After five days in the studio, and quite a lot of advance preparation on the boat, the winds for Movement 1 have been completed. Each wind comprises a collection of sound files which add up to its character. The sounds include natural/environmental recordings, instrumental and synthetic timbres. All of them are treated in some way, at the very least embedding directionality as described in previous posts, but in some cases spectrally treated and processed.
The bass clarinettist behaves like a kind of weather vane in the performance. He will face a given wind and play from a menu (yet to be composed) of material in response to the sounds that emanate from that direction. When he tires of a particular wind, he will turn to face another direction.
Meanwhile, the computer will trigger anything between one and the maximum number of sound files available in a given wind folder. The triggering will occur randomly within a 30 second window. Since some of the sound files last more than a minute, it is likely that the ‘tail’ of one wind will still be playing when a new one is faced. This should add richness to the musical experience.
The material in the wind folders is unified according to the timbral map given in a previous post, i.e. by shape, timbres, pitch centre (where appropriate), gesture, envelope, etc. Even so, there is a lot of diversity. It will be a blowy and slightly chaotic piece, just like the experience of standing on Kelston Round Hill!
The Movement will begin with the North West wind, which consists entirely of unpitched sounds from the computer and from the bass clarinet, who makes various air noises and clicks. After that, the shape of the composition is determined on the fly by the performers (Roger Heaton and myself, in this case).