#51

https://soundcloud.com/triermusic/mnemonic-heterophonic-disquiet-0352

I played a simple melody in D minor.

I pitch- and time-shifted the melody up to E minor, then tried to play the original melody along with that, but this time off of G. This created an E minor tonicization.

Then I pitch and time-shifted those two to C# and A, respectively, then tried to play the original melody along with that, again off of G. This created an A7 tonicization.

I pitch and time-shifted those to a high D, A, and F#, respectively, then tried to play the original melody along again in the D an octave lower.

Music theory nerds will note I created a Dm - Em- A7 - D chord progression - a ii-V-I.

I added a little bit of beat repeated to add variation to the melody, but I don’t think it was necessary.

3 Likes
#52

https://soundcloud.com/yasha/me-ernest-hemingway

Process: I composed a melody (using the just intonation scale Wythoff (3-1) Scale D Left) for a set of lyrics I had written in the past. The MIDI file of this melody was then transformed twice using the Expresso tool in KeyKit, which is a musical L-systems generator.

I was going to sing the melody, but our cat Maia objected to that, so I instead used a microtonal version of the Reaktor ensemble Prism to play the melody and the two permutations. These are the lyrics for the first verse:

I shot sharks on waterskis.
To be clear, the sharks were swimming in water.
It was me on the skis –
Me and Ernest Hemingway and his polydactyl cats.

2 Likes
#53

https://soundcloud.com/cdrake90/mind-your-pockets-disquiet0352

A quickly made, but fun, entry this week. Improvised the plonky melody, then generated the counterpoint and bass by transposing, time stretching, and phasing the MIDI data. Drums were made in one take with my Pocket Operator (PO-12) with a few small glitch style edits.

Realizing in retrospect it’s a bit tough to make out the bass parts depending on speaker/headphone setup :frowning: maybe worth a revisit later.

2 Likes
#54

I think I failed to follow the rules, but here’s what I came up with: https://soundcloud.com/plusch/varied-disquiet0352

https://soundcloud.com/plusch/varied-disquiet0352

2 Likes
#55

Ok! Here is my first Disquiet Junto submission:

https://soundcloud.com/andrewsblendorio/thinking-of-japan-disquiet0352

This piece was made to use some of the features of my new Boomerang III Phrase Sampler (and meet the guidelines for Layering Permutations). I played a Japanese Folk/Classical inspired melody on guitar three times, recording a separate loop each time. Then all three loops play in unison one time and then one loop goes up an octave and doubles in speed, one goes down an octave and halves in speed, and one loop stays the same. Then the parts are gradually faded out.

Glad to have finally done one of these, and I hope to do more in the future.

Also, I didn’t get the change to listen to everyone, but I really like the tracks from @DeDe, @janglesoul, @Jet, and @Autogeneric.

And thanks @Yasha.

7 Likes
#56

Andrew –
To embed your SoundCloud track, you just need to enter the URL of the track on one line of your message. The forum software does the rest.

1 Like
#57

Thanks Andrew and welcome to the club. Lovely track. Is that just guitar(s)?

2 Likes
#58

sorry for being late with my contribution.
https://soundcloud.com/flyingtonefish/wilfried-hanrath-layeringsdisquiet0352
P è n i n ș o l a r posted our collab track in time, in this version basically part 1 & 3 are almost identical to the collab version (without P è n i n ș o l a r´s miraculous addings, but with a completely different middle section

3 Likes
#59

Thank you. Yes it’s just one guitar.

2 Likes
#60

Thanks, I enjoyed your track too. It’s interesting how the timbre and texture of audio changes when you half/double the speed. Something worth exploring!

1 Like
#61

Yes, especially the octave up really exposed the inconsistencies in the dynamics of my playing. Certain notes really stand out.

I experimented with actually playing the melody an octave lower and half speed, then removing the highest line and lowering the octave lower to get two octaves lower and four times as slow as the original…but that sounded bad (in context).

It would definitely be worth being more conscious of what will happen to the original loops. Like if I knew one of the loops was going to be raised an octave, playing it with a more mellow tone on the guitar, or maybe a little softer.

I love the 16th note offsets in your piece. It’s so cool to hear the little melodies emerge in your mind from within the originals. It reminds me I have to get back into trying to learn to play Steve Reich’s Violin Phase! It’s a big challenge.

2 Likes
#62

Hi all, I am just back from a retreat up a mountain in Wales, where I had no access to my music making tools or the internet - hence being a little late to this. I am also in preparations for the Naviar Haiku Fest gig on Saturday, at which I plan to improvise some music on piano with added effects - so my take on this week’s challenge was to use long delay to create three layers that will play on top of each other like a sort of improvised canon. I tried to make sure that with each round the melody was changed only a little, so there are nice moments where it all lines up amid the sections where it becomes syncopated. The resulting piece had a ‘swirling’ feel that to me evoked the falling leaves I have spent the last few days watching.

https://soundcloud.com/ikjoyce/the-falling-of-leaves-disquiet0352

3 Likes
#63

Brought to mind simultaneously both ‘Ohm Sweet Ohm’ by Kraftwerk, and Ivor Cutler - which is a great combination :smiley:

For those unfamiliar with Ivor:

3 Likes
#64

Actually - there seem to be quite a few entries that have that ‘homemade’ feel using simple sounds this week, love it!

1 Like
#65

Really lovely piece!

1 Like
#66

Bravo! Fantastic piece.

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#67

Cosy, but not too much - like a cool pillow.

1 Like
#68

The value of being more conscious… Well, I believe it’s worth exploring both ways. Totally intuitive and without thinking, as well as really planning ahead. Lately, and especially doing the Juntos, I’ve taken the chance to work really fast and reckless. Moving forward with “no undo” and letting the happy accidents happen.

Brian Eno has presented his concept Control/Surrender in many interesting talks and I’ve been very inspired by it.

3 Likes
#69

Oh yeah…that stuff’s way easier to say when you’re Brian Eno!

2 Likes
#70

Love it. Somewhat recalls the quieter moments of Wim Mertens.

2 Likes