This piece is Whiteout, which means a condition of diffuse light when no shadows are cast, due to a continuous white cloud layer appearing to merge with the white snow surface. Also, Whiteout is that someone cannot see temporary when the light is beamed down on.

I described both of Whiteout as music. I used Persian Santoor, Blur Pad, Bell Glass, and Tunnel Tension instruments. Mostly, this piece consists of three notes, D, G, and A which are repeated. That means someone wants to get out the whiteout phenomenon, but someone cannot.

Some attacks of bell glass indicate to see the white as the whole temporarily. These attacks move to the Persian santoor with pitch band changes. The main melodies are on Persian Santoor and Bell glass. Both of them, I make a group, Bus 1 and give reverb effects. I also consider as space sense with panning changes.


This small composition is really a thing of trial and error for me. The original structure I considered was that of an arc that was supported by the static/noisy ring sound-allowing to both set the piece up and demolish it at the end. However, it started taking on too much of a musical area, requiring me to continue adding on the piece. In the end, I shortened the static material, giving it breathing room as an introduction and then a reoccurrence at the end to swallow the sound, so to speak.

The chorus and strings maintain a strong counterpoint between 7ths and 2nds.

I named the piece "sargasso" after the sounds of the static in the opening sounded like old ships' masts in the wind.




The melodic/harmonic material could be divided stylistically into psuedo-Bergian moments and noise, but other than that distinction isnít particularly unified. I meant to explore the possibilities of the four midi instruments, and the advantages that panning and volume control allow. I tried to contrast various densities, panning positions, timbres, and harmonic complexities, and I think this variation is what makes the piece interesting. There is a little bit of pitch bend wheel in and sustain pedal used at a few moments, although I think it could have benefited from a few more effects (reverb).


My intentions in writing this piece are to outline motifs that I could later on turn into a longer piece if I so desired. The electronic style of music that I chose typically has longer songs than the typical genre, so these idea could be stretch over a long period of time. There is a minor motif that that turns into a cluster of chords that bring us into the chorus. The beginning minor groove sets the listener to think that they are in it to listen to some sort of sorrow story, however there soon enters a courageous and catch melody synth melody.


Etude dex Elastiquè
I wanted to become familiar with automation of volume and pan with this project. I also wanted to get used to adding and exploring through the libraries of soft synths and loops.

As far as sound material…I was very impressed by the two articles we read on the “Art of Noise”. As such, it seemed to distance myself from lyrical ‘song’ arranging I was compelled to try to work with ‘noises’. It would be interesting if sounds that I did not have a previous relationship with could be manipulated easily from a blind date. The sounds that resembled to me the Russolo article were dark in timbre.

So, I sought a dark artificial industrial sound to form the basis of the composition. Also, from the Etude dex Charmin, I loved the depth and sense of time expressed in the work. Maybe there was a way of utilize panning and volume automation to try and create transportation or action in time. Tempos were regulated by the Fibonacci series.


Since I am already familiar with GarageBand, one of the goals of this project were to figure out how Logic’s interface is different than GarageBand. My main goals to accomplish within Logic was to create a realistic string environment with DSPs and effect both familiar and new as well as being better track efficient. In order to do this, I created an orchestra piece that goes through a lot of different timbres, styles, atmospheres, and string technique.

Even though the project stated 4 tracks, I felt that this project was better suited for 5 so that I could have more individual control over violin I and violin II instead of having both lumped into one track. I learned how to switch between arco, pizz, tremolo ect all within the same tracks through modulation automation. I found this process quite tedious and time consuming however the workspace was much cleaner as a whole. The other alternative was to create 15 new tracks 3 for each instrument with their different techniques.

One of my main new DSPs that I learned about was Delay and creating a more realistic string sound using it. It did just that however when I modulated to pizz, for example, the pizz sounded like a buzz because of the delay. I learned how to turn delay off during these precise moments however the depth of sound was lost due to it. In the future I will use 2 Delay DSPs, one for rich string sound for normal playing and one for a rich pizz section. Its worth noting that possibly a third might be in order for tremolo strings.


This project is an experiment in timbre. I set out with four virtual instruments that use aftertouch and delay. Using only four instruments initially felt limiting in exploring various timbres, but I exploited the inherent sounds of each instrument individually and in combination to create various textures.

The piece is in a basic ternary form, texturally, though each section is repeating the same series of pitches and chords. In each section the instruments swap melodic and harmonic roles, but the material remains the same.

It starts with dissonant bells chiming in front of a soft, echoing background. The middle section climaxes with a growling bass that restates the same melodic progression. The final section decays into wash of sound with the same bells chiming in front.


In this project's inception I original just improvised over a few loops. This was mostly so I could play around with the various synthesizers.Feeling the project need to be more complex then a single ostinato, I set up a binary form. I then begin to trying and create transitions using dsp's instead of harmonic progressions. I also tried to create the feeling of distance in the B section with the recurrence of the primary material off set by time, harmony and volume.


The title of the piece is “This is Wednesday.” Because Wednesday is middle of a week, it is the toughest day no matter what happens. Spending a week is climbing a mountain. Monday is a start of climbing, so it is easy and light. On Tuesday, slope gets steeper. As you expected, Wednesday is a peak of mountain: tired and exhausted. From Thursday to Sunday is a downhill road. Based on that inspiration, I focused on my Wednesday. This piece can be separated into two big sections; one is morning and the other is afternoon.

First, it starts with wake-up in the morning. Even though I am tired, I have a class to focus: all the materials going on in my head. Then, there is an hour lunch break until the next class. Whenever the class starts, I am in study mode again. Then, finally I get to take a rest. According to the story, the form is “A B A” or “ab c ba.”