These are the sketches of the second incubation period.<\/p>\n\n\n\n
comment: This fragment is adequate for the beginning of the piece or of a section. As the name indicates, it is made of a tutti in which all play different things that nevertheless should merge in perception as a unity. This is achieved by the strings playing a chord derived from the harmonic series of G, in harmonics, including the natural deviations in intonation. The rhythmic proportions also follow the intervallic mathematical relationships of the harmonic series. The bass drum, however, includes the seed of deviation: while one voice could merge with the rhythmic proportions of the harmonic chord (the triplets), the other (quintuplets) simultaneously merges with the rhythm of the violin but ties the values in a different metre, non-superimposable with the overall verticality. Thus, it includes another speed, which could the originator of a deviation, or even specifically of an anamorphosis, as this different speed could be taken as the ground for a different time-perspective. comment: In this excerpt, I am trying to give a concrete, but still, a musical example of what\u00a0I define as morphing; The basic idea stems from the emerging rhythmical world of the gestural material of the D bass. I take it as a fundamental basis upon which I choose means of granular sonic productions. I give shape, or “\u03bc\u03bf\u03c1\u03c6\u03ae” to the gestural descent of the d bass by preserving its rhythmic skeleton BUT altering its “flesh” which becomes an organic and granular\u00a0canvas.\u00a0 comment: This is another example of how can the deviation and transformation of a common point be understood. The common point is a line created by a continuous tremolo in the high woodblock and a by a maintained undefined high tone sul ponticello in the violin. This common point is later transformed into two different events: 1. Event: short interventions of the high woodblock in the percussion, later on, these interventions can be played in other percussion instruments. 2.Event: a distorted line played by the violin and the cello.<\/em><\/p>\n\n\n\n
The initial left-hand pizzicato and the grouping of the bass-drum triplets in cycles of five are also non-conforming elements that may work as the point of departure for further deviations or transformations.<\/em><\/p>\n\n\n\n
Result: a granular soundscape that is morphing\u00a0the rhythmical structure of the d bass.\u00a0<\/em><\/p>\n\n\n\n