The intention of “Parallel 5ths” was to put together a
process that was so simple in design that two people could have arrived independently
at a similar outcome. It is a minor experiment to assist the blog writers in
the search for what constitutes the composer’s voice.
There should be enough information here to replicate
the sounds with basic sound generating equipment.
What makes this design individual is the use of reverb
and spatial positioning. Though many would consider these as of secondary importance
when the content is consists of such a basic design even the smallest adjustments
have the effect of “customising” the final product.
Should any reader / listener feel inclined to
replicate or vary these sounds please share with us your work.
As Nurtan and I write (and reread) these blogs we
inevitably find certain themes recurring even within very different contexts, here
it is the rhythm of this process which leads us into shared blog material. We
might anticipate that the systematic use of duration and basic sine wave tones would
produce a very static, regular pulse. Judge for yourselves whether the music is
static or fluid, iso- or polyrhythmic. I believe that Nurtan has been
considering the nature of rhythm and perception, in the autumn we will be
offered some insights into his findings.
I add Nurtan's comments on the resulting soundscape which I found thought-provoking:
On parallel fifths – Nurtan Esmen e-mail 24.08.2016
The use of resonators was an idea that was developed in a laboratory to
reduce the motorway noise by putting a fence of hollow thin tubes of different
sizes. I was asked to look over the data – the laboratory results were
impressive but in the real world it is not only the tire noise but the big huge
lorries travelling 70 mph that generate a lot of unspecified frequency waves
(from the turbulence) and unfortunately that did not reduce noise but increased
The resonators were set into motion at the fundamental frequency of the
tire noise absorbing some of the energy so that at a distance the overall noise
level was lower than the normal free field. It is interesting idea but in
reality it was not workable. As the wind noise enhanced the amplitude of
particular (within the available overtones) frequencies, the dominant being the
most prominent of the tube length determined fundamental, so the result was a smaller
level fundamental coupled with a highly enhanced strong 5th and about the
same level as the fundamental third and above, sort of a weird organ sound. So
the resonators stayed as an environmentally friendly noise reduction for
heavily travelled motorways.
In your synthesis, a similar phenomenon seem to occur but
it produces a very nice sound – it is somehow soothing and the superimposed
different rhythmic structure of the ‘’pitches’’ is very science fiction
like. I can hear clearly 3 other than the lower pitch grinding like sound
straight away and perhaps two more by listening carefully. The pulse is
definitely longer for higher frequency – i.e. inversely proportioned. I think
it is a great resource for musical applications, sound effects etc.