Let the Sounds talk in this blog!
Let's get an incredible history of Sound Trips!
How does it work?
Technical details will follow where needed.
Maybe you found them already at this site, but here is exactly the right place for them - the HIDDEN TRACKS by Encrypted God!
Read what he is saying about those tracks:
You can find all of his hidden tracks also in Freesound itself:
But why not enjoy his videos right here, from his YouTube channel??
Hidden Track 3
Hidden Track 4
Hidden Track 5
Hidden Track 6
Hidden Track 7
Hidden Track 8
Hidden Track 9
Hidden Track 10
Hidden Track 11
Hidden Track 12
Hidden Track 13
Hidden Track 14
Hidden Track 15
Hidden Track 16
Hidden Track 17
Freesound Music Alchemy
1. Birds! by Noa
2. Red Lake Monster by Lin
3. Selenes Trilogy by Ella
4. Melodies of Nature by Liron
5. Unpeaceful Soul by Nir
6. Illusions in a Storm by Inbal
7. A Story of a Flute by Nufar
8. Curriculum Vitae by Gil
9. Connections by Hillel
10. The Asaf Project by Asaf
(1) RAINBOW SOUND TOURS - "Latset mimeni"
Welcome back! As I said, stay tuned, and thanks for waiting! It took a bit longer as expected as my computer broke down completely )-: However, finally I managed with a temporary environment (although without touchscreen for the time being) and here we go with a nice multi-cultural project of Hypersound Music.
If you didn't read about it, go first to http://freesound.ning.com/forum/topics/rainbow-sound-tours and have a look!
When you are back, listen to the below, as this is the first excercise, mixing 4 different Hebrew songs, all with Guitar. Pay attention how the tonal areas tagged by different colors match an overarching idea. For this, I need to translate a bit Hebrew:
1. "Latset mikan" is "escape from here". So you can here it always in the same loop as if you would try to brake out from this specific tone which is shared between all 4 pieces (dark green color).
2. "Latset mimeni" is "escape from myself", a variation of the words above, expressing the core of the Hypersound Music idea: Sharing sounds and music already in the creation process...
3. The piece succeeds to escape to another tone, while the upper right singer suggests, "lachleev hakova" which means "change the hat". This could be a method of escape and leading to "lechshachser", the "release" in the end staying in the new tone.
The next palette will bring the Arabic part to sound, mixing religous and dance elements created by Rami. Then, when everyone is ready to escape from himself, we should be ready to a new "piece process" where the Hebrew and Arabic parts come together!
As I used to say: Stay tuned!
(2) RAINBOW SOUND TOURS - "Ramifications"
There is a young and very talented Arabic singer. His name is Rami.
And there is a
where you can play and mix those songs all together. What will come out of it?
Ramifications! A "branching out" from one talent to different kind of expressions, from one tone across pray and love (the black touchpoints) to a lots of different tones of diatonic and Arabic scales, something like the following (try it better!):
This is another way to grow beyond your limits - do you remember the meaning of latset mimeni (see last blog entry).
Next exercise will bring both worlds together, growing into new sound meetings. As we say always stay tuned...
(and thanks for listening!)
(3) RAINBOW SOUND TOURS - "Piece Process"
During the process or progress of a piece, other pieces happen to join it with their own process.
What leads to an understanding, to harmony? A similar process? Deviations that contribute toward more richness of the overall process? Dialogue? Are we afraid of conflict or dissonance? How do we need to play together to get a common life while leaving each with the freedom to follow his own dreams?
“Get a Grip” von Boaz Barnea – a piece for guitar solo, serves as a blau pause process for singers to join with pieces we know already from the other excercises above.
Listen how songs of love and pray and reflection of life join into a piece process, originating from Hebrew and Arabic musicians.
One more thing: Did you catch the Hebrew phrase "tatril ledaber"? Listen agin! It means "start to talk". That's the most important thing when things are getting complicated, I think.
(4) RAINBOW SOUND TOURS - "Rainbow"
Barcelona, Barcelona… Having the famous cathedral in front of me,
I’m thinking how to express my feelings about the next piece which mixes not only two but multiple cultures, not only of different geographies but also across different kinds of musical thinking: What the hell has a twelf-tone exercise to do with a Brazilian song and our Israeli pieces?
Well, I found out that the behaviour of selecting sound chunks from every kind of musical and sound expressions, and reordering them into something new, is exactly that what someone is doing when juggling with 12 tones over and over. Somehow I felt the piano in this piece is driving the changes of the others, but this is only one possible perception. What counts is if this juggling game becomes something joyful to listen to. What do you think about this rainbow of different sounds!
Want to try this yourself, making it even more interesting? Here we go:
BTW, today I had a great meeting with the creators of freesound.org here in Barcelona. Did you already tried the new version? Now you can play sounds over there with a free starting point which makes it almost an instrument. And have a look how beautiful sounds look when displayed in the second graphic mode (FFT).
(5) RAINBOW SOUND TOURS - "Sound paintings"
Sound collages can be painted with many kinds of sounds. Open the following Sound Palette
and see what we have:
1. Grey and turquise touchp(o)ints over three windows: noise of many, many kinds, including nature, machines, etc.
2. Red touchp(o)ints over three windows: Speech elements
3. Violet and blue touchp(o)ints in one window: Natural and artificial instrumental sounds and effects
4. Dark blue touchp(o)ints over 2 windows: Bird sounds
This is my favorite version:
Paint your own collage with these sound scenarios, or just listen to them from the beginning to end.
That’s it with the RAINBOW project! Going out from our own point of view with the first piece (Latset mimeni) and finally meeting in a language of sounds that could be understood by everyone – this is what we mean by “when sounds meet – just as people”!
Now its time to start a new cycle of music! In the last time, we saw a lot of very experimental stuff but also very common music melting in itself (Hypersound Workshop, RedPoint and Rainbow Sound Tours).
The "RECITAL" cycle is going - along with other Sound Drama and Sound Enigma cycles - one step further and mixes sounds from both worlds - the known and the unknown - in a deeper fashion. Let's see togeter what comes out of it.
For the curious of you, visit the Freesound catalogue for sound dramas and the Freesound catalogue for sound enigmas to see which sounds and pieces we are going to expect. And, of course, even better - provide your own sound pathes and interpretations!! Right here!
PRELUDE & SONNET 1
A sound from an aggressive copy machine (or is it a paper cutting machine?) which may - once more - introduce into the age of copy and pasting sounds (or may it be composition?) - a sound of a sqeeking door which sounds like a bull, calling for love (or just crying?), and an angel choir sound (promising too much?) builds the basic scenario of the Prelude.
Then we start to listen to the first Sonnet which follows the classic model of rhymes. I don't know what musical rhymes are, but I feel that the repetition of things without being obessive about it, forces a lot to think: When to repeat, when not, and to move forward, when to remember and how, etc. This is for me telling a story, trying to find a personal stand in all this overwhelming sound realities without hiding behind formal principles or a pure "materialistic" boost of audio material. Hope you will like it:
Here will be another "clean" version that shows you how I play this music live using the Freesound Navigator:
Thanks for listening!
Ah, I forgot. There are always three videos belonging to one title. So here is the graphic version of the clean one above:
PRELUDE & SONNET 2
Although the material of this Sonnet is very fast (actually, I really love it), the sound scapes (i.e., a certain group of repeating sounds) which build the Sonnet structure or form are changing quite slowly. I thought to give enough time to listen in these interesting and fast interactions between the rushing sounds, but on the other hand, the beauty of the sound scape changes which make the Sonnet form may fade away.
Go and listen to one of these larger versions below. In the meantime, I will experiment with a shorter one. Maybe this will be more interesting. I will let you know about the results (will be right back :-).
The same version in clean view:
Ah, I forgot to turn on the code of the sound scapes in the right pane where you can see now the four temperaments that build the underlying sound classification F-L-E-X of the Freesound Navigator. Here is the code:
A a A a B b B b C c C c D D
in the "Matrix" script, what is logically
a b a b c d c d e f e f g g
And you know what? The shorter stuff didn't work out. There are so many things happening with the sound conversations inside a "box" - this just needs time to come to our mind, I think, so let it be...
PRELUDE & SONNET 3
After the rather quiet first and rushing second Sonnet, it's about time for some rhythm in the middle, something what is most difficult to do if we want to stay in a continuous non-linear field of sound events and sound relationships. So what is most fitting those rhythmical models: Bending straight sequences, accelerating and deccelerating rhythms, one of my most beloved structures that I'm still struggeling with to get them better "understandable".
So here is the next try:
You may have noticed that the structure of this Sonnet is a bit different since sound scapes are more often repeated. This is due to a special Sonnet-Form that goes logically like this:
a b a b b c b c c d c d e e
Instead of starting a new rhyme, the one of the last row of the former couple of lines is being used. Interestingly, this allows now in return to shape shorter segments (remember my trial above), as more of the same material is being repeated.
Here is another version with the clean display of the Freesound Navigator:
And here is my preferred version, again with the nice video distortion effect as in the first version:
PRELUDE & SONNET 4
You were waiting for the next Sonnet to appear (I hope so!)?
Never mind. Now you get them all in a short time, one after the other. I simply took another approach and produced them in layers, so they became ready at once.
Now, what is special about Prelude & Sonnet 4?
I think, first of all, it is a real kaleidoscope of colors. Every "line" of this poem provides quite a bit of different mix, but almost all of them have some very quiet sound that grounds the experience in a more silent way, even so a lot of smaller events are happen above - much like sparkling light on a deeper water's surface.
The graphics uses a kaleidoscope structure as well:
The triangel reminds me of the first sound of the Sonnet in the bass, which is a quinta and serves like a symbol for the inner quiet that someone may feel with this piece.
Here is the clean display of the same interpretation:
And here, as usual, an alternate interpretation: