for computer sound (1998)
Glass Phase (1998) explores structures of rhythmic and spectrographic transformation of glass sounds. In the first section of the piece a polymetric technique is used in which three voices in single-unit differentiated tempo-phase relationships (such as 21:22:23) contain a nested polyrhythmic phase structure utilizing meter-phase (such as accents on beats 7, 8 and 9 of each respective voice). Several of these “linked polymetric sets” are used in conjunction, each new set fading in and out independently. In the second section large scale “phase sets” are created from 10 voices offset by 1/100th of a rhythmic pulse. The result is an expanding and contracting rhythmic structure. Several of these phase sets are used simultaneously in a macro-polyrhythmic relationship of 6 : 10 : 15 [(3 : 5) : (2 : 3)]. Glass Phase was composed during a composer residency at the Phonos Foundation / Audiovisual Institute in Barcelona, Spain.
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