MySoundBlog

[Freed]

Hello friends,

 

Let the Sounds talk in this blog!

Let's get an incredible history of Sound Trips!

 

How does it work?

 

1. Whenever you have something mixed with Freesounds, publish it here as a Reply to this post.
   You can do it also in stages by editing your Reply. Every Reply to this post should be bound to one piece.
2. Listen to the pieces of others and reply with music! Add this as a Reply to the Reply you are listening to.
   You can modify a piece of others or a part of it. You can also take a part and start something new. And you can also reply to a Reply of another Reply... 

 

That's it.

 

Technical details will follow where needed.

 

Enjoy!

 

Freed

 

 

[Freed]

PRELUDE & SONNET 5

 

An abundance of bell sounds is presented by the Prelude, again following the concept of combining deep layer sounds with sparkling sound elements as in the former Sonnet.

 

Sonnet 5 is special in this sense, that every line is a unique sound scape. Therefore, the variation from rhyme to rhyme is now not only based on another interpretation of the same sound scape but on another selection of sounds were some sounds stay the same.

 

This makes it a bit more difficult to follow the Sonnet structure of a b a b c d c d e f e f g g (which is now a b a' b' c d c' d' e f e' f' g g') but I think I kept it still characteristic enough to be able to follow. Want to try?

 

 

 

The "clean" view for the tech freaks:

 

 

And, again, an alternative interpretation:

 

 

Which do YOU like more? (My Favorite is the first.)

 

Freesounders: 23

[Freed]

PRELUDE & SONNET 6

 

Only when I reached this sixth piece, I decided to go for 12 overall. I know - a famous number in classical music - and in fact, I'm looking here more into polyphonic structure (what happens INSIDE a sound scape, which models of sound "talks", etc.), but there is always the wish to rely on something known, without sacrifying the actual sound substance, and yes, today that I have all 12 pieces in front of me, appearently that was the right number, in terms of material availability and conceptual width for creating each Sonnet from a real individual point of view.

 

The sixth Sonnet borrows the idea from the fifth of having similar but not identical sound scapes, but here in a total different way: The pairs themselves like ab and cd and eg are very closed within themselves, so actually we gain now the following form: a a' a a' c c' c c' e e' e e' g g'.

 

This is a good example for how an existing idea can be transformed to generate a totally different result. Want to hear?

 

 

This is my favorite version:

 

 

And here is the "clean" version of it:

 

 

Freesounders: 10

[Freed]

PRELUDE & SONNET 7

 

Are you curious what the next idea may be? Here we go: This time, the sound color itself is in the center of thought, very noisy and agile. In addition, every second "line" gets a long lasting layer element while the first line stays "dry". This way, the Sonnet structure becomes even more prominent:

 

 

The fact that the long sounds overlaps into the next line which used to be "dry" makes it a bit more interesting, don't you think?

 

The clean display:

 

 

The alternate version:

 

 

Freesounders: 20

[Freed]

PRELUDE & SONNET 8

 

This Sonnet concentrates simply on an ongoing elastic rhythmical structure regardless its bold sound scape changes. This way it creates a link to Sonnet 3 which were also emphasizing bend rhythmical structure, but had another form approach over there (raising and falling tension).

 

When you have 12 pieces (actually 24 if you count the Preludes as well), you get a very interesting network of relationships across all that different categories of sound color, rhythm, form, etc.

 

I'm convinced that you will discover much more and even more accurate relationships than what I try to outline, and moreover, over time, different aspects can come to mind - hopefully - and if it is the case, proving that we deal with a living structure. Speaking about relationships, isn't it nice, that this mashup is built out of so many different sound creators??

 

 

Don't forget to look into the bottom left corner to see all the sound creators that contributed to this piece:

 

 

In the clean version, you find the credits in the right upper (regular) place of the Freesound Navigator:

 

 

Freesounders: 11

[Freed]

PRELUDE & SONNET 9

 

This piece takes the idea of contrasting the "line" pair as we saw it in Sonnet 7 with regard to the dry and layer-savy sound scapes. Here, aggressive and extroverted speach-like sound scapes toggeling with introverted ones that are a bit more connected with nature. Electronic and technocratic ecosystems against a more biosphere experience? It doesn't work so easy, but do you discover the purring cat?

 

 

The "clean" view Navigator version:

 

 

And another interpretation of the same piece:

 

 

Freesounders: 20  

[Freed]

PRELUDE & SONNET 10

 

Short rhythmical elements meet long sounds, usually in a short-noise and long-tone relationship. But sometimes this relationship is also inverted. Why not just listen?

 

 

The "clean" view:

 

 

And another version:

 

 

 

Freesounders: 16

[Freed]

PRELUDE & SONNET 11

 

Friends, I ran out of categories! You will find a lot of principles in this Sonnet which are described above, but what makes this one unique, I guess, it is just the specific connections of the specific sounds over here.

 

The Prelude is this time a bit longer. It is based of a nice sequence of harmonic sparkling underwater sounds by hannstim, based on a sound by suonho.

 

 

Another version in "clean" view:

 

 

This is my preferred version:

 

 

Freesounders: 14

[Freed]

PRELUDE & SONNET 12

 

It is always a great moment to reach some kind of completion and to free the mind for a new project (probably "The FleX Symphony" which you will find here - hopefully shortly - as well).

 

But before leaving you for these cycle of Preludes and Sonnets, let's listen together to the last one. As you can see from the graphics, there is a central point which radiates in all directions. In the music, this happens through one common denominator, a certain tone, that returns again and again in very different sound shapes, thus providing a kind of summary of the cycle but binding it together in a "tonal" way. Only in the end you will find that the tone may get lost but you sill may hear it: hidden in the long layer sound, or - even better - just in your mind, lasting for more time to come...

 

 

If you followed the complete cycle, you may have discovered that the Prelude - again, like in the first piece - includes rhythmical elements of a printing or copy machine, and a sqeaking door sound in the end of the Sonnet. Both elements are very symbolic to me. Let's hope that the door in the end of the cycle was opened and not being closed. Of course, depending into which room leading to... Well, we'll see.

 

Here is my preferred version:

 

 

And the same in the "clean" format:

 

 

Freesounders: 19

 

+++

 

THE END

 

Thank you so much for listening! Want to leave a comment? Will be glad to read about your experience! 

 

Freed

 

 

[Freed]

HYPERS(O)UND FUGUES

 

For all of you that enjoyed the Hypers(o)und Workshop Series, an extended set of pieces will be offered to you, based of some of the compositions that have been used in the workshop.

 

This time, however, you will enter a secret area: None of the following videos can be searched on YouTube, they are only available through special links, being it right from this blog or through a link you may have received through a personal message.

 

Why this exclusivity?

 

The new pieces open a new branch of experiences and in its first stage, this little plant should grow in a more protected space, with you as a prefered listener, owning truly open ears and an open heart.

 

The pieces are called fugues, according to the old counter-point form, and they take from the old fugues the spirit of continuous uninterrupted flow of melodic intensities through an everchanging world of similar figures, such like a kaleidoskop would mix and melt the same elements over and over again to create stunning images in a continous way.

 

The a bit linked to mystic experiences and I believe that one of the deepest secrets of music are lying in such counter-point like sound dialogues, the reason why I'm calling such forms "sound enigmas". And I found even more: There maybe another feeling or temperature about the emotional engagement with such forms, more intimate, more direct, more involving...

 

The first series of these enigmas are based on full compositions, unfolding further ways to experience them as we did in our workshop. This will be the secret part. Later we will expand to new versions of the RedP(o)int cycle and create a full cycle of new sound enigmas within our frees(o)und palettes catalogues.

 

Yesterday I finished the first "secret" fugue, powered by the incredible energetic piece "Chréode" by Jean Baptiste Barrière (see below). Thanks for following and listening!

 

[Freed]

HYPERS(O)UND FUGUES - VOICE FUGUE

 

Listen how the different parts of the original piece (Chréode by Jean Baptiste Barrière) unfolding in an interactive and non-linear way while letting the original - rather linear - process to shine through:

 

   

 

[Freed]

HYPERS(O)UND FUGUES - CROSS FUGUE

 

Permutating sounds and putting them over-cross creates a dense and integrated sound fabric through which one can take a listening tour. Unlike the orginal Studie II by Stockhausen where every parameter is build as a fraction of 5 up to the complete form, in the Cross Fugue one may hear the material unfolding in a more process like way up to the staccato elements, while inviting particular canon effects to strengthen the expressive power of the original sound figures.

 

   

 

[Freed]

HYPERS(O)UND FUGUES - GLISSANDO FUGUE

 

This time the relative stable walk through the touchp(o)ints has been replaced by a strong time modulated sequence. One may see this fugue as an extension and multiplication of the original expression of the piece ("Mutati" by Jean-Claude Risset).

 

More to the mid and the end, the famous Risset-glissandi appearing here up to 4 times simultaneously. So instead of moving an octave sound in an endlos loop upwards, certain intervals are moving, depending on the entry touchp(o)int of each "voice".

 

The high density of this interpretation is based on the fact that this time, voices are not fading away but jumping to their new position from the old one. When in a multifold glissando fabric, a voice that jumps away creates sometimes a feeling of new glissando entry, appearently just by distorting the former balance.