Part 1
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See the description of Part 16
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Part 2
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Part 2 is audible clearly the first part recorded in this serie: there was not yet a clear idea with respect to the possibilities and restrictions of the computer (ATARI 1040ST) and one synthesizer (Yamaha DX-7, maximum 16 polyphonic). These raw sounding improvisation searches the borderlines by means of an extended 100% punctual canon (punctuality being the strength of the computer). In the course of the piece is audible the synthesizer cannot manage anymore its maximum of simultaneous notes and as a result, notes are brutely cutoff.
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Part 3a, b, c
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The three parts of Part 3 further explore limits of (synthesizer-)possibilities in repetition and sound.
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a.
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First part: topic concerning repeting bass. Cluster of sounds now and then cause the syn a small heart attack.
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b.
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Second part: tests in parallels & fast motives
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c.
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Third part gives up rapidly and continues in motive repetition. As soon as something of a melody pops up, the synthesizer canīt handle the abundance of impressions.
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Part 4
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5 part strict canon on the prime for canned church organ
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Part 5
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Originally a fugatic piece (not strict cananic).the effect of this piece was so īminimalī sounding that the next part...
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Part 6
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...deliberately was manipulated in the īminimalī style
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Part 7
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Strict canonic situation for 12 simultane stringsounds. After completing the theme is repeated in retrograde. Much later it appeared to me that this CMI was very much sounding like the first part of Goreckiīs Third Symphony and that even before I ever heard that piece!! Not bad I daresay!
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Part 8
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Part 8 I nicknamed "the PianoRAI" (dutch insidejoke)]]: Structurely exact as part 7, but now for piano, hence the beautiful subtitel "The PianoRAI" (dutch insidejoke). |
Part 9
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A motive in repetion. The joke is that the last half-measure has been omitted so that it becomes difficult to hear where the motive starts or stops. |
Part 10, 11, 12, 13
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Exercises in consonance, recurrence and quarter-tone tuning
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Part 16
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Piece based on arpeggios of 12-tone ranges based upon 3-note motive plus retrogade, inversion and retrogade-inversion. This is the most strict of the CMI I and thus becoming quite dull. To bring some joyin the dullness the composer rumbleda little with the tempo.
Strict composer music is allways boring!
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Part 15
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"Nancarrow on XTC": hommage to the great Nancarrow.
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Part 16
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By now to my opinion all limits of CMI for singlesounds had been explored: And above that: the computer manipulation became too predominant. So I played a piece just for fun... And another one which ended up as part 1 of this first serie of Computer Manipulated Improvisations.
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