Motion Studies

The "Motion Studies" are meant to search for acoustical possibilities of the instrument and to outline the composition techniques while using the S-Notation. This sheet music enables a notion of the graphical shape of the S-notation and an acoustic impression of the different playing techniques on the instrument.

01

Motion Studies 01

In this study the C major scale was "mirrored" by using Eton. That means on every Note (acoustic forward motion) follows an Eton (acoustic backward motion) in the same pitch and vice versa.

02

Motion Studie 2

In this movement study two different samples were used and manipulated in a different manner. By grouping Notes (forward motion) and Etons (backward motion) it is possible to create various patterns, which always reveals a different acoustic result.

03

Motion Studie 03

The compositional basis of this study is the C major key triad. By the different arrangement of Notes and Etons in this chord it is possible to form varied acoustic results. These variations represent the formula of this motion studie.

04

Motion Studie 04

In this study I have used different fragments of saxophone tones with the object to create animal sounds. The musical idea of this study shows that sound material can be transformed in a way that makes it possible to change the acoustic impression enormously. Except the intro all record movements were played in a hand mode. The record was not driven automatically during the performance.

05

Motion Study 05

In this study cellos and violins were manipulated by hand on the Tonspielzeug. Furthermore, we can hear special playing techniques of turntablism (Hydroplanes) as well as certain acoustic side-effects of the record movement ( acoustic noise, clicking).

06

Motion Study 06

A special playing strategy of turntablism called Beat-Cutting or drumscratching. As the name implies single segments of a drum sequence (kickdrum/snare/Hi-hat) are newly arranged by the rhythmical correspondence between crossfader and record. That opens up all opportunities to create completely new drum patterns.

07

Motion Study 07

Another study about Beat-Cutting. In this example I have used sampless of drum segments which are worn down because of permanently scratched record. This side effect of the broken sound can now be used as a new composition.

08

Motion Study 08

The 8th study deals with Beat-Cutting as well. I have produced a pattern on the drumcomputer by using scratched sounds..

09

Motion Study 09

This study was produced on a drumcomputer as well. I used sounds which were played as groups of Notes and Etons for the purpose of creating a common drum sequence.

10

Motion Study 10

In this study the record skips are used in the context of a compositional method. Basic raw material is always the same beat, in which the record skips on different positions within the length of one bar. By using the optical marking principle of the s-notation it is possible for the musician to find the ?metrical? area and allows to play over such irregular rhythms.

11

Motion Study 11

As a basic sound material of this study the first melody of the composition "1981" of the Estonian composer Lepo Sumera is used. The acoustic overall impression related to the volume of this phrase is generated by different playing strategies on the line- and crossfader.

12

Motion Study 12

The sound material of this study is an electronic piano sound which was played in the C3 pitch. The chronological periods (Anatonie) of this sample were played aether by hand or in the release mode in different pitches. The idea of this study is to show that the pitch change can also be performed "inside" a tone by moving the record.

13

Motion Study 13

This study was created to show how to deform single words and syllables by scratching. The goal was to generate rhythmical structure or a bass line as a result of varied playing techniques on the record and crossfader in the form of a composition.

14

Motion Study 14

The main focus of the 14th study was the application of sound effects such as distortion, overdrive, amplifier simulation or equalizer. To show the acoustic transformation I have worked only with one single sample ( a short piano phrase).

15

Motion Study 15

Different cello sounds were grouped by record motions in this study. Additionally, I have modulated the volume and cut the sounds using crossfader techniques.The voices were layered and I added some audio effects (delay, reverb, filter).

16

Motion Study 16

In this study I have tried to imitate a love relationship between a man and a woman. The sound material which I chose consists of different moaning and groaning noises. The flexibility of the record movement makes it possible for the player to increase the pitch of a groaning sound to make it sound like an orgasm.

17

Motion Study 17

The 17th study deals with the transformation of birds melodies which I have used as sound material for scratching. The different acoustic subjects are: wood pigeon, eagle owl, cuckoo, woodpecker, oriole, raven, and more. The goal of the study was to modulate these sounds in a way that they differ from their original acoustic impression to form a new kind of sound characteristic.

18

Motion Study 18

This study is the concept to translate the game or movement theory of chess in a musical context. In this example I used the game between Robert James Fischer and Donal Byrne (1956) which was titled as the game of the century, because of its beauty and finesse. All moves of the white player were represented by Notes and for the black player by Etons. The single chess fields (A1-H8) stand in relation to the scale of a piano keyboard (C1 - G8) . Due to this, it is possible to connect every move on the chessboard to a certain pitch of the record motion. By using this technique it is possible to express every chess match acoustically referring to the ?Theory of acoustic motions?

Keine News in dieser Ansicht.