Disquiet Junto Project 0319: Duly Noted

Disquiet Junto Project 0319: Duly Noted
Make a composition with the same melody repeated but with notes appearing and disappearing.

Step 1: You’ll be making a piece of music based on a single short melody. The melody will be played on repeat for the length of the piece. Select a melody. As is often the case with projects that require seed material, it might be helpful to read through the full set of instructions before committing to a melody.

Step 2: Select your short melody.

Step 3: Compose a piece of music in which the melody selected in Step 2 is played on repeat. It should be heard in full at first, and then each subsequent time it plays one note or more than one note should temporarily not be heard.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0319” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0319” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Please consider posting your track in the following discussion thread at llllllll.co.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, February 12, 2018. This project was posted in the early afternoon, California time, on Thursday, February 8, 2018.

Length: The length is up to you, though between one and two minutes feels about right.

Title/Tag: When posting your track, please include “disquiet0319” 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 319th weekly Disquiet Junto project (Duly Noted: Make a composition with the same melody repeated but with notes appearing and disappearing) at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


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.

Image associated with this project is by Brianna on Flickr, and is used thanks to a Creative Commons license:




Nice. I am even more pleased I got myself a Grid/Ansible combo now…




Like most everything else I’ve been working on lately, I decided to go with a kind of random/generative system to build this piece. Description of it is below.

I’ve been playing around with different generative and aleatoric ideas for a while now and they seem to be making their way into everything I work on. For this track I wrote the melody with a tweaked bass preset on Ableton Live’s Analog synth. I then pitched the MIDI up an octave and started playing with randomness. I ended up chaining two Velocity MIDI effects so that the first randomizes note velocities and the second only passes about half the range on to Analog. This has the effect of randomly removing notes while also varying the velocity of the notes that do get passed. I then passed the signal through three return tracks with delays, reverbs, and filters. These return tracks also create feedback loops by being fed into each other.


Really dig this. Has a Twilight Zone vibe to it.

1 Like

The playlist is now rolling:



This week’s Disquiet Junto project about notes appearing and disappearing coincided with reports that oxygen levels in oceans are also, unfortunately, disappearing.

I decided to sonify some data taken from an article published in the Nature Journal, ‘Decline in global oceanic oxygen content during the past five decades’, and added a field recording I took of the ocean.



This track relies on the ER-301 for everything. There are a couple field recordings, one of some ice melting from my gutters, and another of my neighbor clearing his driveway with a snow blower. I also used the 301 as a couple of pedal loopers, looping Just Type in Synthesis mode, and then processing it through the Trash Tape custom unit. One of the loopers drops notes fairly often while the other stays constant.



I’ve been attempting to learn some music theory, so I created ‘first species counterpoint’ based on notes from the Open Music Theory; removed a note from the second melody to create a polyrhythm, and then progressively subtract notes from the first melody before adding them back in some form of palindrome. The main melody is done on the 4ms Spectral Band resonator, sequencing by Monome Ansible Kria.

I’ve added a few interesting noises in the background for some colour, otherwise it’s turned out a reasonably strict interpretation of the brief.


This was a nice opportunity to reign in my noisy tendencies. This track is simply a pseudo-live-coding system that I’m developing talking to a Mangrove.



I began not with a melody, but a linear percussion pattern: A single hit on every 16th for 2 bars.

Then in various sections, repeating patterns of “blanks” are played over the pattern, removing various hits. In the first section, the blanking patterns are 16 notes long. In subsequent sections they are 12 and 16 in polymeter, 13, 13 and 5 in polymeter, and finally 7 notes long.

I built Max 4 Live devices to apply the patterns of the blanking tracks to the main drum track.

In addition, there is some beat sync’d delay on the track, which shifts in delay time to match the blanking pattern meters. A little ham-fisted, perhaps, but brings out the less common meters more clearly.



In his book The Visual Display of Quantitative Information, designer Edward Tufte describes how “erasing principles” can have a beneficial effect on the way we interpret graphical data. “Half-faces carry the same information as full faces,” he writes. “Halves [are] easier to sort [and] can be used to report additional variables. Bilateral symmetry doubles the space consumed by a design without adding new information.”

In an information-rich world where everything we do or say is excessively catalogued, it is our ability to edit that optimizes human experience. High-density design is hard work; detailed complexity renders our tasks more difficult, sacrificing economy of scale for the sake of gratuitous proliferation. The simple act of making a decision becomes more arduous, counterbalanced by the fear of leaving out something important that we’ll need later.

For this short piece, Suss Müsik sought to bilaterally visualize an erasing principle using sound. A simple, nearly symmetrical melody is played on fake woodwinds and degraded over 16 measures. Each note in the sequence is eliminated step-by-step to create a series of comparisons. In some instances, a note returns briefly only to be abandoned in the next bar.

The piece was starting to feel a bit dry, so we added a pulsing synth bass and acoustic percussion as background. The result is something like Martin Rev sitting in with Babatunde Olatunji while Ransom Wilson rehearses Vermont Counterpoint.

The piece is titled Gasko, named after the researcher Miriam Gasko. She is known for co-authoring a scholarly paper on the effect of halfspace depth on short-term memory when using a computer interface. The image is an eraser.


This is my second Disquiet Junto weekly project. I’m really enjoying participating because it helps me tame my self-critical nature by making me complete things on a quick timetable.

A slow and simple melody played over drones, gradually removing each note. Mostly OP1 (synth sampler) played through the El Capistan and recorded into Ableton Live. A little bit of Operator for extra bass and some of Live effects (stock reverb, simple delay, autofilter). All first takes and quickly mixed in Ableton; if I had more time I would mix it again.




wrote the melody using an afro-cuban piano plug in with some delay. wrote a repeating bassline. added some effects. et voila!


This piece is lovely. I like how it both is clear about the idea of the prompt, and groovy. Seems like it should be intro piece of an evening of musical story-telling. Bravo!



done 58 juntos in a row - over a year - can’t quite believe it

used a random arpeggio line, looped that
then re-recorded it live while muting at various points

another couple of random arpeggios stretched and blurred . thought about having it more structured so it still has shape without the hidden rhythm but i liked it meandering.



Thank you! Twas fun to produce.

1 Like

The melody is an electric guitar sample sequenced in the iPad app Patterning, running through the Crystalline and Quatromod effects. I muted notes randomly as Patterning played in real time, with the complete melody intact at the beginning and end of the piece.


Hey all, sure missed missed this place…
The Struggle of Off(disquiet0319)
It’s been too long. Offline, off in the distance, off beat…just off in too many ways. This weeks piece follows the spirit of the prompt, if not the order, and is taken from a longer single take on Bram Bos Ripplemaker. A nice beginners start for us who are modular synth challenged. A pattern was set in the sequencer and while running, notes were removed and reintroduced while tweaking as many perimeters as feeble hands and mind could manage. Ripplemaker and AUM Space were running inside Audiobus and the resulting recording was exported to Cubasis. Two endings of the same long audio track, one being shifted a second ahead, were made into tracks. The first as recorded. The second “ghost” track has a light filter and hard pan left. The third track is the beginning section of the longer piece, layered between the others, adding a little chaos to the mix. The dueling delays of the modular patch and the track shift seemed to complement, in some sort of weird way. Thanks to all for the messages, listens and likes while I was gone. Very nice to come back to!