Here are some of my compositions in music.
MUSC 79
Dream in Pure Data
A 1h30m run of my pure data patch.
Retro Gameplaying as Instrument Interface
I think current instruments lack certain feedback to the performers and especially audiences. Live performances will normally have an auxiliary visual element (like laser lights synced to the music or generative visuals), which is more of an effect rather than a cause. Even for Launchpad performances, most of the time the visuals on the grid are nothing more than flashes of lights. It will be interesting, then, to perform an instrument by playing the game, or to play the game by performing the instrument, such that each interaction by the performer does not only create sounds/music, but also at the same time creates the visualization of the music (which is a gameplay meaningful by itself). This should further blur the line between sounds and visuals, and hopefully will create unique interactive feedback.
MUSC 77
All music were produced with a MacBook Pro and Logic Pro stock plugins and instruments.
Recorded, written, composed, programed, mixed, mastered by me.
Elevator Music
The entire track was made from a field recording of an elevator in Harrison College House. The elevator runs through 26 floors (24 floors plus the bottom level and the penthouse), thus made the natural 1+4x6+1 structure. I used the first buzz as a lead-in, then the next 4x6 as 6 different sections where there are 4 buzzes (bars) in each section, and the last one buzz as the final climax.
All sounds were derived from the original recording by routing the raw recording to different buses with different effects. No synthesizer/sampling/flex-pitch involved.
Tech, no?
The track follows the idea of a 2/4 - 3/4 - 4/4 meter change. The 2/4 meter doesn’t exist in the composition but exists as a 2-against-3 polyrhythm on the 3/4 meter. I hand-tuned some of the cymbal notes to accent downbeats and upbeats, but instead of the actual upbeat and downbeat of the meter, I accented them in different places to produce a polymeter feeling.
Only Drum Synth was used in this track for instrumentation. Automation was heavily used to adjust parameters of different Drum Synths to simulate a realistic drum playing effect.
None Shall Sleep
The track uses samples from a version of “Nessun dorma” performed by Luciano Pavarotti. The choice of sampling from opera is to deviate from the normal mindset of sampling from 70s/80s songs. Only the drum and electronic piano is not from the sample.
The sample was loaded in by Q-sampler and sample points were hand-chosen. The “fake-out intro” plays 2X speed of the sample, while the actual track uses 4X speed of the sample. The entire sample is pitch-shifted 10 semitones up.
Dark Woods
7 Retro Synths and 1 Alchemy were used for this track. Synths with different textures were introduced one by one to draw the listener’s focus to the new timbre. Automations are used for mixing while multiple Randomizer and Modulator are used for synth parameters.
An A=432Hz and 17-TET Pythagorean tuning system is used in this work. This is inspired by, of course, Wendy Carlos.
Dance
Heavily inspired by Yasutaka Nakata’s work, I wanted to make a similar work that features his signature dance pop style. I chose the classic Verse-Chorus in ABA’BCB form, with Intro and Pre-Chorus in mind, which is what he uses a lot on his productions for KPP.
Also influenced by him, the choice of transition between sections was done in a seamless manner. Subtle hints in harmony, melody and percussion were used to pace the song and push the energy into the next section.
MUSC 70
For B.G.
This is the second composition work for the course. We are asked to use simple triads in our piece, and use roman numerals with a bass note to represent them. I also added a staccato flavor and a key change in the middle just to make the piece sounds a bit more unique. The beginning interval was borrowed from Cambridge, 1963 by Jóhann Jóhannsson, which I think has a very bright feeling.
The piece was named For B.G. simply because I asked her what a good name would be and she said “why not have it for me.” (or something like that)
MuseScore
SoundCloud
Performed by Erin Busch.
Over the Rainbow
This is the third and final composition assignment for the course. We are asked to use seventh chords in this piece and write it in a lead sheet style. I write it as a AABA format like a pop song, but so slow that it’s like a lullaby lol. The piece was named Over the Rainbow because I wrote a lot of almost-octave jumps and just reminds me of that song.
MuseScore
SoundCloud
Performed by Erin Busch.