Disquiet Junto Project 0281: Pattern Interruption



This is one of those ideas that came in fits and starts, where each attempt resulted in things quickly turning to mush. I finally realized that it needed to be a single line to allow one to follow what was going on. This piece is a bit longer than my other works but that length is necessary to allow things to play out.

The initial palindrome progressively has notes added to the row until it is filled, then notes are continuously removed by lengthening others, eventually returning to the original row.

The piece is scored for piano, though if brave performers can be found then it could be adapted for pretty much any instrumental duo.

The score is available at http://bit.ly/2r0Ww6l



The first tomatoes harvested for food were considered fatal to wealthy diners but harmless to the poor. This had everything to do with chemistry, not economics. During the 1500’s, the tomato’s acidity would interact with pewter flatware commonly used by the rich, who upon ingesting would soon die of lead poisoning. Poor people ate off plates made of wood and thus had no problems.

Today’s tomatoes are the result of thousands of years of genetic sculpting. In the 1950’s, researchers discovered a wild strain of plant where the tomato stayed longer on the vine due to a thicker “joint” holding the fruit to the stem. When crossed into existing breeds, however, the outcomes were disastrous: too many flowers, not enough fruit.

After screening 4,193 varieties of tomato plants, a team of genetic researchers led by Zachary Lippman have recently discovered how to engineer more productive crops through CRISPR-Cas9 gene editing. By minimizing the gene that bears flowers and strengthening a modified joint that can hold heavier fruit, it is hoped that tomato farmers will soon have better and more predictable yields.

This is the method by which Suss Müsik created this piece for three pianos. It opens with a seven-note palindromic sequence, interspersed by two patterns of chords played with two separate “joints” — one “thick” and one “thin” to reflect changes in meter. (It made sense at the time). The opening loop is interrupted by another palindrome about halfway through, slowly dropping notes the way a tomato falls off the vine. A lightly bowed electric guitar adds a bit of color.

Suss Müsik admits to being inspired (and a bit intimidated) by the wonderful red ips spider by earthborn visions, a lovely composition in which loops seem to organically flow into each other. A real gem.

The piece is titled Inflorescences, named after the process by which flowers form on branches.



I started with a simple synth line, then adding a few notes here and there as I went. Brought in a little verb and delay part way in to add some textural interest. And as you might be able to tell from the waveform image, half way through i went meta :slight_smile:
I used an arpeggiator to get the repeated notes. An unexpected aspect of that is the arpeggiator seems to randomly interfere with the release envelope on some notes and not others. I liked it so i kept it. The approach to the initial melodic palindrome was to make an exact mirror in the step sequence editor - hence the slight rhythmic offset in the 2nd half of each loop. The 1st half is on the beat, but if you graphically mirror that exactly in the editor, the 2nd half will be slightly late.
Gear - all in the box on this one, as I am getting my new Surface Pro set up - thought this would be a good exercise for it. Ableton Live, Arturia Jup-8, Valhalla Shimmer and Room, EchoBoy, Fabfilter Saturn. And Reaper to assemble the 2 halves.



Cheers all, this weeks noise…https://soundcloud.com/user-651760074/evildidlivedisquiet0281
Made a short 2 bar pattern then mirrored it for 4 bar total. Stacked three synths, Chiangmai, Berlin, Kiev and a matching Recife percussion pattern. Bounced this, brought it into Paulstretch and then exported back into Cubasis where one instance was left stretched and another was shortened with stretch in Cubasis. To add a taste of my last weeks experience I brought in a field recording from the video of the massive hailstorm that hit here Monday :-/ Did a bunch of eq work and gated the hail for a nice natural randomization. Added some spacial effects and a little Roomworks verb to finish it off. Nice and dark, just like the skies of late!



cool sounds, cool video :slight_smile:

1 Like


iphone vocals…

Favorite Free AU and VST Plugins (molot, dc1a2)
the track’s a palindrome, with interruptions for the tops
thx @disquiet
this is fun :slight_smile:



As with all my audio work, this entire process was documented in a live stream at www.twitch.tv/zeromeaning

A melody was constructed as a midi channel. This was then used as a guide to program a similar piano melody using samples (and the midi channel was subsequently deleted). A glockenspiel was added to this as part of the main loop.

These elements were then rendered and manipulated using reverb and pitch shifting to create an ambient background.

As the piece progressed, edits were made to the piano to generate a sense of evolution. The idea of the melody loop being a palindrome was applied to the entire piece; the closing section is similar to the opening, with an eye of ambience at the very centre.



Thanks for stopping by! As I said on-stream, I plan to do these live streams every Friday for as long as I can. :slight_smile:



I also popped in for a while, nice to see someone else’s methods and workflow, good to hear how the track turned out. Was a little disconcerting watching your twitch at first, as you sound like a younger and slightly better spoken version of me! :slight_smile:



Nice and dark - reminds me in places of Jarre’s Industrial Revolutions pt 1 (that’s a compliment in my eyes!)

1 Like



I used a drum machine, a breakbeat, some sampled percussion, two synths, and a Missy Elliott sample. Some of my palindromes are literal, the loop followed by the same loop reversed. Some are less literal, mirrored in larger chunks so they make more musical sense. For the disrupted versions, I either manually added MIDI notes, or used Ableton’s invaluable Beat Repeat to do random stutters.



Lin Mu here:

Wow ! I am blown away by these creative interpretations of my simple idea.

When I first contacted Marc about maybe, doing a “Disquiet Junto” project, using CRISPR as a starting constraint. I was playing around with simple palindrome sequences, trying to find a place where I could both hear its own palindromic nature, yet also create a track that had a beginning, middle, and end. These entries have surprised me by somehow getting to the heart of that.

Thank you all !

I have been very busy with other work this week… so I might not be able to post.

This is very nice… Simple and one can hear the palindromic nature, and it evolves into something greater than the parts !



Nice. Cool set up. Kinda set up for some live noodling. Shame about Mr. Cornell. Pills to chill and pills to kill.,it’s a big ole chemical spill.



Hey All, Started with a simple pattern and went bonkers with duplicating random parts and raising and lowering the original over time. Added the TMBG song on top giving it my own spin. TMBG have some dark lyrics but they are so poppy it’s interesting the contrast. I thought it was cool that it ended at exactly 2:42 minutes long.


Peace, Hugh



I really had fun with this project! Where do I begin? First, the assignment called for a short pattern of musical notes played as a palindrome. I went several steps further.
I created a 9-note pattern in C which purposely plays all 7 notes in the scale plus 2 repetitions. Played as a palindrome this gives a 17-note series with seven unique pitches (I love primes!).
Next, the beat durations of the 9 original notes form a palindrome over the nine: 1,1,2,3,5,3,2,1,1. So this rhythmic palindrome repeats twice over each single repetition of the pitch palindrome. Some of you may notice the numeric sequence for the durations – I brought Fibonacci in for the fun.
Then I created two additional 9-pitch lines in the same key and same duration pattern which harmonize with the original line, so now I have 3-part palindromic harmony! All these are played back using lovely pianissimo piano samples I got from the University of Iowa Electronic Music Studios.
Next, the assignment said to “add notes in its midst as it proceeds”. Did I mention that I am creating this whole thing algorithmically with an RTcmix script? I added a chunk to my generator which, with odds of 1-to-50, splices a new pitch randomly into one of the three lines (pushing the existing ones to the right). These new pitches are all below or above the range of the original 3-part harmony, and may or may not be in the same key, and are all played with fortissimo piano samples! This makes each note set gradually longer and longer, so each line’s pattern takes longer and longer to repeat, but the original 9-value duration palindrome keeps steadfast throughout.
The resulting effect is a gradual corruption (buildup of unfriendly mutations) of the original. Everything was done with a single RTcmix script. I really had no idea how it would turn out until I let the script run!



Had a hard time with this one. I started with a basic track that I ran through a bunch of tape and effects, but was unhappy with the result. I sat down and recorded this version in a single take to my hard drive and ended up liking it much more than the track I’d spent most of the morning on. Funny how that works.


First track I’ve posted with the Monome Grid / Ansible / Kria as the brains, really enjoy meta-patterns. Once the pattern gets going the ability to edit on the fly is fun and fit perfectly with the description of this week’s Junto.




Bass and ‘melodies’ done in Max; other stuff done with an external sequencer which has chance built in. Every pattern on this track except one is interrupted. Somehow,



Here’s mine: https://soundcloud.com/plusch/live-disquiet0281

This piece was recorded live in one take. (The title has a double meaning: “live” as in recorded live, and also the imperative “live,” as in “live your life.”) I created a custom Aalto patch, and set up a palindromic sequence in the first seven steps of the 16-step sequencer, plus other values in the remaining steps. I mapped hardware knobs to several of Aalto’s parameters (oscillator ratio, number of sequencer steps, LFO level, number of voices, envelope decay and release, and sequencer range). At the start, the sequencer plays only the first seven steps, but then I start turning knobs, first changing the number of steps, and later, other parameters.




Disquiet Junto 0281 – Interrupted Pattern




Started recording while my kids were resting, using my voice. Then modified the sounds and ended with a location recording from Morocco that I made.

1 Like