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To a White Sky [disquiet0015-rgbinteract]

jai_ on April 15, 2012 00:15

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    Disquiet Junto Project 0015: RGB Interaction

    The aim is to "represent the way Red, Green, and Blue interact with each other and form other colors in the process. You'll accomplish this through two steps. First, you will create three simple sounds, one representative of each of three primary colors. Second, you will cause them to interact, in the form of a composition. The initial sounds might be tones, or beats, or chords, or even note sequences.[...] You'll symbolize Red with a sound derived from the number 600, Green from the number 540, and Blue from the number 450. And certainly, you might choose to explore the ratios between these numbers, rather than the specific numbers themselves."

    MY Creative Approach to this assigment has two steps:

    Step 1:

    Just as colours have their own characteristics, so do musical modes. Laying ROYGBIV on a C Major Scale, gives us that Red is C (Ionian), Green is F (Lydian), Blue is G (Mixolydian).

    Step 2:

    Mathematical proportions 600-540-450 can be reduced to 20-18-15. This will give us the length of the note sequences representing each colour. The sequences will be the modal scales at 1 note per beat. The idea is to start the three sequences at the same time and end them when they are simultaneously at the start of the sequence once again. The lowest common multiple will determine this = 180.

    Therefore, at 90 bpm the piece will last two minutes, the minimum stipulated for the assignment.

    For musical purposes I made the following decisions:

    1. To avoid dissonance which was bound to happen if I used C Ionian, C Lydian and
    C Mixolydian scales simultaneously (the original idea), I used the roots of each mode: C Ionian, F Lydian and G Mixolydian; ie. white keys only.

    2. Instead of repeating the same 20, 18 and 15 note sequence every time, each time the sequence started it would do so on a different octave with this order: C1-C2-C3, F2-F3-F1, G3-G1-G2

    3. To add variety in timbre I decided that each C, F and G sequence would have a different woodwind, brass and string instrument (or pair of instruments) depending on what octave they started in. I also added tuned or stringed percussion to the G sequence. The resulting instrumentation was:

    C1 Contrabassoon + bass clarinet
    C2 Cello
    C3 Tenor Trombone

    F1 Double Bass
    F2 French Horn
    F3 Clarinet + Oboe

    G1 Tuba + Tenor Trombone (+ Bowed Tubular Bell)
    G2 Viola + Violin (+ Celesta)
    G3 Piccolo + Alto Flute (+ Crotales)

    4. Instead of starting the sequences simultaneously I delayed the F sequence by 1/3 beat from the C sequence, and the G sequence another 1/3 beat from F.

    5. I conceived the blending and interaction of the different colours/sequences as a pot in which light ingredients are stirred to create white light. To create this effect, the C and F sequences are in a constant state of panning while G remains at the centre of the maelstrom...extreme NI Guitar Rig FXs (presets) create the chaotic blend.

    6. The piece ends with a very short piano coda/loop in C which adds the Lydian and Mixolydian tensions to the two-part melody (F sharp and B flat respectively), resolving to C Ionian.


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