Disquiet Junto Project 0282: Berio's Bach

The project is now live.

Disquiet Junto Project 0282: Berio’s Bach
Make a piece of music based on one composer’s observation regarding another composer.

Step 1: The composer Luciano Berio once said that part of the attraction of some of Bach‚Äôs music is in its clear distinction between which notes are ‚Äústructurally significant‚ÄĚ and which are ‚Äúdecorative.‚ÄĚ Consider this observation.

Step 2: Compose a short piece of music that opens and closes with there being a clear sense of which parts are ‚Äústructurally significant‚ÄĚ and which are ‚Äúdecorative,‚ÄĚ but that in the middle gets ambiguous in this regard.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag ‚Äúdisquiet0282‚ÄĚ (no spaces) in the name of your track. If you‚Äôre posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In this following discussion thread at llllllll.co please consider posting your track.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, May 29, 2017. This project was posted in the early afternoon, California time, on Thursday, May 22, 2017.

Length: The length is entirely up to the participant.

Title/Tag: When posting your track, please include ‚Äúdisquiet0282‚ÄĚ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 282nd weekly Disquiet Junto project ‚ÄĒ ‚ÄúBerio‚Äôs Bach: Make a piece of music based on one composer‚Äôs observation regarding another composer‚ÄĚ ‚ÄĒ at:


More on the Disquiet Junto at:


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Project discussion takes place on llllllll.co:


There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.


Hey, first piece in this week! A semi classical cello duet - more info in the soundcloud description.



my track:


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was in the garden listening to the birds thinking about the structure of birdsong… then i was thinking about orders of complexity and how animals sound like other animals at different octaves / stretched (eg https://www.youtube.com/watch?v=M5OCCuCIMbA)

recorded the sounds of the garden then my partner started shouting about standing in pigeon poop so had to do another recording!

i used paulstretch and delay to get that voice quality. stretched at different time resolutions to get more dronelike stuff.

denoising the recording, and the gust of wind especially, produced some weird artefacts which i decided to leave in.

as usual i read the junto instruct last night and had half forgotten it this morning




The playlist is now live:


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Created on Friday 26th May 2017 on a sunny Paris by DD.

Every single note here comes from Bach’s Goldberg variations. I took the very first measures of the Aria.(the only part I can actually play properly…) recorded it and extracted the midi out of it.
Then took that midi data , removed the ‚Äúimportant‚ÄĚ notes (melody) and changed length of the remaining notes by 200%
Pasted that to some ambient/abstract sounding synthesisers (to contrast with the pure piano), and created a soundscape track fully with the ‚Äúunimportant‚ÄĚ notes, transposed an 8ve above and below, and on it‚Äôs original ‚Äúleft hand‚ÄĚ octave.
Eventually you‚Äôll hear Glenn Gould‚Äôs version (1980‚Äôs one) that I used ‚Äúas is‚ÄĚ and also after extracted midi and feed an Atmosphere sytnh with those midi notes. The track ends with Mr Gould final Aria ending emerging from chaos.

00:00 Aria: dd piano + soundscape (left hand edited background notes)
00:46 variations soundscape (left hand edited background notes): treated/edited/pitch shifted
01:38 enter Mr Gould’s version

Disquiet Junto Project 0282: Berio’s Bach



Hi everybody, here’s my track :slight_smile:
‚Äėars similis casus‚Äô.
Theme in the style of J.S. Bach.
Variations by Logic random functions, and then reworked.



Although the follow-up email stated that ‚ÄúFriends, Romans, countrymen, lend me your ears‚ÄĚ was not the correct subject line, I felt that the subsequent text ‚ÄúI come to bury‚ÄĚ was appropriate, because the idea of the piece was to bury the decorations at the beginning and end in the main body of the work.

Musical decorations include passing tones, neighboring tones, and other ornamental additions to the primary structure of the line. The task here was to make a clear distinction between these decorations and the structurally significant portion of the lines at the beginning and end, but make these ambiguous between these endpoints. In this piece I have buried the ornaments into the body so that they become as significant as the other notes.

This piece is scored for piano and is available at http://bit.ly/2qXOlGU.


My process for creating this piece was one of impulsiveness at first, followed by contemplativeness. I am sure this creative sequence mirrors that of both Bach and Berio, but the output is undoubtedly different. In the prompt, it seems ‚Äústructure‚ÄĚ and ‚Äúdecoration‚ÄĚ are referring to note-based music techniques that both Bach and Berio utilized, but this piece instead observes composers like Trevor Wishart, Leigh Landy, or Hildegard Westerkamp, and touches on a bit of cinematic sound design, or even Michel Chion‚Äôs ‚Äúcinema for the ears.‚ÄĚ

I call it Ground Work. It might be about pipelines, it might be about water, it might be about neglect, it might be about solitude in the northern plains of North America.


After lunchtime today I picked up the bass guitar and found a chord progression, then started a drum loop playing and fumbled about on the fretboard.

The result could use an edit but follows the instructions by outlining the root notes and then adding extra notes, before going off in a different direction for a bit.

In the meantime, I better get back to gardening.


Improvised modular synth ‚Äúdecorations‚ÄĚ over structural ostinato.
Created with Braids, Clouds and Flashback delay. Recorded and edited in Audacity.


Humans have long been fascinated by destruction. It could be argued, in fact, that the desire to break things is a fundamental requirement for survival. The first tools invented by humans 2.6 million years ago comprised the earliest known stage of technological innovation. Thus did human capability advance through a process of fracture, limiting the lifespan of the tools we created by making them susceptible to damage through repeated use.

Rock-breakers 2.6 million years ago understood that the way materials broke apart defined their use. We build structures out of wood and steel because of their strength. We also use wood and steel to create such artistic objects as jewelry, furniture and sculpture. One could argue that buildings represent that which is ‚Äústructurally significant‚ÄĚ and art exists purely for ‚Äúdecoration.‚ÄĚ It is in the humanities, however, from which we derive understanding on what it means to be alive. Judging by those who participate in the Junto every week, we can all agree that cultural pursuits are of critical significance.

For this piece, Suss M√ľsik sought to blur the line between percussion-as-spine and percussion-as-filler. A simple rhythm is played on wood blocks as random pieces of wood and metal are struck at varying intervals. Reed instruments contribute to the slowly evolving din, along with a circular piano phrase that attempts to keep along with the base tempo. Just as things seem to line up, the opening rhythm retreats and abandons the piano, who must now fend for itself. The function of wood and metal evolves from ‚Äústructure‚ÄĚ to ‚Äúdecoration‚ÄĚ in turn, despite there being no change in tempo, sequence or notation.

The piece is titled Conchoidal, named after the type of sharpening or break that results in a smooth, rounded surface.


Started with a ‚Äúlooking for a note‚ÄĚ riff and built up many layers in FL Studio. Two tracks for each instrument with the first track being the ‚Äúimportant parts‚ÄĚ and the second track being the ‚Äúdecoration‚ÄĚ. In the end, the distinction was not very well defined, so the track got fiddled with until it sounded somewhat more pleasant (if it is still about the steps above).


The loss of the percussion leaves me hanging over emptiness, looking for a place to land.

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was¬īt sure if i could realize the assignment so i tried to do something could fit. improvised a piece on piano and added a part which contains the for me decorative notes.
used the Ableton Grand Piano run thru Graincrusher for the ‚Äústructurally significant‚ÄĚ notes and a kind of experimental sound for the decorating (unnerving) part.


Indeed. Where do all the stray balloons in the sky ultimately end up?

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