fm modulator

Dear Followers!

I’m Richard, or @you-had-me-at-e-flat-major , and I’ve been invited to @musicainextenso to talk about my own compositions as well as my composing process. Over this week I’ll be presenting 4 compositions. In general I like to explore different styles in my works, sometimes emulating existing composers, sometimes experimenting on my own. I’m afraid you’ll have to excuse the poor recording quality, all of the compositions I will present over this week use synthesised instruments in their recordings. That being said, I’d like to start with a piano piece, whose synthesised recording doesn’t actually sound half bad, called Cerfs-volants (French for kites).

My intention for this piece was to create an impressionistic piano piece based on the style of Debussy, and I chose to write a piece evoking the image of kites. The most difficult part of writing this piece was finding a beginning theme. In order to do this, I attempted to emulate some of Debussy’s trademarks. Debussy frequently used alternative harmony such as whole-tone scales and extended chords including major 7th and major 9th chords, which led me to base the introduction and first few themes on tetratonic scales (ex. D♭-E♭-G♭-A♭-D♭, bars 1-6) and major 7th and minor 7th chords.

The piece was written in a non-standard form: Introduction-A-B-C-D-Introduction-A1-Coda. The introduction and A theme were based on the tetratonic scale and 7th chords. The B and C sections serve as contrast. The B theme consists of various major 7th and later minor 7th chords, shrinking to 6th chords, major triads, suspended chords and augmented chords, all played over an ostinato, followed by arpeggios. The C theme is starkly different: it consists of very strong, ff arpeggios in C major. During this, the note A♭ is gradually added to facilitate modulation to Fm for the next section.

One difficulty faced was returning after much harmonic development in the B and C sections to the original tonic key of D♭. I achieved this by adding a slower D section of arpeggios based on F minor, gradually adding G♭s to facilitate modulation via an A♭7 chord back to D♭ for the recapitulation.

In order to prevent repetitiveness, I did not recapitulate much: only the introduction and a modified A theme. A coda followed: a series of arpeggios in D♭ and A♭7, ending with an elongated section of D♭ arpeggios with the pedal held.

Enjoy! - Richard B. ( @you-had-me-at-e-flat-major )

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Rules concerning the use of citizens band radios in Europe.

Map legend:

  • Green - there is no need a license for CB radio with FM modulation (european system).
  • Orange - there is no need a license for CB radio with AM modulation (polish system).
  • Red - CB radios are banned or license required. CB radios are banned in Romania and Northern Ireland, in Austria are ban for CB radio with AM modulatory and multistandard radios using other than FM modulatory. Permits are required in Croatia, Cyprus, Malta, Bulgaria, Ireland, Macedonia, Russia, Serbia, Turkey, Sweden, Switzerland, Slovenia and Spain.
  • Gray - no data about CB radio law

Laurie Spiegel plays Alles synth, 1977

“This 1977 tape is one of the earliest examples of purely digital realtime audio synthesis. It manages to achieve an analog synth sounding quality, but it is entirely digital synthesis and signal processing.

The interactive software I wrote and am playing in this video recycles my keyboard input into an accompaniment to my continued playing, which is why I called it a "concerto generator”. I use part of one of the keyboards for control data entry, and the small switches upper right to access pre-entered numerical patterns. The sliders are mainly pre-Yamaha FM synthesis parameter controls, for the number of harmonics and amplitude and frequency of the FM modulator and carrier that constituted each musical voice.“