really free to do anything? Just sayin’

[Ben Asaro]

First "Euclidean Melody" test, https://soundcloud.com/user-329043613-5 ... al_sharing

[OneWorld]

First "Euclidean Melody" test, https://soundcloud.com/user-329043613-5 ... al_sharing

Reminds me of this, sort of, same sort of template, isn't it?

https://www.youtube.com/watch?v=_ZlFOZMPbdY

[Ben Asaro]

Same idea but in stereo using a second filter, another channel on Euclidean Circles, and a 5th envelope.

https://soundcloud.com/user-329043613-5 ... al_sharing

[Ben Asaro]

Okay, so even though this turned out nothing like I imagined it, and I wasn't really blown away by it -- I DO like the pitched clicking with the envelopes' decay all the way down. I could see that being integrated into the next test. Otherwise, I didn't love the "Euclidean melody" idea.

[Martin Walker]

Boo-hoo - I liked it! (and the groove reminded me a bit of 'Another One Bites The Dust')

[Ben Asaro]

Boo-hoo - I liked it! (and the groove reminded me a bit of 'Another One Bites The Dust')

LOL to be fair, I didn't hate it; just didn't love it.

[Ben Asaro]

Had a bit of an epiphany on the subway this morning. My biggest issue with v1 of the Euclidean Melody is that there was no way for me to get a rhythmic pattern I liked without also having it trigger more than one pitch. I really want this to be a single-note line but also have a random element.

So, I came up with this:



It still has pitches from the NerdSeq, but since they are going through the sequential switch now, only one note can sound at a time. Branches is used to provide some variations in the melody.

The next challenge will be to see if I can combine multiple outputs from EC for interesting rhythms. I think there is a mode that will enable me to get sequences 1-3 from a single output.

[Ben Asaro]

Turns out that Euclidean Circles doesn't have mode which will combine multiple simultaneous sequencers from a single output -- this looks like a terrible oversight, imo. BUT -- I was able to find a work around, which is probably the greatest strength of modular!

I removed TM and Eudemonia and replaced them with Pico SEQS (sequential switch) and Dynamix. Since Dynamix can handle CV as well as audio, it is able to mix two outputs from Euclidean Circles to create complex rhythms.

Gave it a quick test and it works!

Now to work up a proof of concept ...

[Ben Asaro]

Side thought: the thought did occur to me that this seems like the long way round to basically recreate the sequencers in the Subharmonicon, but they actually work very differently. The only commonality between the SubH and this is the fact that it's four notes and is capable of being polymetric. Of course, this may end up being a nonstarter just as v1 was, but I won't know until I try. I'm not ready to give up on the concept just yet!