Integrated Frequency - Through-composed

Through-composed

Now that I have conducted several looping experiments with the Integrated Frequency system, this is a short through-composed (non-looping) composition.

The first section is in R20 (essentially the key of E), using the full spectrum of the 30-note scale.  The middle section is in R30 (the key of B), again using the full scale-range.  The final section returns to R20, however, the ending chord cadences on B Major, while the ending low note is E.

The first and last sections are in 75BPM, congruent with the R20 scale, while the middle section is in 56.25BPM, congruent with the R30 scale.

I endeavored to use interesting aspects of the overtone scale, such as melodic microtonal gestures, contrapuntal chromaticism and harmonic motion.

(For more information, please see my article Integrated Frequency)

Integrated Frequency - Fullrange

Fullrange 

This is an experiment using the various parts of the overtone scale in combination in the single R20 scale.  Using rhythm, a bass-line, a harmonic ‘comping’ pattern, harmonic counterpoint, chromatic and microtonal patterns, along with a diatonic melody, all ‘sections’ of the overtone scale are utilized. 

(For more information, please see my article Integrated Frequency)

Using loop-based composition, an extended form emerges from layering of the various elements.

Microtonal Scaler - Microtonal 2

Microtonal 2

In this experiment I used the same ascending and descending scaler pattern in multiple related overtone scales.  In each 30-node scale, I used the upper partials to create the microtonality. 

In the R5 family, I used R5, R10, R20, R40, R80, and R120 in 75BPM and 150BPM, from their respective tempo family.  The root tempo of this family is whole-note = 18.75 (.3125Hz).

In a related branch from that group, I used R30 in 112.5BPM and 225BPM, its respective tempo family.  This family is derived by multiplying the above 18.75 x 3.

I also used R35 and R70, another branch from the R5 family in 131.25BPM, its tempo family.  This family is derived by multiplying the above 18.75 x 7.

I hoped to create a ‘whirring’ of scales against each other, all related, yet in their own distinct families, like branches off the trunk of a tree.

Polyrhythms and polytonalities are created by the scaler interactions.

(For more information, please see my article Integrated Frequency)

Integrated Frequency 1 - Microtonal 1

Microtonal Melody - Microtonal 1 

This experiment was designed to showcase microtonality as ornamentation.  In traditional performance, we use vibrato, portamento/shifting, and even intonation differences to shape a diatonic or chromatic line.  These are all uses of microtonality in our traditional Western tradition.

I wanted to take that concept one step further, using the upper partials of the microtonal scale, R20 in ornamentation and melody.

Underneath the melody, using harmonies derived from the central nodes of the R20 scale, I created a progression to accompany the melody.

Aesthetically, I attempted to give some ‘personality’ to the melody by manipulating the attack time of the synth’s ADSR remotely.  The melody declares, ‘I’m weird, but I have something important I want to say.’

I also, with a controller, manipulated the first partial of the additive synth I built, to create vibrato (LFO) in the voice, for the accompanying harmony part. 

(For more information, see my article Integrated Frequency)

Integrated Frequency 1 - Diatonic, Chromatic, Mictrotonal, Serial

Diatonic, Chromatic, Microtonal Serial

This experiment deals with the same 10-note pattern used in the Chromatic/Serial example above, in three sections of the overtone scale: 1) the lowest ten nodes [diatonic/harmonic], 2) the middle ten nodes [chromatic], and 3) the highest ten nodes [microtonal].  Using the same pattern in each of the sections created the same contour of the theme, but not the same intervals, since the intervallic differences of the lowest ten notes are wide and the intervallic differences of the highest ten are much smaller.

What I found interesting is that the motif could be recognizable, even feeling like an exact reflection, when comparing it against each of the three ranges.  The intervallic differences between each of the ranges of the scale didn’t seem to alter the recognizability of the pattern.

From this experiment, perhaps a new way of dealing with motivic development can be obtained: what I call ‘motive ballooning.’  Consider drawing a motif on the outside of a balloon with a marker.  Then blow the balloon full of air, and the written motif expands.  Let the air out a little, and the motif shrinks, etc.  The motif is still recognizable, even though the size of the intervals change.

In this piece, I used two different tempos in the family of R20, 75BPM and 120BPM, so each of the three parts of the R20 scale had eight versions of the motif: Prime, Inversion, Retrograde, Retrograde/Inversion in 75BPM and 150BPM.  This, all in all, gave me a total of 24 different versions of the motif, each of them only used once, in the traditional serialist ethos.

Even though serialism is employed, each of the three sections of the overtone scale are harmonically and tonally congruent, as all notes exist inside the same overtone scale.  Harmony and Melody or, one could say, Vertical and Horizontal properties are one and the same.

(For more information, please see my article Integrated Frequency)

Integrated Frequency - Chromatic, Serial

Chromatic Serial

This experiment plays with the possibility of serialism in the context of the chromatic scale which resides inside of the overtone series, nodes 13-24.  I used a 10-note pattern, providing Prime, Retrograde, Inversion, and Retrograde/Inversion of the theme in the overtone scales of R20, R40, and R60.

(For more information, please see my article Integrated Frequency)

Integrated Frequency 1 - Melody

Melody

This is a single melodic line, stretching over the span of a several-octave overtone scale.  Using the melody canonically in R40, R60, R120, R160, and R200, the lines create counterpoint against each other.

R60 and R40 are related.  R40, in this instance represents tonic and R60 represents Dominant.

(For more information, please see my article, Integrated Frequency)

Integrated Frequency 1 - Rhythm, Bass

Rhythm/Bass 

This was an experiment in two different overtone scale/rhythms: R5/R10 against R30/R60.  The familiar rock style is challenged by the convergence of the two tempos and scales, creating polytonal and polytempo moments.

Only two compositional components were used to create this piece: a bass pattern and a rhythm pattern.

(For more information, please see my article, Integrated Frequency)

IF2 Chord Progression with Melody 2.0

This is an experiment, using the same basic material as 1.0; however, this time, instead of moving around the ‘circle of fifths’ (derived from within the overtone series of R20), the progression goes around the opposite direction (i.e. the ‘circle of fourths).

Since the circle of fifths is derived from within the overtone series, instead of by the Pythagorean method, the tunings between the key centers are not all perfectly in a 1:3 ratio. ( More on this later, in the article Integrated Frequency 2.)

This is an illustration of how the cycle is perfectly tuned by the 1:3 keys, while the version 1.0 is not derived in a 1:3 ‘perfect’ ratio between the keys as they modulate.

As in all of these experiments, the tempo, tuning and key are congruent in frequency.

IF2 Chord Modulation, with Serial (P,R,I,RI)

This is an experiment in modulation between the three overtone series ‘keys’ of R30 (B), R20 (E), and R22.5 (F#). There are chord progression sequences that can be made within a single overtone scale, as shown by previous experiments. In this experiment, however, I seek to expand the harmonic possibilities by essentially creating a tonic, dominant, and subdominant framework.

In addition to the above concept, I added a 12-note chromatic line, developed with the common serialism components of Prime, Retrograde, Inversion, and Retrograde/Inversion.

As the keys shift, the tempi and 12-tone lines also shift. Since the 12-tone line is derived directly from the same overtone series of its underlying harmonies, we see that serialism and harmony can co-exist.

In this work, tempo, harmony, and chromatic serialism are compatible and congruent.

Integrated Frequency 2 - Bi-tonal Melody with Harmony

This is an experiment in modulation between the key/tempos of R40 (eighth-note = 150) and R27.5 (eighth-note = 206.25). The melody, harmony, and tempo all shift from one key to the other, alternating back and forth, from zone to zone. Creating tuplets in the melody, also gives rhythmic dimensionality to the changing tempi.

More information: Integrated Frequency

Hope you enjoy!

Integrated Frequency 2 - 2-Key Counterpoint

This is an experiment using two distinctly composed lines, each in its own key. The keys are R70 (D Major) in the tempo of 131.25BPM and R40 (E Major) in the tempo of 150BPM. The lines interact in an 8-bar pattern in a 7:8 relationship.

Interestingly, even though the lines are similar in timbre, the tuning of each line causes the ear to psychoaccoustically ‘track’ with each line without confusing them. In panning, they end up trading places, and the ear can follow the motion.

See more about Integrated Frequency.

Hope you enjoy!

Integrated Frequency 2 - Full-range Melody, 3 Keys

This experiment deals with thematic materials used from Integrated Frequency 1: ‘Full-range Melody’.  However, in this case, the melodic phrase is used in three different keys: F#, B, and E.  Each key is derived from within the global root of R20.  The corresponding tempi relating to each key is as follows: 

F# = 168.75BPM 

B = 112.5BPM 

E = 150BPM 

The tempo/scale relationships formed between each of the parts create a macro-polyrhythm of 9:12:16 as the melodies repeat.  Each of the relationships constantly change as they inter-weave with one another. 

Hope you enjoy!

Integrated Frequency 2 - Harmonic Modulation

This is one of my second group of experiments in Integrated Frequency, developing key modulation. I took the Harmonic Progression material, from the Integrated Frequency 1 project, and utilized an extended form of the Overtone Series through other branching Overtone Series scales.

Modulating through all 12 chromatic keys, and utilizing rhythmic sounds derived from fundamental frequencies of R20 (root, 20Hz), the thematic harmonic progression material is stated three times in three different tempi, all inter-related.

Hope you enjoy!

There Is Life (score) and Track

Here are a couple more thoughts on ‘There Is Life’. The score shown below does not contain the full orchestration, which would probably be too small to read in this format. However, this condensed score shows the basic concept of the piece. Perhaps someday it could be done with a live full group consisting of rhythm section, choir, praise team vocalists, and orchestra. Until then, I’m glad to have this presentation.

Also, since the track itself bears a good bit of work, I wanted to share it without vocals. This was my first attempt at using EastWest Hollywood Orchestra sample library in conjunction with Logic X. Hope you enjoy!

(without vocals):

There Is Life (for Vocal Ensemble, Rhythm Section and Orchestra)

This was an experimental piece, written for Easter, in which the tempo gradually morphs through the middle of the song, becoming twice as fast at the end, as the opening material returns in the same tempo in which it started, only now in ‘cut-time’. In order to make this rhythmic transition successfully, a click-track arrangement was made to guide the rhythm section players successfully.

Due to the pandemic, Easter 2020 presented a big challenge: how was I going to do a piece of this magnitude? I had already started producing the orchestration and arrangement with Logic Pro and the EastWest Hollywood Orchestra sample library. I ended up digitally producing all instrumentation together with two phoned-in choir parts, and a four-member vocal ensemble, including myself.

The original concept of the work was to blend the various stylistic elements of: 1) Praise and Worship, 2) Symphonic Orchestration, 3) Elements of folk/spiritual, using the pentatonic scale, and 4) an Obligato Choir line throughout. The piece starts in F minor and concludes in Eb Major after going through a passage of chromaticism towards the end of the piece.

I wrote the original version several years ago with limited success in our performance. The difficulty it presented to our group was a rhythmic one. Making the ‘twice as fast’ change was difficult for our team at that time. I knew the only way to successfully achieve it would be to use click across the entire group, including vocalists. Finally having this capability in my grasp, the pandemic situation caused me to abort the larger group idea, replacing the instrumentation with a fully produced track.

Following is the video performance used for Odessa Christian Faith Center’s Easter 2020, featuring Ana Young, Carmen Young, Debra Bledsoe, and myself:

There Is Life (©2020 Lowell Hohstadt)

There is life

There is life in the River,

life in the River which flows from the Throne,

it flows from the Throne,

it flows from the Throne

There is life

There is life in the breath of His Presence

There is peace beyond measure,

beyond measure,

a peace freely given,

freely given

It surrounds, it surrounds  

and it covers like a flood

covers like a flood,

like a flood

There is fruit precious fruit

which grows on the Vine,

inside there is seed to be planted

If it falls up on ground that is fallow and moist,

its power, its power,

its power will reflect all of Heaven,

all of Heaven

There is fruit precious fruit

which grows on the Vine,

inside there is seed to be planted

If it falls up on ground that is fallow and moist,

its power, its power,

its power will reflect all of Heaven,

all of Heaven

All of Heaven

Jesus is the Resurrection

Jesus is the life

No one comes unto the Father

No one comes unto the Father of Lights

with Whom there is no variation,

with Whom there is no shifting shadow of turning

No one comes unto the Father of lights

by any other way but Jesus

Jesus is the Resurrection Jesus is the Life

Jesus is the Life

Resurrection, Resurrection

Resurrection, Resurrection,

If you believe there is nothing impossible

If you believe there is nothing impossible

For He said, "I Am the Resurrection, I Am the Life,

He who believes in Me will never die."

Resurrection, Resurrection

If you believe, If you believe,

All things are possible

Resurrection, Resurrection,

Resurrection, Resurrection,

Resurrection, Resurrection,

Resurrection and the Life,

Resurrection and the Life

There is life in the River

which flows from the Throne,

There is life in the breath of His Presence

There is peace beyond measure, a peace freely given,

it surrounds and it covers like a flood

There is fruit, precious fruit

which grows on the vine,

inside there is seed to be planted

If it falls upon ground that is fallow and moist,

its power, its power,

its power will reflect all of Heaven

All of Heaven

He said, "I Am the Resurrection. I Am the Life.

I Am the Resurrection. I Am the Life.

Believe in Me, Believe in Me,

You'll never die.

I Am the Life, I Am the Vine,

I Am alive, alive, alive."

There is life,

There is Life!

What Child Is This (Electronica)

Here's  dance mix I just created for this year's Christmas services using the familiar carol, "What Child Is This" in a unique way.

Hope you enjoy!

God Rest Ye Merry Gentlemen (Dubstep)

Here's a little different take on the Christmas hymn, done in a Dubstep electronica mix.

Hope you enjoy!

Loop Fun

Here's a musical experiment: Modern Classical composition using looped patterns and hip-hop beats, with an electric violin improv over the top of it.

Hope you like it!