pulse

The group’s desire is to create a pulse-based piece.

We all choose appropriate sounds (short attacks).

We start with some experimenting with different tempi. We settle on 75 and its double, 150. Some students decide to add the arpeggiator to the metronome so as to be on the off-beats.

Several students suggest testing the maximum value of the metronome: 1000 BPM. It’s decided that this gesture will be integrated into the piece.

We agree on the following form:

A. Pulsed rhythm (75-150)

B. Overwhelming noise (1000)

C. Slow deceleration until all sounds disappear.

Method:

• Each student loads a sound with a sharp attack into tab-1. They then install the same sound, or another, into tab-2.

Sound 1 : metronome at 75 or 150

Sound 2 : metronome at 1000

• The conductor triggers the beginning of sound 1, which must be perfectly synchronized.
• The conductor triggers the beginning of sound 2 with no transition. We cut sound 1.
• Upon the conductor’s signal, we begin to slow down the metronome freely and slowly, until it reaches its smallest value (5 BPM).
• The conductor cuts each of the sounds one by one.

Assessment

The concept of the piece is of a rhythmic pulse acting as a thematic element.

The form and intention rely on a process.

We first present a normal rhythm, which is abruptly interrupted by the extreme metronome speed, creating a kind of dense mass.

In the final phase, this mass deconstructs slowly; there is a loss of rhythmic unity as each individual decelerates until all sounds disappear.