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.

IF2 Chord Progression, with Melody

This experiment, using Integrated Frequency, is an exploration into harmonic progressions both within the overtone series itself, as well as modulation to other overtone series following the circle of fifths derived from the original series of R20 (root 20 Hz). (More to come on this process in Integrated Frequency II ).

In this short piece, six overtone series are used, along with their corresponding tempos. The tempos are also in relationship to one another ‘by fifths’ if you will, following the same sequence. Within each key, harmonies are derived in their own progression. Think of it as a harmonic progression inside another harmonic progression.

The point to this experiment is to show the subtle intonation differences between the keys as they modulate from one to another. Everything is inter-related to R20, which creates cohesiveness, even though there are multiple microtonal shifts.

Hope you enjoy!

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!