2006 11:55 7
CHROMA 2 2006 11:55 7
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In Chroma 1, two parallel pitch structures are audible. One structure is presented on a loudspeaker in front of the audience, the other on the loudspeakers surrounding them. Both structures are based on a twelve-tone row with perfect- and augmented-fourth intervals. The two pitch structures complement each other in such a way that at various moments in the piece (articulated by a low-pitched sound) all chromatic tones within a range of two octaves have been used. The pitch structure of the piece was completely defined on forehand; all other parameters such as durations, timbres, dynamics and so on were freely interpreted during the actual production of the piece with one goal only: to make the pitch structure audible as clear as possible.

On the front speaker there are instrumental and vocal sounds, which underwent transformations in the frequency domain. The sounds on the surrounding speakers are exclusively derived from vocal material. There, a large number of transformations was produced for the whole structure of twelve minutes. Which surrounding transformation is unveiled during a certain time section could be worked out differently, resulting in form variants based on the same pitch structure. Chroma 2 was produced with this idea in mind: to produce a variant of the piece by systematically permutating the form of the surrounding structure while leaving the pitch rows in tact. Finally, the pitch structure on the center speaker was left out of Chroma 2 completely, being there only in the mind of those who listened to Chroma 1 first. The emptyness caused by the missing structure to me has the effect of a "black hole" with a strong gravitational force.

Chroma 1 was commissioned by the Fonds voor de Scheppende Toonkunst.

sketch for Chroma 1 sketch for Chroma 2