Next up was part c – the part that linked the slightly uptempo, alla breve with ternary feel, octatonic part B with the ambient noises, tempoless feel and wholetone tonality of a part C – not that anymore about parts B and C was known at this time.
I had written down something about “arp synth” in fast 23/8 for part c, and that was about it. That was something I could work with.
On the score level, I first set up a 23/8 bar, and filled that with a sequence in the F octatonic tonality, making sure that (also considering some rests in those 23 spaces) each note appeared at least twice and at most three times. So which notes were identical in those two scales? With the first one going F G G# A# B C# D E and the second one B C# D# F G A, only B, C#, F and G were shared. I built repeating sequences that consisted of the aforementioned pattern twice, and would then, slowly every fourth repetition or so, exchange one of the notes of the former to the latter scale – all in all, something where at first listen you barely notice any change, but at the end you come up in a completely different tonality.
Using a shortened version of the “23” figure for the alla breve part B comes from, a tempo jump at the beginning to a fast tempo, and a ritartando followed by a jump back up at the end, I was already set score-wise. At this stage, I was left by having the parts assigned to a stage piano and a standard arp synth (at least the latter to get replaced later on), and leave any work on varying dynamics/sound later on. Deciding to simply stay where I was, I thought about part C. For that, I had envisioned a noise track similar to my track “Confidence” from “Dem Andenken eines Engels”.
For that track, I had played (hardware) effects – in the end, a very early no-input Nerdville setup. There was, however, one synth, and that was the Micromodular with an Aeolus Harp patch.
Old inspiration, new synths
I had already decided to postpone recording of the Nerdville parts, however I thought about what I’d do with regard to the non-noise stuff. Combining The Grand’s Bösendorfer with the Roomworks reverb (which has a hold function), I would play a short cluster of all six notes of the wholetone scale starting with B at different pitches, repedal the resonances, and then hold (and later release) them in the reverb. This, in turn, got sampled, and with that, I could play those clusters. I created a sample instrument in HALion, and set up a very rough sketch for C.
While we were at it, why not move on to part d? For that, I had written down something with “Regen” (rain), and so I took some field recordings (mainly from my balcony, or my below-the-roof bedroom), created a granular patch in HALion, and created some rainy noise bed for part d. The rest? I had written down something about a trombone part recorded with lots of omnis while walking through the house and playing a theme from another section…I left that in my mind for now.