but.... please listen my "storm in a frog pool"!

anyway, Your work woud be appreciated by a modern Jacques Tati - and anyway, I really appreciate it!

ego sum tuus FAN

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but.... please listen my "storm in a frog pool"!

anyway, Your work woud be appreciated by a modern Jacques Tati - and anyway, I really appreciate it!

ego sum tuus FAN

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This is a really exceptional piece. What strikes me most is the use of
space. Very minimal, both in the use of "instruments" and spacing. I'm
surprised more people haven't commented on the song. I wouldn't mind
knowing more about its composition and how it came into being.

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Well you've asked for a little more information, so here it is:

This was my first real experiment with music concreté. Originally it was just a
course requirement for composition, but as with a lot of music that I write...
the being involved in the composition process of almost any style/genre of
music really helps me understand, appreciate and enjoy other works in
similar styles/genres or using similar techniques.

A large project of was simply collecting and organising the source sounds
etc... but there are three sound levels in particular that make up the majority
of the piece.

1. The majority of the sounds you hear are from the pot and massuer. The
short sounds are the pot being hit by the massuer and the long sustained
humming sounds are created by moving the massuer over the bottom of the
saucepan. Various malniuplations of these sounds make up the free mobile
texture of the piece.

2. The scratching sound heard through almost the entire length of the piece
is a recording of a top of mine that moves quite rapidly around a small base
(and spins for several hours at a time). However when I recorded this top, I
did it in mono... and when I was thinking about this, I came up with the idea
that instead of panning the top to match the original movement to use the
movement of the top to control the panning of all the other sounds. So aside
from a few occasions, the movement of all the mobile sounds has a very
strong relationship to the sound of the top.

3. Particulary if you've listened to this piece with a subwoofer or decent
headphones, the deep gong sound is that of my thumb hitting the salad bowl
with all the high frequencies cut out and the fundamental frequency (about
52 hertz) amplified. This is used both as a kind of harmonic base (yes, there
is even a harmonic progression of 1 5 1 at some point) and in the reverse and
highly distorted form is the only thing that effect the top (causing it to 'fall
over' or skip)

That is what I can remember about the main ideas of the piece. Since this
piece was written only in my first offical semester of studying composition, it
wasn't as planned as it would be if I wrote it now. Some of the piece was still
very "lets just write it and see where it goes" but not as much as it might've
been because there was at least one scrapped attempt before started to
collect my thoughts together to write this piece.

Hope you find this interesting and thanks for asking.

---
The Composer, previously known as The Pianist who hasn't played the piano in a while...

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The background was interesting and useful. Since I haven't really kept up
with music concrete, does a piece of music, such as this, that uses
manipulation of the original sound, still fall into this category?

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Does it count as music concrete? As far as my understanding of what the
term means is that its starts with real (concrete) sounds being recorded and
then malnipulated. So as long as the sounds are traceable back to a real
source, its ok... if its synthizised, then no.... or less so... or something.

Eitherway, all the sounds used in this piece were origianally recorded by a
mono condenser mic. So I think the answer is yes.

---
The Composer, previously known as The Pianist who hasn't played the piano in a while...

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