The Times Higher Education have run a well-written feature on the Bloodlines project.
It’s a huge 160-page book of original (and beautiful) arrangements, with 2 CDs of Bridget playing the pieces.
The book launch at London Guitar Studio, with Craig Ogden, Gary Ryan and Amanda Cook playing a selection of the arrangements was too much fun to express in WordPress.
On the 14th October 2013, I’ll be joining the eminent musician and fellow Wodehouse character Peter Gregson at the Luton Music Club to max out on Minimalism. Details to follow, but on the programme is Terry Riley’s seminal work In C in all its heterophonic and generative gorgeousness.
Rather than play it (on my guitar) traditionally with the ensemble, I thought it fun (and more interesting) to use Ableton Live (and Push) to rebuild it so it ran generatively. I’ve done a very simple version which adopt most of the instructions, any errors kindly forgive me and my future generations.
Here’s a screenshot of the resultant tapestry:
And here’s the WIP for your to download in the spirit of musical democracy.
Hit scene 1 and they’ll tumble through, I’ve weighted the follow actions to have on average more repeats on shorter phrases which makes sense musically. You can intervene, urging on any stragglers and holding back any clips forging too far ahead. Actually I may need to consult a statistician as the deviation in fall rates seems (in my fallible intuition) to suggest something’s a bit skewy with the randomising process. But oh well, the variation in performances is intriguing (I’m on listen number 6 and still very happy). You can of course ride volumes, edit instruments and send out effects to your ears’ content. You can always set clip 53 to – rather than stop – return to clip 1 so the piece lasts forever, with clips lapping each other – adding another dimension to the work. If Follow Actions in Live were more sophisticated or I had time to render in Max the clips could behave more intelligently by grouping together, dropping out and changing velocity more responsively as per score instructions, but it actually works quite beautifully as is, which is a testament to the power of Riley’s concept.
Incidentally if you’d like to tweak the ‘fall rate’ – and hence the resulting approximate duration – change this number on the clips (you can select multiple), but remember that you may want longer clips with lower numbers. Again I wish there was more sophistication with follow actions, which would also allow the pulse to stop after all other clips are finished, but I await Ableton Live
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Thanks to user Jeepee on the Ableton forum, whose patch I discovered when googling this idea, I’ve kept many of Jeepee’s clips as I like how he/she played them, but am also thinking of doing it PROPERLY in Max and crowdsourcing midi and audio clips from the interwebs when the Earth slows and there’s enough hours in the day for such mischief.
For those sensible people not in to Ableton or this sort of thing, you can hear a rendered version from this patch here:
(If that doesn’t buffer or you are a suffering iPad browser) -> In C Live
I have a little place in Greece, on a lesser known corner of the Peloponnese, on a little beach with a derelict and rarely visited acropolis from which the islands of Ψιλι, Πλατεια and (just about) Σπετσεσ are visible.
It’s a magical (and for me painfully nostalgic) place where even when we eventually installed a phone (1996), modem (2006) and wi-fi (2013) seems eerily frozen (well baked) in time. This part of the world is home to some odd creatures: deafening cicada, scorpions, flying fish, swordfish and a plant with fruit that explode on the lightest touch.
One such unusual animal I have yet to (knowingly) see but I’ve been fasciated by its sound for years. It’s some kind of bird that emits a short tweet at intervals so regular that we use it as a metronome. (It sounds particularly good on beat 4 & in a bossa).
Here’s an unedited audio sample recorded on Tuesday, 7 July 2009 19:32
Notice how (separated by an unmeasured pause) there is a decent metronomic tempo established. Logic Pro X’s transient detector and beat mapping tools reveal that once a pulse is established it tends to stay within a couple of bpm. I’ve played with far worse time-keepers of the human species. Here are the numbers:
To get a feel for it, listen to the same unedited clip with a click track.
(non-flash) Metrobird with Click
Not bad at all. Here’s how it sounds (again completely unedited) in the context of a percussion groove.
(non-flash) Metrobird Groove
Does anyone know what type of bird it is, an what evolutionary pressures gave it such tight timing?
Live lecture/performance of BloodLines at the Dana Centre, Science Museum. Thursday July 18th, 7-9pm.
It’s wonderful to be involved in classical guitar virtuoso John Williams’ latest recording project. Details to follow, but the energy, enthusiasm and skill he continues to deliver after 200 CDs, all the accolades and well over a half-century of professional musicianship is astonishing and inspiring in equal measure.
I can say without bias that Bridget‘s classical guitar playing and arranging is exquisite and widely admired by musicians from Julian Bream to Tim Minchin. It was an absolute pleasure to record and produce her debut solo album, and the next is just around the corner.
I’ll be performing live electronics with the 18-piece ensemble, for Brett Dean’s fabulous Carlo. Which interweaves multiple fragments of renaissance composer Carlo Gesualdo’s vocal works (of which I am great admirer) among the live orchestral passages. Originally written for sampler and CD, I’m reworking the electronics for Ableton Live to be triggered via Launchpad (assuming my Push won’t reach me by then). It’s quite a tricky score and electronic fiddle but potentially very powerful.
For Part 2 of the Beatless series lets look at a Beatles rework by one Joe Connor.
Here the motivic and harmonic elements of the piece are extracted and examined through repetition with gentle timbral variation – techniques borrowed from minimalist and process music.
This, together with non-quantisation rhythmic elements creates a compelling atmosphere. Electronic music has been refreshed of late with such artists as Mount Kimbie rejecting the dominance that strict grid-based (‘quantized’) time has had on the genre. ‘Loose’ (but not sloppy) timing has a huge effect on musical expression, and this latest trend in IDM is heartening.
A rehearsal of the fab (& lovely) livingroominlondon ensemble playing my piece for quintet and electronics The Escher Café, A musical representation of a set of M.C. Escher engravings.
Monday 23rd January 8pm, King’s Place. The fabulous Living Room In London Ensemble with Manu Delago of Björk fame, perform a great concert – including a London Premiere of new piece ‘The Escher Café’ blending classical, jazz and live electronics. http://www.kingsplace.co.uk/whats-on-book-tickets/music/manu-delago-living-room-in-london?tid=16
For a dynamic list of Hidden Music projects click here.
Hidden Music:Sonic is a collection of electronic works using compositional systems to translate physical phenomena of the biological world into complex mesmeric soundscapes. Source material include the DNA, colour and shape of microbacterial colonies, the population of blood cells during leukaemia treatment, the shape of the coronal suture of the human skull, tree-rings, MRI scans of the human brain and the passage of molecules through the cell membrane.
Bonus material! Album purchase includes 6,000 word liner notes, detailing the philosophy and process behind these works.
Here’s a short video of my (gorgeous) cousin Maria-Christina (Winner of the Wales International Harp Competition) on harp and electronics.
In the midst of the chaos, mania and staggering bolshiness of the World Cup is an instrument that is chaotic, manic and bolshy. The marmite of the horn family, the dreaded vuvuzela.
The vuvuzela (I prefer vuvuzilla), let’s face it, is a monstrous instrument. And those that say they like it, are actually enjoying the effect it induces in others rather than loving its intrinsic sound.
Why does it sound so horrendous? Well firstly, it is loud, a staggering 120dB(A) at the bell-end. Can you imagine having to stand right in front of that bell-end, while someone is blowing it hard?
But a trumpet is equally loud, but does not elicit such an eargag reflex, so what’s the problem?
Firstly, it produces only one note with any consistency, a B-flat (Bb3 just below middle-C on the piano, around 233Hz). Technically, monotonous. However there is a microtonal wobble on this note so that it actually wavers around 210-240Hz range, Actually I’ve heard, presumably in the mouth of a particularly exuberant bell-end, the pitch drop up to a perfect 4th below. (See figure 1)
Figure 1. A particularly pissy vivuzela caught fucking around the 233Hz mark. Note its untrustworthy slow glides and sudden pitch disruptions. Bastard.
This, en-masse, contributes to the siren-like, ominous swarming drone, however the fluctuating pitch is not where the irritation lies.The big problem, my bell-end blowing friend, is the overtones.
What are overtones? Well… every sound is actually made up of not just a fundamental pitch but a series of higher pitches called overtones, that make up its particular tonal character, or timbre. (The only sound with only a fundamental with no overtones is the sine wave, that pure test-tone sound, to which a tuning fork comes close to emulating)
Some overtones are harmonic, they exist at regular frequency intervals to the fundamental. Like 2/1, 3/2. 4/1, 5/2 etc. These make up ‘musical’ intervals above the fundamental pitch like octaves, fifths, major 3rds and so on. Musical instruments that are pitched tend to possess mainly harmonic overtones.
Overtones that have no simple relationship to the fundamental are non-harmonic and contribute to a noisy timbre. A crash cymbal for example, has a smear of close intervals heading up to the top of our hearing range. The most non-harmonic, or noisiest sound is white noise, which is like a random waveform containing all overtones at random amplitudes. Think the sound of constant static, or in nature, a noisy seashore.
Actually musical instruments contain a complex, dynamic combination of overtones. A piano for example has a smattering of non-harmonic overtones at the initial ‘click’ but quickly settles into a regular harmonic pattern. A violin has beautifully regular overtones heading up into the stratosphere, mixed with a bunch of crazily chaotic non-harmonic high overtones.
The vuvuzela, however is an odd frog. It has a simple and regular pattern of overtones but they don’t match harmonic overtones. So it masquerades as a ‘musical’ instrument but is actually noisy, without the decency of being part of the percussion family (a highly respected family, incidentally, despite you know, the rumours) So what you get is the impression of musicality but the effect of irritation. (Figure 2) It’s like false advertising. We are trained to expect a musical timbre when you hear regular intervals but we get is the death-knell rasp of 10,000 kazoos in a giant blender.
Figure 2. Look at those sneaky regular intervals, pretending to be harmonic. Bloody Charlatans. And look how fucking high they go.
So what good is the vuvuzela other than giving a clear “Hey look at me blowing my bell-end!” message. Can it be used musically? Well I leave you with some half-hearted attempts to depict a parallel musical universe where the vuvuzela holds equal esteem to the violin, piano, cello, trumpet and human voice. Enjoy.
So in a ballad, perhaps? (Led Vuvuzeppelin)
Or more dramatically: (Vu-thousand-and-one)
Alas, I have found but one place where it really works. (Voot’s Theme)
Funded by the Wellcome Trust, Microcosmos is a sound installation project in collaboration with microbiologist Dr. Simon Park and Cameraman Steve Downer (Blue Planet, Life on Earth etc.). The DNA codes, colour & shape of microbacterial colonies are translated into sound design using a complex automated mapping system. The resulting soundscape reveals the hidden music of this spectacularly tiny world. Microcosmos has been performed internationally including the Science Museum, Royal Academy of Music, Art Researches Science Belgium and disseminated in international conferences. Here is an extract of the piece:
Some images from the installation below as well as a representation of the mapping system employed (from the hidden music liner notes)