Inspired by LPChips contribution with a tracker-unrelated recorded improvisation.
A take, while playing on the analog(ic) EMS synthi AKS.
http://www.samshuijzen.nl/sam/stracks/4introv.ogg
2:08 - 1.5 Mb
Very playful and experimenting intro. Almost so I recognized the 'whole tone scale' in there somewhere. As usual, an alternative piece by SamZen. I can't identify as much as an 'orthodox' phrase in there, but that's not neccessarily a bad thing. This experimentation keeps it interesting. Definitely interesting sounds to perceive from this recording.
I'm pleasantly surprised you mention the 'scale' aspect here. Because it's a main issue in this piece.
I'm using changes of 'binary' scales here. Because the Synthi A sequencer has a binary keyboard, although it can be tuned to the normal 12-tone octave. In practice this would mean that, if the highest bit of the keyboard code is disabled (fixed on zero), a right half of the keyboard will produce the same notes as the left half.
This seems just a technical, logic thing, but it gave possibilities for other scales, within octaves and beyond, to experience.
And every scale has its own color, it's own atmosphere, and whatever.
I though it would be fair if I also listened to it, since you mentioned it in the topic about Movement of Life, where you've got your inspiration.
To be honest, this just isn't the kind of music I usually listen to, and in order for me to enjoy it, it requires a melodical structure.
In other words, I found it a bit too experimental for my taste :( Especially the gaps of silence made it unpleasant for me, but they're obviously intended.
Hope you're not offended? :) Just felt the need to tell you how I've experienced it.
Maybe I should be offended by the fact, that you ask me if I'm being offended. :wink: I suppose you know better. I'm used to be quite straight in my reviews of the work of others, so it is only fair for me to accept the same about my work.
I was inspired by the fact, that you posted a recording of a live performance, instead of the forums' usual pre-coded outcomes. So this improvisation came to mind.
If I want to convert this recording into a composition, I probably would do something about those gaps of silence.
Actually not intended this time, they are caused by the fact, that I'm controlling knobs and switches during that gap.
There still is some melodical structure, but it's under the surface, another layer. The changing of scales is a melodic structure in time. Some phrases are repeated at the end, as a kind of 'theme'.
at 1:16 i had to laugh
an amusing piece :)
do you know how the scales are called that you are using. or is that your own invention ;)
2 cubaxd
Your laugh proves that you not only listen to the big sounds but also to the tiny ones.
These scales are not my invention. I just found them playing with the circumstances and properties of the equipment.
Giving these scales a name would probably result in a number, a code. But sound-moods are evident too.
I will try to keep it short :
~ Each key on a keyboard is represented by a digital number within the range of the total number of keys.
~ This requires a certain byte-width of binary digits. If 30 keys, 5 bits are necessary to cover the range.
~ One bit can be zero or one. So what if, by modulation, this bit is fixed to zero, no matter the input ?
~ So fixing the second bit to zero would mean, that you could play the keys C,C#,D,D#, but possibly the outcome is producing the notes C,C#,C,C#.
~ This seems quite odd, but wouldn't it be nice, to switch a keyboard to a setting, where every key comes up with a note inside the harmonics of the chosen scale, despite mis-hitting ?