Disquiet Junto Project 0412: One Chord Wonder

One chord on one chord. Dminor. A good November Chord :slight_smile:

Several versions of una corda piano plays different parts of an arpeggio over the single chord - with added rythms and effects from (very) different sources. At the end - a human voice drops in to lay the chord to rest…

Thank you for another inspiring challenge!

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An ambient solution :slight_smile:
Started out as a D7add6 but as the different synths took on the notes it kind of dissolved into a lot more.
The instruments are all synths. The Boog Model D is acting fundamental and the Streichfett is acting secong physical synth. The rest are old presets I’ve made, that i chose due to time constraints. 2 of them are different approaches to granular synthesis in Ableton. One is Wavetable with a custom sample of a cello, the other is granullator with a voice sample that drifts in pitch. I really like how the last one makes the chords ambiguous throughout.

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Connection String was written to reflect my annoyance with errors in the connection strings within my coding. When I was writing, for some reason I always seemed to have a problem with the connection string. This piece follows the inner workings of a connection string trying to reach the data source and make sense of what is supposed to happen. I used a Cmaj13 chord as the basis of this piece.

Connection String was written for Flute, Clarinet, Horn, Trombone, Vibraphone, two Solo Violins, Solo Viola, Solo Cello, Solo String Bass.

The score is available at http://bit.ly/37xSaWv

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Hi! I’m new here so let me take a minute to introduce myself. I’m Paul, and among other things, I’m one of the maintainers on Surge, the open source synthesizer. https://surge-synthesizer.github.io. I’ve done an awful lot of the C++ coding since it has been open sourced (both the DSP and the UI) and have also ported all of Surge to rack.

I’ve been programming and doing various forms of music my whole life, and a friend turned me onto this composition challenge, so I thought what fun, lets get a weekly challenge in the inbox, and see if anything comes out.

The bit that came out for this challenge came out a bit more aggressive than I expected. I started with a whole bunch of modules in vcv rack, mostly the surge oscillators but some other things too, and mixed that into logic where i added some guitar.

The chord I picked was F over a G pedal. I start the piece stating the chord on piano, where I often find it in various compositions, then introducing the actual instrumentation. I instrumented it as a single note in rack on the low G drone, two evolving separate more attack based tones in the F and A, and then just played a super distorted guitar over a set of Cs in a sort of improvised rhythm agains the track. As I noted on soundcloud, I’ve been spending a lot of time lately revisiting (No_Pussyfooting) and there’s one explicit tribute to the record in there.

Anyway here’s the track. Thanks!

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@baconpaul Hello Paul, welcome to the Junto. Surge is a great synthesizer - thank you for all your hard work!! Also, I like your first disquiet contribution. I’ve been listening to Norman Westberg’s solo albums this week, and it makes for a real nice fit

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I really just threw in notes until it felt halfway good at some point. It’s GmM7, a minor major seventh chord.

So it’s always G,B♭,D, F♯ without inversion (to stay true to the assignment, but I did not change the octave range of the selected instruments).

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Emin for a freakiest world

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Welcome, Paul. So glad you could join in. I’ll check out Surge for sure.

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Welcome to the Junto! Great track!

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This chord is A B C and F
Ive been away a long time
but now Im back…

sityphoxx

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Three soft-synths with modulated waveshapes, filter frequency and resonance gradually sent into delays and reverbs. Then, converted to half speed (the best speed) with the PaulStretch algorithm.

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Hi Everyone!

I used 4 instruments: Granular II, Grand Piano, Electric Bass (recorded)and adornable, all of them playing the chord Cmaj7#5 in different octaves. I love this chord and the mystery around it.

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Hello, it’s me again with another failure. My chord is Bm13, specifically the quartal voicing BEADG, which by sheer convenience consists of the standard tuning of a 5-string bass.

My sound sources: the open strings of three basses (a 5-string with neodymium pickups, a semi-acoustic 5-string with piezo pickup, and a 4-string U-Bass with piezo pickup), recorded clean DI, each processed through SuperCollider to reverse direction in the pattern Fw, Rv, Fw, Rv Rv at 150 bpm giving it a 5/8 feel;
myself performing lip trills, slowed down & pitched up;
an FM synth playing that 3+2 pattern.

I trimmed the bass recordings based on how long they each took to decay by 40 dB. These worked out roughly to multiples of 12 bars with the U-Bass much shorter, so I made 12-bar patterns with the synth from B up to G and distributed the bass parts round-robin style, with the lip trills sometimes acting like an independent voice and sometimes taking over from a bass part that’s just ended while the next one is still very quiet. (I wasn’t very formal about it.) Some delay & reverb, tasteful by my usual standards.

I’m calling it “another failure” because it doesn’t really sound like the prompt. There’s also an alternate version I made yesterday that was even worse in that respect (I recorded the basses with effects already rather than clean) buried in the mix.

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I was half-expecting the early MOWGAI to start playing over the top of this lush sound world. If this is a failure, fail on!!

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There are few who like to engage in self deprecation more than myself. That being said the disquiet junto is not a contest and the prompts are interpreted by those who are prompted. So it’s all good, don’t worry unless you want to.

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I agree! Maybe I should elaborate. I don’t judge anyone else’s submissions as though the prompt is a rubric to be scored (pun intended). But I have started a few in the past few months, particularly the Rauschen Bern series, then scrapped them because they just sounded like my usual shtick and the connection to the theme was just too tenuous. And my first attempt at this Junto kind of went the same way.

The thing is, I’ve belatedly realized that for someone who claims to want to make experimental art, I have a low tolerance for feeling lost and confused and so on, and a big part of the appeal of the Junto for me is working within arbitrary constraints to (hopefully) get more comfortable with identifying the seed of the idea I want to pursue amid whatever mess I’ve currently thrown together. Or, you know, something like that.

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My chord is Asus4
for ebow, tuning fork, dig synth and organ plug in.
wrestled a lot with peaky frequencies …

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I tried hard on this one but didn’t quite get it together. I sort of followed the procedure, but I ended up using multiple chords. They’re all from the B melodic minor scale, mostly built in fourths; I played them on the aQWERTYon: apps.musedlab.org/aqwertyon/theory/

I also used some beats, and I didn’t have the instruments change over time. I thought this was a pretty cool track regardless. Samples are from “Fun Tashlikh” by the Klezmatics and “Blood on his Lips” by Scientist.

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Took a bunch of loops I made over the past few months, pulled out sections, repitched and filtered and multitrack.

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Your track sounds very nice and interesting so nevermind the approximative interpretation of the prompt.
This is music after all, if you’re not sure of hitting the target you should take a shoot anyway, nobody would get hurt.

FWIW a Bm13 needs a G# instead of a G, your chord is a Em11 inversion that,as a full 4th’s chord some call “B4” but you can call it as you like.

Anyway, Good track.

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