“Quiet” Composition Two

Getting off the Ground

The development of this piece has taken longer than initially anticipated but is finally being realised. This delay is partly due to the extension of the initial piece from a miniature into a more extended work. Indeed, that work (“Quiet”- Part One) could still be expanded upon and developed and I shall perhaps have to go back to NOTAM in order to realise it properly.

But, with the closing date of this project edging ever closer, and despite a multitude of potential compositional concepts, I struggled to actually get on and develop anything for the second work that I was happy with.

While in Oslo I’d read an article about procrastination:

Why are writers such exceptional procrastinators? They fear being confronted with a simple truth: They’re not as good as they think they are…

Perhaps it was fear. But it also might have been that the sound materials which I collected had not been as I initially imagined.

A combination of the weather conditions and a creaky Rycote (apparently a recognised issue when recording at low temperatures) meant that I had very few extended and uninterrupted recordings. Initially I had panned to layer and mix between extended recordings of the mountain soundscape with subtle filtering and little technological intervention, but the reality of the recordings made this impossible.

Therefore, I was holding onto a creative concept that could not be realised in the way I had initially intended / hoped.

Forging a Piece

SO, I finally locked myself in my studio for a whole day and began to transform some of the sounds that I had recorded. One that was especially nice (and which I was happy with) was the recording of the frozen river.

Dushume had also encouraged me to work with this sound, and so I took the file extracted the loudest bins and applied the impulse response of the Vigeland mausoleum to create a rich mixture of bubbling pitches.

But this sound was far too active. So I loaded it into CDP (version 7 free to download) and used the time stretch functions, both the ‘analogue’ speed/transposition tool and the FFT time stretch. By drawing these out I created rich pitched and evolving textures with organic morphologies (that is my interpretation).

These will form the foundation for my piece, with their morphologies being articulated with more granular and crunchy textures such as the falling snow striking our ski jackets and the stepping or skiing through snow. I shall also seek to use any ambiences where possible.

Here is a very rough sketch of the introduction to the new piece:

Other options

The kind folk at NOTAM give me their ‘Vinterlyder’ library of winter recordings, and I may dig into these to find some ambiences but I would like if possible to use my own recordings.

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Trip Two: Pining for the Fjords.

Back to Oslo on the second part of my residency / project. This time I’ll be heading up near to Lillehammer so that I can record environmental sounds.

Image

The forecast looks fairly chilly but not exceptionally so, and there does now seem to be light snow predicted (which is what I’m after).

I’m certain that the temperature is going to be a bit of a shock to the system when I first arrive but hopefully it won’t interrupt the processes of recording.

This leg is certainly going to be more of an adventure than last time (which consisted mainly of barricading myself into the studio for late night sessions), and some details about the adventure I’m still not clear about.

But when I know, you’ll know.