Another Disquiet Junto piece. I made use of an old field-recording from high school and wrote a little piece on guitar. I really like how it turned out. See below for instructions.
This project is about how a simple matter of sequence can provide a sense of development and compositional momentum.
First step: Construct three simple, self-contained sounds (or sonic elements) that are distinct from each other. For example, don’t use three similar drones, or three tones that are the same note value, or three interchangeable percussives. Use one of each, or some other assortment of three distinct sonic elements: a snippet of a field recording, a bit of static, a short melodic segment, a spoken word or phrase.
Second step: Make a three-minute track out of these sounds, based on the following rules. For each of the three minutes, one of the three sounds should be prominent, and the other two should be less prominent. By the end of the complete three minutes of your track, each of the three sounds, thus, will have been prominent for one full minute and will have served a background purpose for two full minutes.
You can transform the individual sounds, certainly, but they should still be somewhat recognizable even in their transformed state.
Length: By definition, your piece will be three minutes long.
My latest in the Disquiet Junto. This project involved making a field recording transition fluidly to one of two other sounds. I chose “The Day Love Came In The Mail” by Lee Rosevere. I was planning on walking out to the park last evening to record, but since it was raining I ended up sitting on my porch trying to pick up the sound of the tiny raindrops hitting the landscaping. I picked up a good deal of city bustle and a plane flying overhead as well. Check it