Disquiet Junto Project 0514: Chord Channels

As always, instructions went out via tinyletter.com/disquiet-junto.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is the end of the day Monday, November 8, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, November 4, 2021.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0514: Chord Channels

The Assignment: Take two chords and connect them over time.

Step 1: The goal of this project is to produce a slow piece of music in which you move back and forth between two chords. Choose two chords that have at least one note in common.

Step 2: Map out the notes of each chord.

Step 3: Compose a piece of music in which the individual notes of each chord slowly appear and disappear, so that at any point in time part of one chord, or part of both chords, or perhaps even both chords in their entirety can be heard.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0514” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0514” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

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

Step 4: Post 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: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, November 8, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, November 4, 2021.

Length: The length of your finished track is up to you. Longer may be better.

Title/Tag: When posting your tracks, please include “disquiet0514” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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 always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 514th weekly Disquiet Junto project – Chord Channels (The Assignment: Take two chords and connect them over time) – at: https://disquiet.com/0514/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0514-chord-channels/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.


And the project is live. Thanks, everyone.

1 Like

This is a track I’ve been sketching out for a few months now but when the project came out I just felt it fit perfectly. The entire thing is built in VCV, centralized on the Orca’s Heart module (Orca’s Heart). A simple Imaj7-IVmaj7 progression triggers a number of generative sequences sharing all but two notes which define the harmonic motion. Hope y’all enjoy it.


Ableton (Wavetable + Valhalla)



this is a rough sketch for a video I am working on - there are some fine-tuned edits to be made but it is moving in the right direction. The track celebrates common-tone chord connection ( only two chords!) and cool (but still needs to be tightened) orchestration and - wait for it - BEATS! Paul - are you making beat-oriented music now? I don’t know - but I am feeling this track …


this is an album length piece
i used samples of cello, viola, violin, bass clarinet, tuba, bassoon
these were looping through protoplasm
used live arpeggiator to play different notes in Am and Em
everything fading in and out
only other fx was m ez convolution reverse reverb and supermassive


The two chords chosen are D-minor and A-minor. They were dialed into the following configurations on the Subharmonicon:

  • D3 - F2 - D2 - A1
  • E3 - E2 - C2 - A1


Moog Subharmonicon + 2x Moog Mother-32 + Ableton Live strings + Yamaha Revstar RS620 distorted with Guitar Rig 5. Reverb used: NI Raum.

Arrangement notes

At first I set up a simplified version of my “stereo Subharmonicon” patch that only uses the Subharmonicon and two Mother-32s. I set it up so that the Mothers serve as drums and stereo outputs to Subharmonicon’s base oscillators and first subs. One is panned left while the other is right. Subharmonicon itself outputs the second subs and is panned centrally.

I recorded a 5-minute knob twiddling arrangement with this setup. Subharmonicon’s sequencers decided on the timings and progressions of the notes. While this sounded very interesting to me, I felt there was a hole in the middle of the arrangement when it goes quiet and drum-less. Therefore I added some quiet strings in Ableton Live over it.

This dramatically changed the feel of the piece so now it needed a dramatic finale. I picked up the guitar and recorded a simple power chord rhythm background. Each of the three power chords in the progression uses notes from the two selected chords for the assignment.


I’ve been testing a couple of sample libraries with plucked piano sounds and comparing with my own Yamaha upright plucked piano, just fooling around two chords (Cmaj7 ad Fmaj7) to stay on the instructions of this junto challenge.

Recorded during the afternoon of November 5th 2021 in Paris , France.


A simple little ambient thing. Dm7 and Am7 as the two chords. Took a generative approach with VCV Rack. Randomish triggers with probability from the Hive module with notes from both chords programmed into four instances of Prob-Key adding probability to the notes chosen. Dial up the reverb, press play and sit back and relax.


I chose an E flat maj7 chord and a Edim7 for my chords. I set up a clock pulse that fed into 3 Bernoulli switches which triggered sample and hold of a noise source which was then fed into 1 of 2 quantisers, quantised to the respective chord notes. Triggers and note info was then sent into 1 of 2 instances of Rings, 1 was a short pluck, the other a sustained note.
I recorded 3 passes of this patch and then played them back at different speeds fading them in and out to create chance combinations of the notes. This was then glued together in Rymdigare which also added a wee bit of pitch warble.


E minor and G# Augmented were chosen their common note being E.
I set up two slow circuits in Nodal 2 one for each chord with G# Aug being a deliberately slower circuit.
This was piped into Bespoke synth via loop midi and into Unfiltered audios Lion synth. Additional alternate octaves but for the same note were added on the fly to create variation.
Ran this process again with a different sound in Lion and mixed the two results.


The playlist is now rolling:

Dunno, I decided to use a guitar but didn’t think too much about mixing the chords.

Dm to G and back with some M-Tron as well as re-amped electric guitar.


Had an idea. Forgot to record certain material… Finally I came up with this.
A travel between 2 chords - 2 times. F6/11 to C6/11 via F and Dm (if I’m not wrong…)
Have I got the assignment right? I’m not sure…
Synthetic voice reading from “The old man and the sea” (E. Hemingway)
Recording of the sea (a sea without flying fish) made with phone.



A track exploring two simple chords; Fm and A

This is the third completely different version - illustrating how hard it is to actually keep it simple. I’m not even sure, I succeeded.


D minor and F major triads on the piano. The D minor part is loud at the beginning and end and soft in the middle. The F major is the opposite. So, you always hear at least a little of both chords.

On top of that is two-part counterpoint played on brushed bell hits.


E and C# Minor pedal steel and ebow. At times it does become a sort of F#9/11… with a bit of sus(b2) thrown in for fun.
I kept it short and not rhythmically busy to leave room for overdubs.


made digitally using bitwigs microtune -which morphs the pattern between standard tuning and yung-chin7 tuning. It is quite short and I realise I didnt really space out the chord notes as the instructions suggested.
More details in the soundcloud description.


Simple approach to this as polyphony on a modular synth is tricky enough - three triangle oscillators, manually tuned through two O_c hemispheres AttenOff instances, moving between a F# diminished triad and a G# major triad. Three Turing Machine Pulses outputs trigger the oscillators’ individual envelopes.