- Shifted the key from E Minor (a little light) to G# Aeolian Mode (feels much deeper and engaging)
- Generated many automated iterations from NI Reaktor ensemble Spiral as this was the tool I used to generate "GYRE Oscillation" which is the sketch that Tom selected that matched his vision.
- Compiled single MIDI track from these takes and arranged them into master MIDI track for main organ voice for GYRE.
- Found three nice moments of rising intensity moving up the scale and lowering intensity moving down the scale in varying temporal patterns
- Mirrored these moments across the Y axis with transposition giving a rich and deep chordal movement
- Painstakingly moved MIDI notes away from the grid across the whole composition - accentuating temporal displacement and complexity, also added a 'played' feel with offset notes in chords
- Mirrored these again across the X axis giving the composition moments of rising and falling ebb and flow within a bookended compositional macrostructure
- Removed all velocity information
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| Sketching and composing GYRE in Ableton Live |
- Used multiple variations of FM synthesis techniques to create accompaniment, some quite percussive, others softer attack.
- Experimented with timing on the accompaniment utilising my exponential decay generator
- Intensified the 'temporal flux' by using modulated audio delay on these sections (giving a stronger sense of speeding up and slowing down)
- Modulated other various FX and synthesiser parameters over multiple passes of the composition giving it more life and expression
- I macro mapped expressive parameters ie: filter, envelope, LFO amount to pitch etc and used this to give greater expressive effects to the sustain phase of the envelope which worked quite well at creating tonal and timbral juxtaposition against the organ voicing.
- Less really is more with this project. I'm finding with the scale of the organ and the size of the venue this is an exercise in stripping away elements rather than building and layering them - which is my usual practice.
- Revised the primary organ MIDI arrangement even further, removing about 30% of the note information across the whole piece to give more moments of dynamics
- Removed and augmented the generated material with manual editing of MIDI note information, found myself editing this visually (by tethering the piano roll to the scale I was using) working in this way really assisted in further facilitating a sense of temporal flux.
- Used the Glockenspiel and Carillon voicing to add further accenting to the FM synthesised accompaniment, using these sparingly really worked best with the density of the rest of the composition.
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