Rhythmic system 1

Spectral/spoken voice + isorhythmics + timelessness

For (bass)flute solo

Step 1
Spectral/spoken voice

Starting point is a recording of the vibrations that go through an oak when hit by a hammer.
This was recorded by the Italian artist and sculptor Giuseppe Penone in the Ardèche. The
vibrations have the following time-structure:

The notes denote the shifting of the fundamental (or lowest dominant) frequency throughout
the recording. Each ‘wave’ corresponds with the emergence of another harmonic of the
current fundamental

Step 2
Isorhythmics

Second, an isorhythmic pattern, a talea, is constructed based on the proportions of step 1:

The color is based on the first vibration and consists of 3x3 pitches, centered on the
fundamental:
Step 3
Timelessness

Each change of fundamental is interpreted as the initial vibration traveling through the tree
and being reflected, which induces a pitch change. This causes the following
macro-structure:

Every ‘wave’ is further, split in nine parts based on the first vibration in a fractal manner. This
causes the talea to be stretched but always proportionally. It is on the level of these blue
waves that the talea and the color live.

When a new vibration starts, a new isorhythmic voice starts on a new note. That note being
the fundamental of step 1. The new voice/vibration is auditory made separate by employing
a different playing technique, E.g. the following example (the color has been left out for
convenience) which takes place at the onset of the second voice (light blue in the picture
above):

The ‘M’ signals that this are multiphonics. The microtonal variation in the color is thus
ignored there.

As the piece progresses, these playing techniques are progressively less and less
consequently linked to a single voice/vibration. This gradually dissolves the distinction
between the 3 voices/vibrations as they begin to interfere. In combination with the 3 layers of
isorhythmics and the closeness of the 3 pitch centers, which causes a progressively dense
and unpredictable rhythm, makes the feel of the end of the piece have a timelessness about
it as all the vibrations merge and interfere and dissolve in the natural vibrations of the living
tree.