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Musical composition for Orchestra, using melodies and motifs drawn from the symmetries of the circle and square, as well as integer expansions of various por...
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Thank you for you explanation, you anwer perfectly my question .
i agree totally with you opinion about mapping and other technic as start for something but finally, only the sonic result and feel is important.
i agree totaly this approach and personally use the same approach.
Hello Stephane Boussuge,
Thank you for the comment.
I used a combination of "mapping," and treatment adjustment, both before and after the conception of each geometric form. Constant experimentation, adjustment (of timbre, pitch, duration, note velocity [loudness] ), and readjustment are the methods used. Write, listen, re-write, re-listen, compose, listen again, compose again, and so on. I think it is important to keep the project in the mind for long periods, and to work it and re-work, until the materials seem exhausted.
To put it another way: the mapping is done first, conceptually, but there is nothing sacrosanct about the mapping, and it changed numerous times, if it did not sound right, if it did not accord with an internal aesthetic which I felt was governing the piece.
One can begin a piece with a mathematical or geometrical concept, but it is ultimately formed, teleologically, so to speak, with attention focused entirely on the sonic result. That's the way I see it.
I hope I answered the question.
Very interesting piece with many different moods.
do you use direct mapping of value or different musical traitment to the value before mapping ?
Sounds really strange and arbitrary - hardly enjoyable. But it looks very interesting. Fortunately Youtube has a mute button.
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