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.

Integrated Frequency 1 - Rhythm

Rhythm

Beginning with the lowest fundamentals, here is an experiment in polyrhythms.  Using the root frequencies of R5, R10, R20, R40, R80, and R120 at 75BPM as one rhythmic block, R30 at 112.5BPM and 225BPM as another rhythmic block, and R35 and R70 at 131.25BPM and 525BPM as the last rhythmic block, many polyrhythms are created.  At one point there is a ratio of 12:28:11.

The pitches were created by making a short note on each fundamental using the additive Max synth that I made, so the tempos and pitches of each rhythmic block are in the same family.  There are three main rhythmic families against each other in polyrhythms.  All of these families are related to each other, as branches of the same tree, the foundation being 18.75BPM (or .3125Hz).

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

Psalm 67 (for solo violin)

This is a contemporary classical composition inspired by Ysaye's works for unaccompanied violin.  Each section is based upon a verse from the Biblical chapter Psalm 67.  The work has been premiered and performed by the composer in New York City, Czechoslovakia and Vienna.

Of the work, Hans Neidhardt, music director of the Volksbildungskreis in Vienna, Austria wrote:

“…his encore (Psalm 67), a composition of his own earned much applause by the audience.”

Score (Digital Download PDF)

String Quartet #3 (Vignettes)

This work was written for and premiered by the Lindsayan String Quartet in 2001.  The work consists of five short movements, thematically united.  Since the movements were shorter and concise, I sub-titled the work ‘Vignettes.’

Hope you enjoy!

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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!

Gelukkig (for String Orchestra) EW

Here is a version of Gelukkig I made with the East West Symphonic Library. The many textures and articulations necessary for this work to be successfully produced maximized the software’s capability.

Hope you enjoy it.