Program Note::
Software I created in Lisp takes a
list of seed pitch classes and scales those numbers to fit the range of each
instrument. Then uses canonic functions to create minimalist gestures from the
pitches. Once the software was written, it was run three successive times with
different seed notes. This piece was composed and premiered at
the electronic music studios at
UCSC under the direction of
David Cope.
Program Note::
Software I created plays the 8 notes of the
C Major scale in order, then related diatonic modes of C Major that have 6 of 7
notes in common: 42 modes for Major, 21 for Harmonic Minor, 21 for Harmonic
Major, and 28 for Melodic Minor. All 112 modes are played before the 25th
mode of C Melodic Minor (Bb Major) is selected and the process repeats (in Bb).
The order of tonal centers continues: Ab, Gb, E, D, then to F (via the related C
Ionian of D melodic minor), then following the same descending M2 pattern, Eb,
Db, B, A, G. Finally, the modes of C are played again. All of this is done in 60
seconds (as the composition was commissioned for the
Vox Novus "60x60" project.
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Program Note::
this algorithmic composition exhibits common-tone modulation via the Modal Shift object similar to the
Evolutio
(2007). Ravelian Fuse,
however, incorporates common-tone modulation to several of Messiaen's Modes of
Limited Transposition. When the tonal center of the Ravelian Fuse is "melodic
minor", the first two scale degrees are averaged, resulting in the 6 tone
"Whole Tone Scale". This modulation technique is common in the music of Ravel
and Debussy. Another type of impressionist modulation to a Messiaen Mode is to
split scale degree 5 of melodic minor into the two tones a half step above and
below, resulting in the 8 note Octatonic Scale.
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Description:
this algorithmic composition for
string quartet was composed in real-time with software based on the ideas
and algorithms of my earlier work
Modal Change.
It differs in that the harmonic emphasis is focused more narrowly on tertian
triadic harmony despite its four independent voices. It uses many objects in
my Modal Object Library including modal change
(to control modality), modal shift
(for common-tone modulation), modal
triad (to establish tertian harmony for
each mode), modal prog (to control
chord progressions).
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Description:
this generative algorithmic composition for
string orchestra, harp, and piano was composed in real-time using
several objects in the Modal Object Library to explore the relationship between
diatonic modes by beginning with
minimalist gestures in a single
7-note scale before changing to a different mode that is only one altered note away. This
piece continues until all 28 modes of the major, harmonic minor, melodic
minor, and harmonic major scales have been used.
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Description:
this transformative algorithmic composition
for two pianos is
an atonal work in 15 short movements. The program creates a histogram of every note and rhythm in each
of Bach's 15 two-part inventions and then composes a new piece
based on the data from the histogram.
Visit the
Projects & Technology section for information
on the Dislocater program.
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