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[Compositions 2021]


Composition 2021.01 (Realtime Life) 

Composition 2021.01 (Realtime Life) was produced digitally using FM and physical modelling synthesis - and consists of three basic layers: a repeating tone pitched at C2 from the electric piano; fading tones pitched at C2 - C3 and C4 - and a continuous tone pitched at C1.

Composition 2021.01 (Realtime Life) was first presented at XOLO Space Generators #3 - Curated by Edward Griffiths - London.



Composition 2021.02 (Untitled)

Composition 2021.02 (Untitled) consists of two layers; a short repeating tone - pitched at C2 - separated by equal periods of silence; and a central composite element made up of un-pitched sounds and Shepard tones. Distortion has been applied to create a level of timbal complexity.



Composition 2021.03 (Untitled)

Composition 2021.03 (Untitled) is sparsely textured and consists of two continuously repeating tones; one from the electric piano pitched at C2 - and the second is sinewave-based pitched at F#2.  Both elements are separated by periods of silence. 



Composition 2021.04 (Untitled)

Composition 2021.04 (Untitled) consists of three layers: a central sinewave-based un-pitched sound; a repeating tone from the electric piano - pitched at C2 - and separated by periods of silence; and a continuous tone pitched at C1. Distortion has been applied to create a level of timbral complexity.



Composition 2021.05 (Karlheinz Stockhausen) 

Composition 2021.05 (Karlheinz Stockhausen) is based on the twenty-four-tone pitch row from Karlheinz Stockhausen’s Klang series of compositions (2005-2007). The twenty-four notes of the row were organised by Stockhausen that allow for both consonances and dissonances to occur - which is reflected in this new composition.  This is the pitch row: E2 - C2 - F2 - D3 - C#3 - D#3 - A3 - G3 - G#3 - B2 - F#3 - A#2 - D#2 - C#2 - D2 - F3 - C3 - E3 - A#3 - F#3 - B3 - G#2 - G2 - A2. It was used in its original form in the composition  - and also in retrograde. 



Composition 2021.06 (Andrew Page)

Composition 2021.06 (Andrew Page) is based on a sample from the the sound artist Andrew Page. It was composed for Page’s collaborative project Call and Responses - which included contributions from fifty-two composers and sound artists from around the World.



Composition 2021.07 (Rational Thought) 

Composition 2021.07 (Rational Thought) is sparsely textured - and consists  of three layers; a short sinewave-based repeating tone pitched at C4; a repeating fading sound pitched at C4; and a sound at C3. Some of the elements are separated by periods of silence. 

One of the questions asked when composing is what is the relationship between poetic expression and rational thought. Are they antagonistic ideas or can a balance be found? Inspiration does not come from external sources - although external sources may create the conditions for creative thinking and production - but from an a priori thought process - and it is this rational thought process that produces the work.




Composition 2021.08 (Untitled)

Composition 2021.08 (Untitled) consists of two layers; with two sinewave-based fading tones alternating between pitches C3 and A#3 - separated by periods of silence; and a fading tone at C1. Ring-modulation has been applied to create a level of harmonic complexity.



Composition 2021.09 (Untitled)

Composition 2021.09 (Untitled) is sparsely textured - and consists of two layers; a central pulsing sound pitched at C3; and two fading sounds pitched at C1 separated by periods of silence. Ring-modulation has been applied to create a level of harmonic complexity.



Composition 2021.10 (Untitled)

Composition 2021.10 (Untitled) consists of two layers; with two short fading tones pitched at C1 and C3; and ten fading tones pitched at C3. All of the elements are separated by periods of silence - and ring-modulation has been applied to create a level of harmonic complexity. 



Composition 2021.11 (Untitled)

Composition 2021.11 (Untitled) consists of two layers: a short repeating tone - pitched at C2 - from the electric piano; and two repeating fading tones - at C3 and C#4. All of the elements are separated by periods of silence. 



Composition 2021.12 (Arnold Schoenberg)

Composition 2021.12 (Arnold Schoenberg) is based on the twelve-tone row from Arnold Schoenberg's Suite for Piano Op 25 (1921) - and consists of two layers; one with an electric pano - and the second with sinewave-based sounds. This is the tone-row: E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭.

Composition 2021.12 (Arnold Schoenberg) was first performed at Corpora Aliena - IKLECTIK -.20.10.2021.



Composition 2021.13 (Untitled)

Composition 2021.13 (Untitled) is sparsely textured - and consists of three layers; a repeating tone pitched at C3; a repeating tone pitched at C2; and five repeating tones at C#3 - D3 - D#3 - A#3 - and B3. All of the elements are separated by periods of silence.



Composition 2021.14 (Elisabeth Lutyens)

Composition 2021.14 (Elisabeth Lutyens) is based on the tone-row from Elisabeth Lutyens’ Wing Quintet Op. 45 (1960) - with the notes of the row being transferred from wind instruments to sinewave-based sounds produced by FM synthesis. The basic tone-row of the quintet consists of the following pitches: F# - A# - D - A - C# - F - E - D# - B - C - G - G# - and is repeated seven times throughout the composition - with the tones slowly fading in and out of each other.

‘The initial basic cell, however small,. ..[contains] the possibilities within it for change and development in various proportions, tensions, relaxations, speeds, etc., in relation to each other. Once I have got my cell - probably but a few notes scribbled - the aural and formal possibilities grow in my mind: the why, wherefore, character and gesture of the whole work. Eventually I begin the writing down of the piece (alongside it any serial arrangement to be called upon).’ 

Elisabeth Lutyens



Composition 2021.15 (Untitled) 

Composition 2021.15 (Untitled) consists of three layers; a repeating fading tone pitched at C3; a repeating dyad of C#5 and C#1; and a repeating dyad of B4 and B0. All the elements are separated by periods of silence.



Composition 2021.16 (Unknown Metaphysics)

The aim of each composition is to create a balanced relationship between content and form - to create a coherent whole - and it is the union of these different relationships that create the identity of each individual work. This identity needs to be one that is unique - and that is identifiable - either on a subtle level from other compositions - or a distinct difference from the work of other composers. To maintain the balance of a composition each element needs to be the right thing - and which occurs at the right moment. There are no accidents - everything is there for a reason.



Composition 2021.17 (Untitled)

Composition 2021.17 (Untitled) consists of two layers - one with a melodic pattern of low frequency pitches - and the second is a slowly modulating sound that occurs in the middle.



Composition 2021.18 (Untitled)

Composition 2021.18 (Untitled) consists of three layers - with fading sounds - rhythmic pulses - and short periods of silence.



Composition 2021.19 (Untitled)

Composition 2021.19 (Untitled) consists of repeating call-and-response pulsing element that alternates between two fading sounds. Distortion and ring-modulation have been applied to create levels of harmonic and timbral complexity.



Composition 2021.20 (Nothing Comes from Nothing)

Composition 2021.20 (Nothing Comes from Nothing) consists of two repeating pulsing elements that alternate between four fading tones pitched at C3 - B2 - A2 - and F#2.

The concept of ‘Nothing comes from nothing’ (οὐδὲν ἐξ οὐδενός/ex nihilo nihil fit) is a philosophical dictum first argued by Parmenides. There is no break in-between a world that did not exist and one that did - since it could not be created ex nihilo in the first place.


Composition 2021.21 (Untitled) 

Composition 2021.21 (Untitled) was produced using physical modelling synthesis - and consists of four layers - with fading sounds and a central pulsing element.



Composition 2021.22 (Harry Nyquist)

Composition 2021.22 (Harry Nyquist) was produced digitally using Nyquist frequencies.  

Harry Nyquist (1889 -1976) was a Swedish physicist and electronic engineer who made important contributions to communication theory. He received the IRE Medal of Honour in 1960 for fundamental contributions to a quantitative understanding of thermal noise, data transmission and negative feedback. 




Composition 2021.23 (Eternal Return)

Composition 2021.23 (Eternal Return) consists of short bell-like sounds produced by using FM synthesis - and longer fading tones pitched at C1 - C2 - and C3.

What if some day or night a demon were to steal after you into your loneliest loneliness, and say to you, "This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence.” Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: "You are a god and never have I heard anything more divine”  

Friedrich Nietzsche