![]() The early-to-contemporary pipeline was in full swing here, with period and modern instruments mixing freely. Piano strings are manipulated with fishing line for a metallic whine bowing a vibraphone while a tubular bell is gently struck ends up sounding like how a shiver feels.Īttending Ojai this year, you might have been convinced that no music was written from about 1800 to 1970. Restrained in his deployment of the recordings, McIntosh conjures an enigmatic, shadowy, quietly colorful world, sometimes bone-dry, sometimes softly shimmering. And on Saturday morning, rotating your head, as the cellist Jay Campbell suggested, brought out different pitches from the densely vibrating mix when he played Catherine Lamb’s “Cross/Collapse” (2010), his long drones hovering beside oscillating electronic tones. The birds in the trees around the outdoor Libbey Bowl, the festival’s main space, added flickers, and acoustical illusions began to emerge from Otte’s trance I could have sworn, near the end, that a mellow horn call was coming out of the piano textures. The harmonies subtly thicken and thin the emotions remain ambiguous, the mood meditative. The material here is deceptively simple: undulating lines, sometimes slowed to expansive chords and sometimes sped to a Glass-style arpeggiated flood. A very different definition of the minimal: On Sunday morning, there was a rare opportunity to hear Hans Otte’s “The Book of Sounds,” a solo piano epic from the late 1970s and early ’80s, played by Conor Hanick with control and sensitivity. To roiling music, Frederic Rzewski’s “Coming Together” (1971) harps on its text, a letter written by an Attica inmate who died in the uprising there, spoken with ironic bravado here by the bass-baritone Davóne Tines, the weekend’s most valuable player. The instrument is packed with presets that layer string samples with synthesis and other textures.VARIOUS FACETS AND MOODS of Minimalism and its legacy were represented, including Philip Glass songs and, performed in the middle of Libbey Park, part of Tom Johnson’s 1979 solo “Nine Bells.” That featured the percussionist Jonny Allen jogging a precise route around the bells, hitting a gradually evolving riff - sometimes with delicacy, sometimes with violence. The pair also worked on Phobos together in 2017. The British sampling gurus made Polaris in collaboration with multi-platinum trance producer and composer Brian Transeau (aka BT). We’re also going to layer multiple patches of Spitfire Audio’s new Polaris instrument to achieve an epic cinematic-style sound. In this article, we’re going to compose these kinds of widened chords using inversions, octaves, 7th and 9th notes. These progressions would sound far more powerful with widened voicings and stacks of layered textures. When writing chord progressions many producers simply leave chords in their root positions and layer one or two other instruments for some sound design. ![]() In this new Passing Notes, we run wide chord voicings through Spitfire Audio’s new hybrid instrument to compose cinematic pad textures and melodies.
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