Dear All, 

Hi. I a very happy to joining you all on they exciting project. Since I just joined you, I thought it is better to just dive in from the next step. But after reading all of your thoughts on the instrumentation, I felt I would like to also contribute something.

Apologies for adding this late, but I thought it is worth sharing my thoughts with you all. 

so, I think just thinking about the techniques is not gonna let our imaginations, ideas and thoughts grow, flow. but if we categorize them, basically looking at them with a. different kind of lenses, we might be able to wander more and dream with them. 

Going back to the concepts that you guys already have agreed on, the morphing and etc., I think Investigating the sound and its qualities and colors could be an interesting attitude toward “sounds”.

In which we divide them in to different kind of groups. For example : 

Airy sounds :

On the strings : 

All the circular bowing, Sul.tasto , Light bow pressure Colegno tratto 

And of Course 

On the bridge, on the corpus, and different parts of the corpus, the airy/breath sound varies a lot. 

Even on the saitenhalter a kind of hallow sound (similar to Ebow) 

Wooden: 

All the tapping on the corpus of string instruments. And also on the finger board. 

Pizz, bartok pizz, colegno battuto,  and etc.

Metal:

Pizz with fingers on the strings ( up and down / like a guitar ) 

And with different kind of bow pressure, we can bring out some sort of metallic sound 

Sul.pont. Again even Saitenhalter 

Distorted - noise: 

when without preparation: Heavy bow pressure, and all kind of other techniques, varying the direction of the bow and etc. Behind the bridge and .... 

of course all the :

Multiphonic sounds, and harmonic sounds, 

Preparation:

Could be with any number of things. 

with Blu-tac (around s.t, will be airy- hallow / around S.P. would be distorted sharp)

With a paper holder, Stick (wooden, metal ) —-> which again gives us a different color 

And then 

Percussion, we can then choose from what ever color that we want from the none-pitched ones, 

And from the pitched ones, I am not that worried. I think whatever possible/ everyone want could work. 

If we suppose to fix a set up, then maybe everyone in the next step, can send an example of what they are envisioning. Then we combine the list -change., add, remove. 

Curious to hear your thoughts! And looking forward to creating music together! 🙂 

Thank you Anahita for your ideas. Since we have moved to the incubation phase and your proposed ideas haven't been reviewed by the group, I suggest that we stay with the concepts and instructions that have received the most preference points. We will make 4 incubation periods in which you will follow the preferred guidelines (safe approach) and in the last period you will be able to propose ideas that fall out of the standard scope (risky approach). Then you or the other composers can introduce some of the elements that you have proposed here.