I really enjoyed working on Homework 3: Physical Model and Sampler Duo Performed by Algorithms. I thought it would be great for the final project to expand this concept, taking it from a homework exercise to a more substantial composition. The resulting work is approximately 5 minutes 15 seconds long and involves physical modeling for 6 instrumental instances; 2 [clarinet(s) and audio sampling] occurring simultaneously in 3 guises, hence the title Triple Duo. This is roughly 3 times the scale of the homework assignment in every aspect. I came across the idea for having the 6 instruments constructed of similar pairs through the acclaimed Steve Reich pieces Double Sextet and 2x5 (the former won the 2009 Pulitzer Prize for Music). For instance, 2x5 is scored for five musicians and pre-recorded tape, or two identical quintets on rock instruments.
Aesthetically, I further explore the raw, industrial sororities used in my Homework 3 project, but increasing the variety and level of nuance with the physical modeling. The sample sound I utilized for Homework 3, Resonators From Hell (Resonance from hell A), was a jumping off point for finding additional field recordings on the website FreeSound.org. Below is the complete list of sound sources added--
Next, in Audacity I converted these files from stereo to mono, changed the tempo (without changing the pitch) of each clip to be about 10 seconds long, and mixed in various effects. I then saved three versions (a-b-c) of each clip based on the effects in order to provide a sense of forward movement in the piece via timbral change.
In ChucK I implemented a number of other temporal shifts between the different duos, again highlighting the raw, industrial sonorities present here. Overall, the alterations to the clarinet tone are perhaps the most drastic. With the octave displacement, reed, noise, pressure, and so on the timbral complexity remains vivid while the affect is much grittier.
After I had generated the three recordings of duos from ChucK I assembled these in Audacity, using silences to offset the different lines and create a more interesting counterpoint.