[PD] Res: Res: Res: music made with Pd

Eduardo Patricio epatricio at yahoo.com
Mon Jul 12 05:59:47 CEST 2010




Thank you, Mathieu, for let us understand a little more of your piece.  
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... 

To me one of the difficulties in using algorithmic structures is that frequently 
my aesthetic goals are supplanted by them. :)

I'll be waiting to hear more tunes from you  

Eduardo

"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... ;)"

hehehehe

> In the previous version the timbre is more clear, bright and detached from the 
>drumming background, I like that.

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).

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.

> Maybe you could find a way to explore both, low and high pitches,

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.

> 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.

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.

> One element you could try to vary could be the selected pitches. What is your 
>present criteria for the pitches?

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.

> Maybe you could use different sets of them, each one with strong intervallic 
>characteristics, for different "sections" of your tune...

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.

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 :

  http://www.cyberpresse.ca/images/bizphotos/569x379/201006/12/178123.jpg

(really.)

_ _ __ ___ _____ ________ _____________ _____________________ ...
| Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801


      
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