1. Paul Muller says:

    Paul H. Muller  TR2 12-4-17

    More indeterminate minimalism based on the structure of Terry Riley’s ‘In C’.  I’ve added some new cells for a total of 24 possible – of which 12 were randomly chosen by the program to set the playing order.  My server is cranking new ones out every 8 hours now.  As you might expect, the results are highly dependent on the density and type of rhythms in each cell.  Too many notes and the texture gets very thick – too few and it becomes too repetitious.  Gotta find just the right balance.  Planning to experiment with different scales and tones.  This one has 3ds, 4ths, 5ths and 7ths in F major – and it seems to work OK.  Might be other interesting possibilities…

    Party On!

      • J.C. Combs says:

        That’s quite the minimalist jam there. Curious, is there a way to program this so it’s not just changing on every four bars but say one line changing on six bars and then changing on four bars and then two and so on and then repeating? Or do you have to stay within the strict parameters of shifting every four bars?

        • Paul Muller says:

          The original cells are in 4-bar segments.  In these early ones I’m often repeating a single-bar cell four times or two-bar cells twice.  I’ve got to make everything work out in 4 bar chunks.  Each chunk is copied 8 to 10 times (randomly 8, 9 or 10) so that there is some variation in each instrument.  In addition there is a randomly set delay for each instrument before it enters the first time.  But all of this has to be on four-bar borders because everything is randomized – or it doesn’t work out.

          You may recall the original score by Riley specifies that everyone plays the cells in order, but each player has the option of moving to the next cell at a certain time or staying on the current cell.  I’ve programmed this variation in, giving probabilities for moving to the next cell or staying.  The 4 bar segments are repeated for 60 to 75 seconds – the original In C lasted an hour or so with 53 cells, so that is a little more than one minute per cell.  My 14 minute pieces are based on a group of 12 cells.  I could go to 24 cells and have a piece about 25 to 30 minutes.

          At this point I think having more unique 4 bar cells will help diversify the texture a bit.

    • Jim Goodin says:

      Paul I like the almost ‘stuck’ feeling at 3+ min in, almost like a turntable stuck on a groove, the resolves. and agree with JC re the emergence of the melody after that.  Good work sir! I hope VEntura heals from the fires.  After the ones in the north this is scary for south CAL.

      • Paul Muller says:

        Thanks!  This is programmed so that each instrument plays a cell 8 to 10 times then either moves to the next cell or stays with the current one.  This is supposed to add some variety to the texture – and mostly it does.  But sometimes they all land on the same cel,l and if that cell has only a few notes and a lot of rests, it may sound ‘stuck’.  A new version comes up every few hours so you never know…

    • Jim Goodin says:

      misposted which was meant for Paul that I have moved up but was about to post for your Bill, lines in the first piece are really interesting particularly your use of voicings, love the sporadic organ near end. Cello voice early on is cool.

    • Bill says:

      Pleasing and pleasant more brittle as it goes on ..

      swaying in the light ripples spreading out from the other side

      the image is moving – though I think other people are not actually seeing it like me…

      the tree frog is singing a sighing and as well likely unheard — except by my ears … and maybe these things be them real or not is what adds the needed changes for me to enjoy this even more so…

  2. James Bailey says:

     James Bailey – The Latecomer

    You know, that guy who shows up just when everyone is getting ready to leave and insists on playing a tune even though he’s not very good at it but it still comes out sounding sort of ok? Yeah, him.

    That may sound a bit more self-depricating than it really needs to, but seems somewhat apt. Recorded direct from a Roland JX-3P with a patch of my own design. Ground riff is a 7/4 pattern on the sequencer and the lead part was warped with the pitch bend. Similarity to a certain Japanese synthesist known for recreations of classical works is entirely coincidental.

  3. Jim Goodin says:

    Jupiter’s Alchemy (feat. James Bailey, Paul Mimlitsch, Roger Sunström and Jim Goodin)

    James’s haunting synth melody led me to do an acoustic fiddle improv not quite knowing where I was going.  Along the way Roger’s Graphic Road was a nice grit for James’s lines and Paul’s horn threaded through nicely and behold Jupiter’s Alchemy!  Good work this weekend all!  I felt moved to be Steve but miss him and maybe he’ll sneak one in 🙂

  4. Jim Goodin says:

    Jim Goodin – Shosh

    guess I’m not done yet 🙂  I got the app Echo Pad today which looked pretty interesting.  I’ve been futzing around this evening to get something out of it.  It allows you create loops, manip with several efx and an X/Y interface to twist it.  This was a loop and live violin on top.

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