MUSIC FOR LISTENER further explores my interest in the
role of the listener’s perception in shaping the outcome of
a piece of music. This interest has been pursued previously
in the tracks “Extract Of Trinity” and “Eight Thirds Or Approximately
Two Six Six Six”, included in the compilations
“Carnaval de Natal” (V/A, Lovers & Lollypops 2014) and “From
Ritual To Romance” (V/A, EdP/DEV 2015).
A. THE TRINITY RETURNING
This track takes a tonal approach. Three identical recordings
begin in unison; as the track progresses, the recording
in the centre of the stereo field remains unchanged, while
those on the left and right channels respectively slide up
and down along seven semitones. The simultaneous perception
of the interacting frequencies creates ever-changing
harmonic tensions, which are continuously reconfigured
throughout the piece.
B. THREE THIRD RHYTHMS
Kick drum/Bass/Human voice/White noise/Vietnamese percussion.
Three pairs of rhythmic loops are used, each pair synchronized
at first. Those placed on the left stereo channel
gradually accelerate their rate of repetition and their
respective pairs on the right channel repeat at an everslowing
pace. This generates permanently shifting patterns,
as explained by the composer and santería ceremonial percussionist
Carlos Suárez to my friend and collaborator
Jonathan Uliel Saldanha: when two rhythms are sounding
simultaneously, the ear and brain combine them into a
Third Rhythm, which is not played, but heard.
Produced by HOMO, XII-2014 / III-2015.
Mastered by Pedro Augusto.
Artwork by Dayana Lucas.
Gratia Alphabetica: Carlos Suárez, Fua/Lovers&Lollypops,
Jonathan Uliel Saldanha, João Ricardo/EdP, Júlio Mendes
Rodrigo/DEV, Paulo T. Silva/Anywhen, Pedro Augusto/Marvellous
Tone. Ne sonis, sed audis.