Music rendered in three disciplines

First time sharing something here and very excited to contribute something to this wonderful community!

This is the second installment in my ongoing project which aims to unify my three creative outlets: Music, Painting and Textile Art.

Each piece is created as a triptych, one piece each in the three disciplines.

Besides the music you’ll also find the painting and the textile piece in the artwork attached to the track on Soundcloud. If you prefer listening from Bandcamp I’ve attached a link to the track there as well.

This story will continue to unfold piece by piece over the next couple of months and the first part can be found in the links as well.



This is a cool project, thanks for sharing! I’d love to hear more details about the process of serializing the garments and paintings especially. Do you iterate on the pitch class set as you develop the pieces, or does one follow the other?

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Thanks for taking the time to listen/look!

I’d say that I always start working on the music first but I do not necessarily always finish the music before continuing with the embroideries or the painting. After I’ve begun composing the music I develop the embroideries and the painting simultaneously, going back and forth to ensure that the choice of colors/notes/shapes line up to express what I have in mind.

In terms of the actual serial process it goes like this:

I’ve created what I call a Pitch Class Colour Wheel where each PC corresponds to a colour. The choice of matching say a particular shade of Blue with PC “C” is based on my own experience listening to music and is thus arbitrary but so is converting PCs from note-names like “C” into “0” for example.

I see this as the colour equivalent of transpositional equivalence which is generally accepted when analyzing serial music.

So for example, say that you, or anyone else where to create something according to this “theory”, the important part from my point of view would not necessarily be that one uses the exact same combination of Notes/Colours but rather that the relationships between them remain the same.

Once my choice of PCs have been set I use that particular chord and “map” out a shape according to a very similar device like the Pitch Class Colour Wheel, basically a PC clock face with additional inner circles to represent the usual range of octaves produced by musical instruments. While the proportions of these shapes of course can vary according to which “octave” you chose to map them to, they still share a basic relationship, much like octave-equivalence which again is quite generally accepted when analyzing serial music.

This shape can then either be used as is or divided into various subsets, derived from that original chord, and these shapes are both used for determining the shape of the embroideries as well as serving as my version of the Armature of the Rectangle used in classical painting in order to determine the composition for the painting.

The rather free flowing shape you see in the garment which surrounds the embroideries is based on a Sumi-ink painting done beforehand on paper, mostly working wet-on-wet with gives me quite limited control over the ink, and then carefully traced, cut in fabric, and hand-sewn on to the garment. This serves two purposes.

First, for this project there is a quite specific story that i’m narrating and while I am trained in dressmaking and tailoring, something that will be utilized in a greater capacity as the project evolves (without giving away to much :wink: ) I found that using found garments which in one way or another have been more or less tattered and torn through years of use served my needs perfectly.

In effect I’m using the embroideries, which themselves are influenced by traditional Sashiko-embroideries whose main purpose was to mend old garments, to “mend the garment with music” which is not unlike the way music certainly has had that very same effect on so many people through out history. The garments becomes the broken and mended shells of the characters inhabiting the world created by the music and the painting.

Secondly, I use the “ink drawing” to represent the fact that while most of the work is highly serialized and thus tightly controlled, there is room for error, much like in real life where no matter how much you try to plan, there’s always something that’s beyond your power to control which may or may not interfere with your plans.

This duality between “control and collapse” is something I find very fascinating and which Is why I do leave some room for that “collapse” to occur, most prominently the Vocals where I do not compose the melodies according to the serialized process outlined above but rather through intuition once the lyrics have been written and according to what I naturally feel will best express the part of the story I want to tell with this particular piece.

Sorry for the “wall of text” and if I was a bit over-explanatory anywhere, I just wanted to try to express my ideas as clearly as possible since English is not my native language :slight_smile:

Again, thanks for expressing an interest and I look forward to sharing more as the work progresses!


The third installment in this project is now up on Soundcloud and Bandcamp.
This is the next to last piece that will be created for this project and with this exact format.

My sincere thanks to anyone who’s taken their time to listen/look so far as well as discussing the project.

See you all in 2019 for the fourth and concluding piece of this project!

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It’s with great pleasure that I can announce that the fourth installment in this project is now finished and with that, the entire project has reached it’s conclusion in the current form and is released as an “EP” on Bandcamp.

It’s been an honor to share my work with such a creative community which provides such a wealth of information and inspiration on a daily basis.

Thank you.

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