TRIC Question #2 – Is a “Minute ‘In C'” possible?!

So much of the harmonic content of TRIC is generated by the offset repetition of each pattern. In order to create a Minute ‘In C’ most of the patterns will only be voiced once so that particular content will be lost. As with all the TRIC Questions, I am intrigued to discover what new or similar content will emerge within this truncated structure. With 53 patterns, containing 16th to dotted whole notes, running 2 pulses to 64 pulses in length, a Minute ‘In C’ will take some careful sculpting of the pattern relationships.

An analysis of the text reveals that the piece is made up of a total of 529 eighth note pulses. TRIC contains four patterns that are identical to each other – 11/36, 10/41, 18/28 and 37/50. These identical patterns are 9 pulses, so taking away the superfluous 9 pulses, there are 520 pulses to fit into a minute for an rough average of 17 pulses every 2 seconds. This will be achieved by using multiple voices and starting off right away with more than one pattern sounding. (A future TRIC Question will explore how all 53 patterns in a row resound!)

I chose a half a dozen voices with mostly percussive attacks and interesting resonances. These voices allow the patterns to be more clearly articulated and have resounding presence – a necessity since many of them are only heard once! One of the voices is a drum kit which ended up being paired with brass stabs so as not to lose the pitch content of the patterns assigned to the drums. I enjoyed sculpting a pan dance (playing between the ears left to right) in a couple of places with the drum and brass voices.

Starting at the beginning, Patterns 1 and 2 come out of the gate as the next twenty patterns cascade over each other. The triplet waltz feel of “the twenties” moves through, then all the sixteenth note tumult of the patterns before and after Pattern 35. The minute wraps up with the end of Pattern 35 (the long one) and the C pulse bouncing around. Some of the shorter patterns did get repeated. I was able to hear every pattern after two or three times through. The lack of repetition seemed to bury the F#/Bb shifts in tone. They became passing tones, which diminished their impact.

This is a 3D soundscape so listen through headphones at a moderate amplitude. Pay close attention to the space in your head. Listen the same way you held your vision for the Magic Pictures of the early 1990s. Here is an example of a Magic Picture which is too small to see into. Just google Magic Pictures and you will find examples. I was able to see the horse in this image on my Ipad screen. The seer must relax and expand their vision in order to see the image embedded in the pattern.

Now do the same thing with your ears as you listen to a “Minute ‘In C'”

TRIC Question #1 for 2017

One of the dejacusse/iBoD projects for 2017 is TRIC Questions, a sonic hacking of Terry Riley’s In C or TRIC. TRIC is comprised of 53 rhythmic/melodic riffs based in Nature’s Scale and set against an 1/8th beat pulse. My first pass through this piece was in 2014, when In C turned 50 years old. My approach was more historic then, so I listened to different versions of the piece, read about the composition process and wrote about the initial performances in 1964. Musician friends presented a slice of In C in performance that year, but mostly I explored In C through the Ableton Live DAW using different voices and tempo variations. For more on this, read the blog: My Year In C –here: judessoundlings.wordpress.com

During that year, questions continually jumped out of the piece. As I became more familiar with the patterns, they each took on a unique and identifiable voice. Then one day, while looking at the score of TRIC, I saw that this is simply one way these patterns can be put together.

What if each package of tones stands on its own, AND in relation to any and all of the other packages?

Using the patterns of In C as little Lego blocks of sound and putting them together in different combinations has become my approach to “playing” In C.  I want to hear all the sonic possibilities within this musical universe-for what else can you call it? It is not a song, but it makes songs. It is not a symphony, although it has movement and motifs. In C questions all the assumptions we have about in tune and in time when making musical sounds in the world. When we loosen our grip on what we think things should sound like and give our attention to what we are hearing, and what is emerging from our articulations within that hearing – whole other worlds open up. Those are the worlds I want to continue exploring.

My first experiment with the long tones of TRIC was in November 2014. The question was how to use the long tone phrases to express tension and release. To hear the result of this experiment, go here http://wp.me/p4dp9b-bv. On listening again, I hear the C pulse frenetically undermining any possibility of release. One of the TRIC Questions I have answered is to drop the 1/8th note C pulse. Scoring the patterns precisely in Ableton Live creates a rhythmic underpinning for improvising musicians to play with/against, so the C pulse is unneccessary and unhelpful. Another reason to drop the pulse is that it is an integral part of playing TRIC, and I am no longer playing that particular iteration of these sound modules.

The eight long tone patterns  range in length from 6 pulses to 32 pulses. If all eight modules begin at the same time, there will be a sustained 6 pulse EF#GC [C(add#4)]chord. This could be achieved by triggering all the modules at once. Then, it would be interesting to peal away the patterns till only two remain. Which two patterns will be the final pair that plays this iteration out? One possibility is P30 and P21, which carries the tritone tension through to end. The other pair is P29 and P42, which creates the more consonant C major sound. Let’s try those two ideas. First, we end with P30 and P21. This sketch feels tense throughout. The denseness dissipates, but the tension stays high.

Next, we end with P29 and P42. Here the tritone tension is folded into a more harmonious blend by the end.

I have been so focused on the tritone carrying the tension, that I ignored the tension that half-tone, whole tone and minor third intervals inject into the scape. The final voices in the harmonious sketch create as soothing a combo as exists within this overlayering of fourths and minor seconds and thirds. So while it is soothing, there remains a sense of alertness within the release.

And, for my next trick, I set off that initial C (add#4) chord over and over, each time pealing away different layers to create a longer soundscape. Here is a 6 minute sound piece with five versions of pealing back to two patterns by the end. Each iteration ends with a different pair.

I love the feeling of fireworks exploding into that C (add#4) then the subtle changes that pealing back one part at a time makes to that chord. Then finally, there is a falling off of the expansiveness of the sound field and we are left with just two patterns rocking back and forth. Then – BAM – the C (add#4) explodes again. I love this!

“TRIC Questions” 2017

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So I am launching a new project that is pulling together interesting ideas and questions from other projects (Folding/Unfolding, Separation and In-Between, iBoD).  This has been percolating for some time and just came clear in the last few weeks. In a recent Audio Origami post (http://wp.me/p5yJTY-eI) I wrote alot about Terry Riley’s In C, renamed it TRIC and began studying the patterns of TRIC as if they were notated samples to be used in producing soundscapes. Then I discovered I had written about this idea at the end of My Year In C. (See http://wp.me/p4dp9b-dl) That was two years ago, and now I have greater clairaudience as to how it will unfold.

Studying the patterns as individual packets of sound frees them from the linear progression of the TRIC musical score. Now the patterns can talk among themselves, shift their shapes and reveal other songs contained within. Varieties of harmonic configurations emerge that may never have been heard before. By this I mean – when musical groups play through the TRIC score, only certain patterns are heard in overlap when the musicians follow Terry Riley’s suggestion to stay within 2 or 3 patterns of each other during performance. What happens if patterns from disparate parts of In C overlap each other? What harmonics come forth from these mergers? What kinds of musical sequences emerge?  These are examples of TRIC Questions that will be explored in the coming months.

I am deconstructing/reconstructing/tweaking TRIC by allowing the patterns free-rein to not only interact, but shift their structure to accommodate the interactions. For me, TRIC is sonic DNA, some kind of cellular message, literally a vibratory tonic, offering a smorgasbord of rhythms and intonations to mix it up with. Using the TRIC patterns as samples creates alternate Universe versions of TRIC . Each of these pieces will be its own creation, while retaining the mark of the original.

For example:

I have long been fascinated with the long tone patterns in TRIC. With long tone patterns defined as containing mostly whole and half notes, Patterns 6,8,14,21,29,30,42,48 qualify for this category. These patterns slow the pace with notes of longer duration, and boost the harmonic content through the sustained and decaying harmonics of each note. The pattern tones fall from the C above Middle C, with the notes BAGFE sweeping down. Pattern 14 introduces the F#, which really shifts the tone. Two of the eight long tone patterns contain F#, and I argue with myself about just excluding them. But they are there for a reason! Here is one piece that came from this combination of patterns:


This work is so much about harmonics, and how they lead us to greater consonance and clearer dissonance in our moment to moment existence. This work is about inclusion, working out differences, creating balance with no words spoken. I believe that TRIC showers space with a loving vibration. Over 50 years ago,  Terry Riley received these audio legos and assembled them into a form. Now I want to spill all the legos on the table, play around with them, and listen for what other soundscapes emerge.*

*This is not an original idea. One of my favorite TRIC recordings is In C Remixed by Grand Valley State University New Music Ensemble. I reviewed the CD here: http://wp.me/p4dp9b-2Q