[Moshe]

MATERIALS FOR BUILDING LOST CHORDS

It should be kept in mind that when building lost chords the sound of a chord is relative. A dissonant chord can sound almost consonant when preceded by a chord or cluster that is far more dissonant. As well, a series of consonant chords can sound saccharine without contrast. Following are a few hints on mechanics

TIMBRE: The use of untempered sound such as steel chicken wire instead of guitar or piano strings, copper plumbing pipes, bowed cymbals or a kazoo, homemade instruments, “ethnic” instruments such as a hurdy-gurdy, bag pipes or sarangi, synth effects and EQ that can be found on any sampler to alter a conventional instrument sound. Altering timbre entirely changes the harmonic content of a sound. With this type of sound the fundamental often no longer dominates. The harmonic interaction is unpredictable and can create unusual relationships.
MICROTONALITY: Tones based on the intervals of the harmonic series or any division of the octave smaller than a half tone.
WEIGHTING: Using dynamics or instrument doubling, the balance of the tones within a chord can be drastically altered. For example if one were to use a cluster and a major triad in the same chord, emphasizing the cluster would give a very different chord than emphasizing the triad. Of course this technique can be used in far more subtle ways.
VOICING AND RANGE: Three notes spread out over the entire range is a very different chord than the same three notes voiced within a single octave. A chord in the high range is very different than the same chord in the low range. This is not trivial. Voicing change and note change are equally important. Think in terms of the full range.
AMBIGUITY: This technique includes unison clusters and ambiguous tonality discussed earlier. Introducing an unfamiliar sound into a familiar context or vice versa is an effective tool.
CHANGE: Here is a trick of the trade. When making a change always change at least two elements. This is the concept of contrary motion but extrapolated across the entire field of possible change.

Combining these various types will give the best results. In short, composing lost chords requires attention to detail and carefully constructed contrast.

Anyone who is interested in finding out about recordings of music that transcend the predictable can go to Massimo Ricci’s www.touchingextremes.org