Randomly invertible counterpoint

Randomly invertible counterpoint is a particular variant of the aleatoric technique of composition. It is also essential that this is necessarily a polyphonic technique. It allows for greater freedom in the sounding result due to a large number of possibilities for shifting voices in time relative to each other. The technology is as follows: at some concrete moment, several lines start to sound. So, the synchronization is only at the starting point. They “flow” parallel to each other without further the composer’s control of the connection. The highest interest is the number of overlapping voices. For example, in “Paramusic #2”, I experimented with about 40 independent lines playing in parallel. Here is a very unpredictable result. But, it’s possible to calculate the fields of randomness and try to calculate different variants of counterpoints. Also of interest is the duration of the sounding: the more time of a fragment gives greater possibilities for discrepancy of the voices. Some examples: V. Lutoslavsky’s “string quartet”, Khaya Chernovin’s “Anea Crystal” for quartet I, II, or composite octet.

The examples in compositions:

Swan’s down.
Easterly lens

Tuba track (performed by Gorlinova): Double contrabass flute track (performed by Ivan Bushuev): Doublebass saxophone track (performed by Gorlinova): Play almost simultaneously (or slightly behind) the tuba and flute tracks.About 1 minute after introducing the tuba and flute, start the saxophone track. What happened as a result is a unique result of overlaying three sound parts. The next time it will not happen again, but some other will happen. This one is aleatoric counterpoint.I wrote “Swan’s Down. Easterly lens” for the “KontraTrio” ensemble. They use the only lowest range instruments. We dedicated the project to the anniversary of “The Soldier's......

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She Wolf

“She-Wolf” arose out of my interest in similar transcendental meditation techniques. I mean stopping the flow of thinking, shifting away from evaluative, stopping self-talk. I could determine it as a “blind space of the feeling”.It is something from my childhood sensations when I imagined the forest as a fully alive, a single whole, and a sentient creature. What would happen to a human in this fairy forest? Would a man become its part, dissolve in it? Would a man turn into “a human animal”?“She-Wolf” is a play for five musicians. I divided it into two equal parts: The Other is......

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