Compositions

I use Live Coding techniques and live algorithms to generate my compositions with the programming language SuperCollider. The sounds are executed by an orchestral sound library triggered by the computer.

 

Light Emanating (2015-2017) – For Orchestra. Written with the Programming language SuperCollider, edited in Logic Pro.  

 

B.O.U.LE.Z: a Musical Cryptogram (2015). Written for Pierre Boulez on his 90th birthday (26/03/2015), the piece is based on the letters of the composer’s name translated into music notes. Newest revision available Soundcloud. 

 

Alternative Perspectives Of The Now

 (2013) –

For live electronics.

In that piece, a single scale is used as a starting point to create a large database of derived harmonies. Each scale is linked to the next using common notes (see ‘harmonic chain’ example in the Experimental section). The form is built with ‘blocks’ which have their own orchestration and expansion of the original cells. The process accelerates towards the end where harmonies and orchestration change rapidly.

Holographic memory excerpts (2009-2010) in homage to Pierre Boulez – For live electronics. 

This is a two-minutes preview. The full ten-minutes composition with further notes about the piece will soon be uploaded here.

Choices (2000) – For flute and pitch follower triggering live electronics.

PolyTunings Canon (1998) – For live electronics. It is a canon in which each instrument uses a different tuning system, creating audible frequency beats – mixed equal temperament et12 + et14 + et15 + et16 + et17 + et 19.

Infinite Rise (2012) – A composition investigating the audio illusion of an ever-ascending scale (discrete Shepard scale/Risset). Written in SuperCollider, it involves an algorithm that improvises ever-ascending meloding patterns.
Published by Chordpunch

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