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Repeatability variations

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The first 30 seconds have repeatability set high: 18 out of 32 for the finger piano, and flute. Then in the middle I set it low: 2 out of 32 for three measures. Then it’s back to 18 for the last 30 seconds.

Drift

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This one is about testing the crescendo and decrescendo technique, and also drifting up by the 53rd root of 2 (one step in 53 tone equal temperament). Actual from 0, to 1, to 2, to 1, back to 0 for each measure. So three steps.

Arpeggios in Opposite Directions

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I changed the finger piano envelope to something like that chart, and then fed each note of some opposite direction arpeggios through it.

More Variations in the Variability

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The piece offers each part a variety of measures to choose from. Sometimes I push one of the instruments to keep choosing the same measure, sometimes to try very hard not to choose the same one. Or it can sequence through them in a series. Variability is set for each instrument to a number from 0 (never pick the same thing again) to 32 (always pick the same thing again). The higher the number, the more likely it will pick the same measure twice in a row. In this section I vary the variability a bit.

The bridge

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At the end of the bridge, we hear G, then a 53rd tone step up, then another, and back down again. I can’t even hear the change.

Settling down

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Circling around the fourths in minor keys, then find the major key to state the theme. Still needs better dynamics. Later.

More Aimless Wandering about the Circle of Fourths

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How aimless? How’s this:


17 39 08 30 52 21 43 12 34 03 25
47 16 38 07 29 51 20 42 11 33 02
24 46 15 37 06 28 50 19 41 10 32

Those are the keys in which it wanders, spending only a measure in each. In 53 tone equal temperament, those are all 22 steps, or a perfect fourth apart. You can see we get close to the start, when it hits 16, then 38, which is like the first two chords 17 & 39. After a short while the repetitive chord changes just leave one with a feeling of never ending change. Not a pleasant feeling in my mind.