<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:'Courier New', courier, monaco, monospace, sans-serif;font-size:12pt"><div></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;"><br></span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;"><br></span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco,
monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;">Thank you, Mathieu, for let us understand a little more of your piece. </span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;">About this main point, variating and delineating a structure for the audience to follow, I'd certainly work with the pitches. But since you're working with this algorithmic structure... maybe the background rhythm could evolve somehow, creating different rhythmic coincidences... </span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco,
monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;"><br></span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;">To me one of the difficulties in using algorithmic structures is that frequently my aesthetic goals are supplanted by them. :)</span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;"><br></span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font
class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;">I'll be waiting to hear more tunes from you </span></font></span></font></div><div><font class="Apple-style-span" face="Tahoma"><span class="Apple-style-span" style="font-size: small;"><font class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif" size="4"><span class="Apple-style-span" style="font-size: 16px;"><br></span></font></span></font></div><div>Eduardo</div><div style="font-family:Courier New, courier, monaco, monospace, sans-serif;font-size:12pt"><div style="font-family:arial, helvetica, sans-serif;font-size:10pt"><br>"I also miss the original non-chorus sound, so, I'm wondering whether I could use both at once. It's very similar to trying to use a 6-string guitar and a 12-string guitar at once while not being able to choose between the two. I suppose that this
is what originally led people to want two-neck guitars... ;)"</div><div style="font-family:arial, helvetica, sans-serif;font-size:10pt"><br></div><div style="font-family:arial, helvetica, sans-serif;font-size:10pt"><font class="Apple-style-span" color="#0080FF"><font class="Apple-style-span" face="'Courier New', courier, monaco, monospace, sans-serif"><span class="Apple-style-span" style="font-size: medium;">hehehehe</span></font></font><br><br>> In the previous version the timbre is more clear, bright and detached from the drumming background, I like that.<br><br>Well, there are several differences that I didn't state, perhaps some that I don't remember. I messed around with the instrument itself in ways I just don't remember, that changed the sharpness of the sound. Also, the doubling of the bells itself changes the sharpness of the sound, because of the various cancellations it causes (tremolo by battements).<br><br>And then I changed the drumming
background somewhat, because it sounded too random. There's a probabilistic effect that causes the "bass drum" impression to be unusually loud in a random way, and too often way too quiet. So I turned off the noisificator in the case of the drums, but I still use it in the bells.<br><br>> Maybe you could find a way to explore both, low and high pitches,<br><br>At this point, you know, each version of the piece spans over four octaves. Thus the difference between the two versions, which is only one octave, seems not very significant in comparison. But it ends up sounding quite different, perhaps most importantly because there's a very strong «home pitch» in this piece, that you keep on hearing all of the time.<br><br>> creating variation. In general, I believe that if you could do this, variation, connected to some sort of underneath developing formal structure (which means you could say, my music goes from here to somewhere else, tracing
lines...), this tune would be even better.<br><br><b>I'm still wondering about this one, but it's probably because I haven't tried much yet in that direction. But if I start messing with the pitches more, it may hide the underlying structure too much, quite easily, so I have to be careful.</b><br><br>> One element you could try to vary could be the selected pitches. What is your present criteria for the pitches?<br><br>Binary coding mapped to subsets of a certain set of intervals, each of which is then summed. I tried a few different base sets, then settled for something that would give pentatonics and octave patterns.<br><br>> Maybe you could use different sets of them, each one with strong intervallic characteristics, for different "sections" of your tune...<br><br>It would de-emphasise the fact that all the measures are connected by a magic pattern that constantly refers to parts of itself throughout the piece. It's a kind of fractal score,
almost.<br><br>Actually, part of the score appeared as a stock photo in a newspaper recently, which I saw on the same day you wrote that mail :<br><br> <a href="http://www.cyberpresse.ca/images/bizphotos/569x379/201006/12/178123.jpg" target="_blank">http://www.cyberpresse.ca/images/bizphotos/569x379/201006/12/178123.jpg</a><br><br>(really.)<br><br> _ _ __ ___ _____ ________ _____________ _____________________ ...<br>| Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801</div></div><div style="position:fixed"></div>
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