Beiklang #1 <2006>
for double-bell trumpet, flute, oboe, horn, violin, cello
My piece Beiklang is based on idea sound synthesis in completely acoustic performance structure (without electronics). Here there is no purpose to receive a sound comparable to electronic synthesis; idea, more likely, a metaphor and attempt to recreate synthesis processes of a sound in convents of alive concert hall acoustics.
In a composition following synthesis algorithms consistently work (vector idea from “clean” harmonics to noise supersaturated sound):
- Additive synthesis – simple harmonics addition; for example: ordinary a trumpet sound (the basic tone) + multiphonick an oboe (top odd overtones) – see beginning of the piece.
- Synthesis by principle FM – «wrong» buzzing at brass, singing into the instrument of the note, which are distinct from played (ring modulation), the prepared instruments.
- Subtractive synthesis – finishing of a material up to noise components with the subsequent synthesis of a sound, by «suppression» of a spectrum of noise.
- Discrete synthesis – reverse motion to algorithm of additive synthesis.
Depending on acoustic features of a hall, at «Beiklang» performance probably application of effect of artificial reverberation.