The sound is that of my aeolian harp modified with lead fishing weights and then manipulated in Sonar X3. Version 1 is in the video.
“When Flight 11 struck the North Tower, Praimnath started to evacuate from his 81st floor office in the South Tower, but he returned when the building’s security guards told everyone the South Tower was secure, and they should return to their office. He did not realize, at that point, that a plane had struck the North Tower. Soon after reentering his office, he saw a United Airlines jet heading directly towards him. Right before impact, he dove under his desk and exclaimed, “Lord, I can’t do this! You take over!” The left wing sliced through his office and became lodged in a door twenty feet from him. Praimnath was bruised and covered in debris after the crash which left him stuck and unable to escape on his own.” Cited from Wikipedia I suggest you read the rest of the story.
The Faith of Stanley Praimnath is for Sound-In. Seeing how this week’s event started on the anniversary of 9/11 I wanted to write a piece that made a statement about this tragic event. In researching for a photo I found a real life event of one man’s ordeal that day that says more than any photo. This composition is created exclusively with the new soft synth virtualCZ by Plugin Boutique using the supplied factory presets.
Speedy is loosely themed on a short story from the Issac Asimov I, Robot series.
A Floral Arrangement in 17 Equal is a direct in, no effects or editing, improvisation on my 17 edo electric guitar.
a cup of time is a derivative work of 4 compositions by William Victor Newbold. I sampled the four pieces listed below and applied harmonic filtering and also pitch adjusted the filtering to be in the form of a just minor-minor seventh chord (1/1, 6/5, 3/2, 7/4) – effects were applied in the Sonar X3 mixing process. You can hear the originals at this location.
Lullaby for Refugee Children by Christiane Offenbar (vocals) and Chris Vaisvil (EP 73).
17 12ths is a piece inspired by Scott Thompson’s addition of Just Intonation intervals to the xenwiki. The music you hear uses the interval of 17/12 as plucked strings in Kontakt 5 with adaptive “pure” tuning with a harmonic 7th turned on. I improvised and then added reverb in post production. Each key played is an interval of 17/12 and when using multiple keys complex harmonies build up quickly though Kontakt tries its best to interpet and at times you can hear a pitch drift when I add a note to a ringing chord.
The xenwiki says the following about this interval:
In 17-limit Just Intonation, 17/12 is the “second septendecimal tritone,” measuring very nearly 603¢. Its inversion is the “first septendecimal tritone,” 24/17, and the interval that separates them is the small comma 299/298, about 6¢. This difference is usually negligible, and tempering out this comma allows the 600¢ half-octave to function as both septendecimal tritones. Thus, every even-numbered EDO system contains a close approximation to these intervals.
17/12 is the mediant between the two septimal tritones 7/5 and 10/7.