ale{atori}c

This reference site has just about anything you can imagine you’d need, from note names and frequencies, to a chord finder, to a BPM calculator, and much more:

http://www.sengpielaudio.com/Calculations03.htm

I found it when I was looking for the frequency range of a standard 88 note piano, and the MIDI notes that corresponded for a simple MAX patch I was working on. So far, it just plays random piano quarter notes in a minor scale, you pick the root key and the octave span and tempo. I was thinking I could make a robot that does a good Terry Riley impression a la Rainbow in Curved Air.

here’s the third in this week’s song of the week series using the monome and boiinngg. 

for this one i used a synth called automat which is really nice (and free).

this setup happens to do a great Krzysztof impression (apologies to mike) although some might say it’s more Raymond Scott or Terry Riley-like.

i have video for this as well, which i may upload later.

krzsztfsh (5:20) 7.4MB mp3

banksy graffiti art on st claude ave

again, using the monome and boiinngg, a quick improvisation.

it’s frighteningly easy to make get a terry riley / steve reich type thing happening.

so much fun, i could do this forever…

inseaish (6:56) mp3 9.6MB

I’ve  been working on this one for awhile, but I finally got it to a point where I can post it.

It’s an adaptation of Terry Riley’s famous 1964 composition In C, which instead of having a completely static arrangement is a score sheet of 53 looping phrases that each musician plays one-by-one, at her own pace, until she feels like progressing to the next phrase.

"In C" score by Terry Riley

A few years ago when version 6 of Ableton Live came out, I read about the new “Follow Action” feature which allows for the user to introduce a certain amount of randomness to the arrangement. I immediately thought of In C and that if I could each phrase into a separate MIDI clip, I could arrange it so that it would play much as Riley directed. The only problem was that my music-reading skills were pretty limited, my last formal music lesson having been in 4th grade. A short book called Learn To Read Music (of all things) and the Wikipedia entry on modern musical symbols got me over that hurdle.

I decided to make 8 instruments, even though Riley suggests more, because the amount of synchronicity that occurs with human players is less likely to happen with a computer. Each of the 8 computer instruments isn’t listening to the other 7, so there’s no natural temptation to fall into sync with the others. In addition there’s the pulse on the eighth notes as Riley suggests.

I have set it up so that each instrument will play each phrase 4 times, then after the 4th time there is a 1:3 (or 25%) chance it will play the next phrase; otherwise it will loop once more on the current phrase. At the end of each phrase, the computer throws the dice again. There may be better ways to experiment with the probabilities to get it to play closer to Riley’s very general direction that players not get more than 3 or 4 phrases ahead or behind of each other; the computer does not take this into account. (It would be feasible with Max but not Ableton Live).

Each time the piece is played by the computer, it should be a completely different arrangement (although computer random numbers are really pseudo-random, and I don’t know how Live picks random numbers), but contain all the patterns and polyrhythms of patterns intersecting that is the hallmark of In C.

Chances are good you don’t have Ableton Live 6 (or later), but if you are interested in the Live set, let me know and I will send it to you or post it here. However, below I have posted several mp3s representing performances of the piece:

Performance #1: In C #1 (23:09, 31.8MB)

Performance #2: In C #2 (19:30, 26.8MB)

UPDATE: I added one more. Skipped #3, it wasn’t interesting enough. This might be the best so far. It’s also the shortest.

Performance #4*: In C (#4) (16:35, 23.4 Mb)