Performance Technology Blog

Performance Technology Class - Genre Research and Report of patch building and Final Performance

(Research Collated over the course of the year)

This class has been based on using current technology in different ways and means to create music. This way of working tends to lend itself towards very forward thinking avant-garde genres and styles of music, mixing digital processing and programming equipment with physical instruments and interfaces or digital instrument synthesis. Also the use of digital or analogue effects to add to or effect an overall performance


This style of music is not always highly technologically based, John Cage was a real pioneer of the genre with his use of texture and instrumentation to create Avante Garde music. This is an example of how off the wall his work could get.





This is an example of a physical performance of Avant-garde music. There is no digital editing or effects, just simply sound made by a physical action. I believe that a lot of avant-garde music stemmed from the pioneering acts of John Cage.

This is a short video of a current Avant-Garde artist called Hauschka, it explains how the artist fed from John Cages way of thinking and how he approaches his work.He also makes reference to how he purely uses acoustic sounds without any digital effecting or synthesis. I believe the fact that he makes a point of this in particular shows how it can be assumed that much of this style of music in current times is produced by using digital instruments, effects or synthesis. I think it seems that some artists like Hauschka take great artistic pride in the fast that they do it the natural, acoustic way but because this is such a subjective genre when it comes to overall opinion, it is hard to say whether using digital effects or processing is "wrong". I believe that the use of progressive technology in music is a great thing, it allows music to adapt to life in the time we are in and also allows for almost endless capabilities with instruments and music production. Acoustically, you can only do so much to the sound of a piano in the same way that is shown in this video. If you take this and progress it further by using digital means, it opens up a whole new world to the music which can be produced.





Examples of similar styles of digital music range from being very melodic and tuneful to being almost very hard to listen to and interpret.

This is an example of Iannis Xenakis' work. The piece involves sounds from a Jet engine, Trains, an earthquake and high, warped bell sounds. This is an example of using edited recorded sound as a composition.




It can be quite an uncomfortable experience for certain people to listen to a piece like this. The conventional idea of the term "Music" can easily be questioned when listening to a piece like this. This again seems to stem from John Cage's idea that any sound produced in any such form can be called "music". However different peoples perception of music can differ greatly from one person to the next.


Another example of Xenakis' work is the piece S.709. This is an example of using digital or electronic synthesis to create a purely electronic sound. This is caused by different electronic parameters which produce the rapidly modulating sounds.





An example of using looped tracks is "Come Out" by Steve Reich. This piece uses a short recording of a boy called Daniel Hamm who was involved in the Harlem Riots in 1964. The recording is of the boy stating "I had to, like, open the bruise up, and let some of the bruise blood come out to show them". This was to try and convince the police that he had been beaten in the riots. The loop of "Come out to show them" is played simultaneously on two channels at first, which quickly slip out of sync with each other creating a phase effect which eventually moves further and further apart to create different rhythmic effects. The two voices then split further to four, then again to eight eventually leaving an unintelligible sound to the listener.  The movement of the loops creates a great tension, especially considering that the loop does not change at all throughout, only the rhythmic element of it and the thickness of the overall texture which makes it a very intense listen.



Looping systems are very effective in live situations as a track can be built from nothing to have many layers and intertwining parts. This is a great example of Bon Iver taking a single looped idea and using that one idea to create a massive piece by building on it. He also uses a vocoder for the effects of the vocal.




Using loops allows you to build on a single idea and create thicker textures by building more layers on top of a track, this is a great example of Imogen Heap using a looper live to build an entire track from scratch, with percussion elements and harmonies. She also uses the looper in such a way that she creates dynamic drops in and out as the piece progresses, almost giving the effect of a band.




For building an instrument for this class, I would like to focus on the idea of using loops and being able to build a textural element of a track in some form. I will look into how this can be done using Max and available hardware.



Building My Instrument

After deciding that I was going to follow the idea of building some form of looping instrument I looked at what was available in college to use as a physical piece of hardware to control what was happening. It could have potentially been done with only using the digital software in Max however I much prefer the physicality of moving sliders or buttons to effect a sound being produced. This makes it feel much more like an instrument.

I found the KORG Kontrol -

This is a USB MIDI device which has 9 "channels" of controls, each has two trigger buttons, a slider and a turning knob at the top. The record, play and loop buttons are not particularly useable or needed in this case and the "scene" setting I used was "2"(it was unclear what this setting actually did, I believe it changes the MIDI label of each part of the device, this will be explained further in this blog). 

My plan was to use the device to control different layers of a recorded track using loops. I would have the sliders working as the "Level" of the track, the two triggers as a "Start" and "Stop" and the knobs as some form of effect, possibly tempo shift or filter effects. The most important and most difficult feature of the instrument would be that I wanted to be able to work each channel independently of the others.

This being the main issue, I started out by using the MIDI tester in Max to find out that each part of the device had it's own unique Channel Number. This meant that I could route each separate part of the device to it's own unique control using the "ROUTE" Object. 

This object meant that each trigger sent by the device could control a separate part of the patch. The CTLIN object is what receives the initial MIDI trigger message from the device itself.

Once I had this problem sorted I then started to build a simple looper, this did not have to involve any form of record in tool or any audio trimming patches as I would be using pre-recorded loops from one of my original tracks called "Groovy Biscuits" the full version of which can be heard here -

https://soundcloud.com/everythingshines/groovy-biscuits-2-0

This is a shot of the looper -

 The "Start" and "Stop" Trigger buttons are each separately linked to the message boxes with 0 (stop) and 1(start), these are linked to a toggle which starts each audio file. There is also a loop toggle which is grouped to each channel with one master toggle for ease of use. Each channel also has an "open" message to route each correct audio file to its location. These are all run into an SFPLAY object which allows the audio to be played.

The knobs on the device are routed separately to FREQSHIFT objects which allow a pass of frequencies to be moved through the audio track being played, this was a very nice effect to have on each separate track. The FREQSHIFT object throws the pitch of the melodic instruments off ever so slightly which gives it a very nice tension, also with the effect on the drums it gives it a waving phase effect which can add to the overall rhythmic feel of the track. The integer object linked to each of these is routed to the output of the knob, this is what controls each frequency.

The sound output of each of these loopers is linked to a GAIN object which is routed to each of the sliders, controlling the volume output of each track. The audio is then sent to an EZDAC, where it is then played as audio.









I tried to match the look of the patch to how the actual device is visually set out to try and create a nice moving visual when it is being played, I feel that this was a nice element to have as it meant you could see what you were doing with the device happening in real time on the screen. This is a shot of the finished product in presentation mode.

This is a short video of the final performance showing the patch in action with a brief explanation.

I am happy with how the patch turned out in the end as it works very well in context. The original idea was to create a looper interface into which any loops could be used and played to the same effect, also with the effects knob on each track, this could be changed for each track to suit what it may. I think the simplicity of the patch works very well as it could be used by someone who does not know a particular amount about using max. 

This simplicity however could also be seen as a downfall. Much more could be added to the patch to give it more depth as an instrumental interface, like multi effects, live loop recording interfaces and such to make it much more complex and powerful. This would make it much more useful in a live setting as the loops could be recorded on the fly rather than the pre-recorded set up it has at the moment.

HND 2 Jazz Improvisation Class (has been built up over the course of the year)

I will be updating this blog post with notable changes and advancements in the jazz improv class this year, this will save any mix up with many posts being hard to follow or find.

Improvisation Group -
Jason Sweeny - Vocal
Gary Rafferty - Guitar
Andrew Beveridge - Guitar
Donal Gaine - Bass
Eugene Gaine - Tenor Sax
Amy Moar - Piano


Over the course of the first semester of Improvisation class, we have looked at many different pieces of varying difficulty and feel. We started off by looking at some more blues orientated material by artists such as John Coltrane and Miles Davies. We looked at the chord progressions and the melodic instrumentalists were looking into ways of soloing around these progressions, following both chord tones and modes, whilst trying to be stylistically accurate with the way in which they solo.

For the drummers, we were really looking to try and immerse ourselves in the style and really get a grasp of the playing styles. As I have never really fully immersed myself in all out Jazz playing, I have found that quite difficult. I have a good understanding of Jazz drumming and I believe that I could 'get through a gig' so to speak, however I admit that a lot of the fills and licks that I play and use are more associated with my usual style of heavier, rock playing. I think the only way to really fix that is to listen to as much Jazz as I do everything else! Although I will have to adapt my playing style to fit the way some of the Jazz styles are played for it to really sound authentic.

Over the past couple of weeks, we have been trying out different styles of playing including styles like, ballads, latin jazz, be-bop and more blues orientated playing.

some of the tracks we have been using were -

This Masquerade - George Benson
Autumn Leaves
Summertime - Ella Fitzgerald
Billie's Bounce
Solar - Miles Davies
Bb Blues
F Blues
So What - Miles Davies
Freddie Freeloader - Miles Davies

For the first assessment, we were using the tracks -
Freddie Freeloader
Summertime

My feedback from the assessment was that I have to really immerse myself more into the style of playing in which we are trying to achieve in this class, I really feel that I have much further to go before I will be able to comfortably play in this style. I feel that I was not "programmed" to play jazz as I feel that I have really hit a bit of a wall with it. I can be very solid, confident and creative when I am playing in styles I am used to, however when It comes to this kind of material, I seem to lose a lot of confidence due to the feeling that I am too heavy handed or loud and seem to struggle to keep up with the way in which jazz drummers don't seem to play the same pattern twice.

I have mainly noticed this due to trying to learn this piece for one of the degree shows at the end of the year - Peaceful Warrior - Aaron Parks



The version shown in this video is a cover version by the Kurt Rosenwinkel Quartet however it follows almost exactly the same feel and idea as the original album track. (The original does not seem available on youtube).
What is noticeable about this track is how the drummer is constantly moving through patterns while keeping overall time. Also, the very subtle and musical use of dynamic contrast means that the hits, fills and stabs really stand out where they have to. He has the technique to be able to play the very fast, complicated patterns while maintaining the light feel playing so quietly. This is extremely effective in this style. I have found that, being a more rock based drummer, I struggle to get the correct tone out of the drums by the dynamic I play at. In essence, I play far too heavily and loud to get the right overall tone and effect of the light playing and it always comes across in the wrong sense. I have a lot of technique based work to do in order to be able to play this style of drums. I need to work on my dynamic playing and overall touch to not be so heavy handed. Also, I need to work on moving through different ideas and playing off the leaders of the pieces to create more musical ideas and movement in my playing.


For the weeks after the assessment, we have been working on blues tracks to go back to the basics of playing over complicated progressions. The melodic players have been focusing on playing the chord tones while soloing as well as different modes and blues scales. I understand the basic theory behind this playing although I obviously can't put it into practice on a kit.

While they have been doing this, I have not really had much technical playing to do other than just holding steady time. I have been working on following the scores and chord charts along with them to try and work on my listening skills. Also, I have been using the scores of the heads and while playing time with my right hand, kick and hats, I have been playing the rhythm of the head with my snare hand, mixing this up with some different brush techniques and dynamics. I have found that this has made quite a difference to the feel, it is also quite challenging to keep the swing feel while reading a"melody" line at the same time. The main track I have been doing that with is "Blues for Alice' - Charlie Parker.

The "melody" line I have been following starts from bar 5 after the intro section.


 



When we are back after the February break, I believe that we will be going back to work on the Jazz tracks that we were working on prior to the assessment and preparing these for the final performance.  my group were working on -

This Masqerade - This piece has a more solid base and a laid back latin feel to the rhythm. For this track I have been experimenting with some different latin rhythms, similar to bossa nova feel. The main difficulty I have been having with this track is keeping very solid time while changing the textures and patterns using latin style clave rhythms. To try and combat this, I have been trying to focus on really keeping the time solid. To do this, I have been counting the sub-divisions in my head and making sure everything links up properly, it seems to have been making a huge difference.

 Autumn Leaves - There are many different versions of this track, this is the closest version I could find to what we are doing with the feel of the track. A lot of the versions seem to vary in feel. For this track i am using brushes and the feel is very much directed towards that of a jazz ballad. With this track, I have found it very difficult to keep the groove interesting while being very subtle with the playing. The brushed snare drum feel can get extremely repetitive very quickly so I have been working on subtle changes in the patterns to create a bit of movement and dynamic shift without too much being noticed overall.

 Freddie Freeloader -  we have kept the feel of this track relatively similar to the original. Originally I had been playing it with brushes however on further reflection I think it may sound better with sticks. As I progress with my ability in these styles of playing, I am able to get the parts to sound much more genuine and idiomatic to the style. I do however still feel that I have a problem with moving through patterns and keeping fresh ideas coming through.


 So What - (This was later changed to the George Benson Version instead of Miles Davies)
For this track, we are using the main chord progression and have used the basic feel of the track to base our version for class on, this gives us a much more sensible structure to play over when soloing. This track gives me a chance to play more towards the style I am used to as it has funk elements in it. Once again, the hardest part I have found about this track has been the fact that the drummer on the record seems not to play the same pattern twice in a row at any point. Instead he takes an idea, develops it, then takes the developed idea and builds on that too, then switches to a new idea and continues this way of thinking. I have been trying to build on my ideas but again I have found an issue in that I can be quite heavy handed and loud when playing this, where it still has a very dynamic texture to it. I seem to end up playing much more rocky styles and fills. I have been working on my touch for this track and I feel that I have made decent progress with it. Also, this track gives me a chance to have a proper drum solo, building over the chord progression which does not change too often but has some very nice hits and stabs which can be created with the band. These stabs and hits can be anticipated in different ways with fills and soloing, giving the track more options for stylistic approach.






Most of the last semester has been focused on preparing for the final performance. I feel that all my work up until now has payed off and I feel that I am making progress with my touch, feel and ideas in the style. I still feel however that I have a long way to go to get to a high standard of playing in this style. Listening to a lot of these players has helped massively and also taking the time to work out techniques, more complicated patterns and even choice of equipment has led to having a much better understanding of what I need to do to improve at playing different styles of Jazz.