The piece has two types of choir, and was named February Choir. The first choir consists of various coughing, sneezing, and throat clearing sounds. These sounds were differently registered into; man with a high tone, man with a normal tone, female, and a young child as a real choir. The progression order is coughing, sneezing, and throat clearing sound.

The sneezing sound works as an impact effect, and the section becomes decrescendo when it comes to the end. The other is the real choir with unique effects. Some parts proceed with delayed manually and other part proceeds with different instrument.

This piece is a ternary form, A-B-A’. Section A consists mainly the first choir, while section B consists the real choir. Section A’ combined two types of choir. The two contrasting materials also created a unique scenario for me. Someone enters to the place where the choir is present. Because he is not a member of the choir, the rest of the choir stares at the person whom doesn’t belong at the location. The drum sounds indicates the heart beat of that person.


This project was created by using fragments from the Jonestown FBI recording. In it, Jim Jones is giving his lastsermon before presenting his congregation with poison with which they will commit suicide.

The choice to use this as the basis of the project was made due to my current larger composition using the recording throughout and I wanted
to experiment and learn how to manipulate these samples in such a way as to create the sound world of the quartet I am finishing.

Jones' voice is actually what is heard in the opening. As I am setting up in the quartet, here I want his voice (the section where he says "How very much I have loved you…") to start as a pulsation, a growl, a wave (etc) and work its
way towards clarity. Each statement by Jones is cadenced with the applause/cheers of his congregation--blending between his statement of love, his desire for a peaceful death, the euphemism for the poison, and lastly, a young woman's voice saying "I'm ready."

A combination of reverb and low pass filters are used to give a dualistic effect of something past. These are all, in some small way, sketches for what I am planning in my larger piece: a quartet with electronics tentatively called: "Jonestown."


In this Project I used a single timbre from basically the lowest pitch available of an instrument to a very high one. I covered more than 6 octaves in a short period of time.

The pitches I used are from a C Major chord. My idea and goal was to hear the different rhythms, timbres that a single sound can create using extreme ranges and the slow process that allows to reach these ranges/pitches.

I would have preferred to make this piece much longer, around 30/40 minutes to make the idea more and clear. I also added reverb because I liked the idea of a sound getting farther from the listener while it “grows”, so at the end of the piece the wet parameter of the reverb is at 100%.


The piece is about gradually, irregularly warping one sample of a slammed door. The beginning of the piece is the original sample unaltered. The next section begins to apply DSP, with the regions sparsely arranged. The most important technique from that point on is bouncing regions - multiple regions are bounced together, and the result is placed in a track with more DSP's.

I'd repeat the process, accumulating more effects and changing the sound of the door into an unrecognizable, multi-timbral whoosh with Like Reich's 'Come Out to Show Them', it seemed to almost take on pitches in the end. Some irregularities in the sound became like a lazer gun sound affect.




For this project I wanted to review most of the material that we had covered in class thus far. I wanted to get better at navigating around the arranger window. I wanted to incorporate the flex tool with audio clips. I wanted to try and blend audio clips with midi in a seamless fashion. I wanted to change tempo and get more fluent with drawing curved automations of various parameters. I wanted to use the bypass fx automation.

Loops are cool but I didn’t want to just throw in a loop mindlessly. The loops can be snipped apart into little bits (by using the control click) and manipulated throughout the work.

There was something that I had seen used with the Native Instr. strings that I wanted to try. I wanted to record the strings at different mod wheel settings to record different attacks. For ex. If the mod wheel was up all the way the sound was tremelo strings, if up a quarter of the way the sound was marcato strings.

I also used the quantization options to help clean up my recordings of the midi tracks.
After speaking with Prof. Steen I wanted to make sure that all the instr. had a similar ‘sound-space’. So, I bused them to an fx send track and applied some compression and reverb so that the sounds even though they came from different sources might sound as if they were playing in the same space.

Coloring: I knew that I wanted to do something with percussion and strings and again, I am on this T.S. Elliott kick so I had to incorporate some audio bytes from his narrations.




This work is an exploration of one composite sound built on 20 harmonic partials of a single note. Each partial is played as a separate audio or MIDI track to allow for modulatory control of the composite sound.

The work uses audio and MIDI tracks as the composite sound is justly intoned and certain partials required alterations (by a quarter tone or less) to reach their accurate pitch.

By employing this "aggregate frequency modulation" new colors and timbres constantly pop out of the texture as certain partials are favored over others. Broad sweeps of all partials result in new textures while exciting specific partials results in melodic pulses.


For project 3 I felt a bit frustrated with quality of the mixing. The sounds didn't seem to fit very well with one another and it seemed pretty clunky. So for this project I decided that mixing would be the main focus of my time. I also felt that using little stutters and glitches of sound where nice but they started to feel a little sloppy. I decided to still use them, but this time try and give them more dynamic shape, and avoid the harsher pops.

Compositionally the pice is based off of 5 main tracks: Slide guitar (audio), tremolo guitar (audio), muted guitar (audio), a fairly techno bass (VST), and a marimba (VST). Each of these tracks are 5 measures in length and mostly used as loops. For a background "percussion" part I tried to sample the the muted guitar track in the EXS24 but I wasn't happy with the how it handled the slicing, so after I trying to tweak things I eventually resorted to using audio clips.

I also played around with some of logics default settings for instruments, particularly guitar. I payed special attention to EQ settings and tried to get a little better at understanding how to effectively use EQ within the mix. I also was more liberal with busing then I had been on previous projects mostly to create a stronger feeling of unity between instruments. I quite like the effect of automating reverb disproportionately to volume. For fadeins and fadeouts This seems to create the feeling of distance between the sound and the sound source rather then just having the volume become louder of softer.


The title of the music is “Dryad.” The dryads who live in a quite forest sing every night. Crickets are only friend of them. One day, a person finds out dryads and listens to their sing; the footstep and dog indicate that the person is an outsider. The dryads do not notice and the person does not interrupt them. He just enjoys and leaves. I was inspired by 12 Tone.

I used a chart to figure out the notes and mainly chose bright color sounds to match crickets. In addition, I set this music into ABA form. For example, I located same instrument and footstep with dog barking in the beginning and end for unity of “A.” I also got rid of the footstep to differ from the beginning and end, so the middle section had own atmosphere as “B.”