Composition 2

For the second composition using recorded piano music as the basis for musique concrete, I chose Shostakovich's Prelude in Eb Minor as it is very different to the first (Edward MacDowell's To a Wild Rose) and has a much wider range of dynamics, more use of the bass frequencies and has a darker general feel.  

I followed the same primary steps as the first piece (1- Cut piece into phrases, 2- Number phrases, 3- Manipulate each clip) however, with this piece, I decided to allow more than one manipulation on each clip to get a greater variety of sounds and to pull the object source away from the piano thus giving a greater curiosity as to the sound source.

The first manipulation have been completed and these new sound clips will undergo second and, if necessary, more manipulations in order to warp the sonic landscape.  The table below shows the first set of manipulations.

Clip	Manipulation 1
1	Evolution GRM
2	Fusion GRM
3	Reson GRM
4	Warp GRM
5	Grinder GRM
6	Comb Filters GRM
7	Shift GRM
8	Freeze GRM
9	Bandpass GRM
10	Pitch Accum GRM
11	Shuffling GRM
12	Vocoder Cecilia 5
13	Pelletizer Cecilia 5
14	Degrade Cecilia 5
15	Detuned Resonator Cecilia 5
16	Granulator Cecilia 5
17	Delay Mod Cecilia 5
18	Harmoniser Cecilia 5
19	PitchLooper Cecilia 5
20	Transpose Cecilia 5
21	LooperMod Cecilia 5
22	Beat Maker Cecilia 5
23	Feedback Looper Cecilia 5
24	Soundgrain 1
25	Soundgrain 2
26	Soundgrain 3
27	Fusion GRM
28	Shuffling GRM
29	Warp GRM
30	Pitch Accum GRM
31	Evolution GRM
32	Grinder GRM
33	Reson GRM
34	Shift GRM
35	Doppler GRM
36	Contrast GRM
37	Delay GRM
38	Freeze GRM
39	Bandpass GRM
40	Distortion Cecilia 5
41	Harmoniser Cecilia 5
42	Granulator Cecilia 5
43	Feedback Looper Cecilia 5
44	Spectral Delay Cecilia 5
45	Spectral Warper Cecilia 5
46	Beat Maker Cecilia 5

The next steps for this piece are:

• Undergo more manipulations
• Use an online number generator to decide the order of the sound objects
• Re-arrangement of sound objects
• Mixing and post-production
• Exporting and mastering