based upon the 18 chords from stephen montagues "the eyes of ambush", the piece transgresses this gammut by projecting the chords to different equidistant subdivisons of the octave.
these subdivisons are directly derived from the ambitus in semitones of the original chords: the 5th chord for example has the widest ambitus of 29 semitones, whereas the last chord (no 18) has the smallest, just two semitones.
in order to preserve the pattern of expansion and contraction of the original progression, the resulting scale of ambiti is applied reciprocally to the chords, so that the widest chord gets the smallest subdivison of the octave (two semitones), resulting in a widspread layer of tritoni and octaves.
the electronic sounds are all derived from sampling and transposing the acoustic instruments, which, with the more drastic transpositions, leads to characteristic artifacts.
the piece starts with the violin solo, playing the note e1, which will be the center for all the following transpositions and the soundmaterial for the electronic process.
the chords dont follow each other blockwise, but are smoothly blended and convoluted.
the result is a continous flow of sonorities, vibrating and transposing harmonic progression into the colour of sound.
recording with susanne froehlich (tenorrecorder), david nunezanez (violin) and me (live-electronics) on may 4 2005 @ kunststation st. peter, koeln