Placements in time, pitch, and space (0:58, 2004)
This places percussive sounds with timing ranging from phrasal rhythms to audio frequencies. The opening non-metallic sound occupies a small number of well separated pitch regions. The metallic sound entering about mid-way moves through well defined pitches by steps as small as a twelfth-tone. It also employs variations of reverberation, loudness, and stereo origin to suggest a circular motion in the horizontal plane.
The sound sources for both the above are two original patches for the Subtractor software synthesizer component of Reason 2.5 (Propellerhead) controlled by the Digital Performer 4 sequencer with eVerb reverb plug-in (Mark of the Unicorn). Here QuickTime plays mp3 versions (192 kbps).
Petite hommage à Varèse (1:00, 2004)
This varies the F-sharp G A-flat motif which recurs in Varèse’s Poème electronique (1958). Here the motif is compressed from semitones to sixth-tones and presented in an ascending sequence with varied attacks and with timbres varying subtly and continuously. Dynamics gradually, then more steeply, increase until a storm breaks.