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Sine waveforms from these synths:
z3Ta
Emu Vintage Keys
Ultra Analog by AAS

Vinyl noise sampled from my personal collection.

Created on a rush, March 31st 2018 in Paris for:
Disquiet Junto Project 0326: Wave Turntable
The challenge: Compose a short piece of music using only sine waves and the surface sounds of vinyl played on a turntable. Those two sources are inspirations for the Clay/Fischer exhibit.

More on Clay and Fischer at:
dclaymusic.com 7
feather2pixels.com

More on the Disquiet Junto at:
disquiet.com/junto/

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CCCXXVII was created for Disquiet Junto Project 0327: Time Zoned
Engage with the number 327. Compose a piece of music with three separate and distinct through-lines. Think of each of the three lines as an individual voice. The important thing is that the three through-lines occur in your composition simultaneously. One voice should be in 3/4 time. One should be in 2/4 time. And one should be in 7/4 time.

Thanks Marc, Ethan and Nate for an excellent, inspiring challenge.

I created 3 grooves:

Upright basses(x3 bowed) playing a 2/4 tango groove
DX7 playing my favourite 7/4 gimmick (I used it all over the place since 1988)
Lead Saw synth playing in ¾

Each accompanied by a drum loop using the same sounds but in the matching time signature.

I played separately over a click track you can hear (a string sample and an arpeggiator)

Then I did a mash up of the 3 to create polyphony. It is complex, progressive and a bit chaotic but was a lot of fun.

It goes like this:

7/4
2/4
3/4
3/4 + 2/4
3/4 + 7/4
7/4 + 4/4
7/4 + 4/4 + 3/4

Cheers

DD

Created Friday 6th April 2018 in Paris, France

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Some solo or “soloist” bass exercises:
This a transcription of an improvised introduction I performed live for Norberto Pedreira’s arrangement of Francis Lai’s “Un Homme Une Femme” movie song.
@norbertopedreiratrio
In January 2017 we performed the song for the first time, a bass introduction was part of the arrangement, I improvised something. We played the song again in December 2017, I had great souvenirs of the bass intro I played back in January so I went to a video somebody recorded of the shows and loved the improvisation so much that, instead of keep improvising in subsequent shows, i decided to transcribe that introduction, learn it , and play that as part of the arrangement from now on.
This is it as recorded yesterday, march 26th 2018.
The full track will be available in @norbertopedreiratrio next album later this year.

This is a practising routine. I do improvise over changes a lot, but sometimes I like to be able to flow melodically with no harmonic content informing my playing.
I’ve been improvising on my Sekine custom fretless, trying to find a melodic, lyric way around melodic ideas (Nicholas Slominsky informed some) without sticking to a tonality or tonal centre, being as abstract and hybrid as I could.

Slow version:
Played some slow drums, then add nonsense harmonies on synth pads (particularly blur sounding to keep me away from “playing changes”), and improvised on top of it.

Fast version:
Played some percussion (two different size talking drums) over some 4 bar percussion loop from my vault.
Then improvised on top of it, some 3 minutes of free blowing, choose the lest shitty bits to keep a shorter track…

Composed and performed by DD
Electric guitar
Electric bass guitar
Melodica
Multiple bowed basses
Cello
Viola and violins from several sample libraries.

Inspired on this haiku:

“A quiet garden
in the silence
a rain drop”

Poem by Andō theunsui.org/

Picture by Krista Mcphee

@naviar-records

A very personal farewell track.

Charangos
Upright basses (multiple bowed bass section)
Acoustic bass guitar
Upright bass (pizz)
Vibraphone
Acoustic piano
Accordina.
String orchestra (samples)

Composed and performed by DD, Paris, December 2017-February 2018.

Photo by Ethan Weil

Created for junto0324: ….Think about music that isn’t distracting and suggests momentum.
March 2018.

Original version here:
Daniel-diaz – Travelling-in-situ

For this one I decided to rework a personal project from last year, a track I composed while unable to move from a certain place, but looking at the open sea through the window, music that could be kinetic and could wake a certain travelling envy, but was created with the stillness of a working space in mind.
Travelling without moving, as the song says.

this _junto_ version is less strong in “crescendo” and has no guitars compared to my longer and more dynamic original, this is a more repetitive synth and electric piano driven version. I can imagine people in the same room/workspace listening to this, having the wide-open visible through their windows and experiencing some kind of healthy, drug-free energy rush.
Personally, if I were working in a confined space, I’ll take a long version of this , say 8 hours, with a never stopping crescendo from the start of the working shift till the culmination when everybody is good for the day and can go home…
Like Max Richter’s “Sleep” but the opposite…

Love
DD

My compilation “Landscapes, Consonances and Solitude” is now on Spotify.

It seems my Spotify profile it’s finally cleaned up and only my music appears, hope it stays like this.

Inspired by a poem by Kobayashi Issa
Image by Benjamin Child

Two Ukuleles
Multiple bowed upright basses
Cellos and Violins from different libraries.

Performed by DD in Paris, 2018

“moonlight enters
only through the window…
paper mosquito net”

Hello.
Hybrid Eb minor/major nine minutes meditational soundscape.
Drone performed on my Harmonium from New Delhi, using all 3 possible stops and a “drone”.(4 tracks)
Live Hang improvisation recorded with two microphones in Paris.
Upright bass (bowed ) softly a root note all along.

Track dedicated to Ganesh, inspired on this mantra:
“Om Gam Ganapataye namaha”

An old clock guests chiming at 3’30.
The bell (1 minute marks) is from Toledo, Spain, circa 1972.

Cheers

dd

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Created for:
322nd weekly Disquiet Junto project (The Wanderer: Make a short piece of music that encourages the the mind’s tendency to wander)

Here my take on this, a divagating fusion piece, with no clear tonal focus, many melody glimpses that never establish completely, and to make it “worst”, something I use sometimes to create a wandering, dreamy feeling that keeps calling somewhere else from the music albeit being part of it: spoken voices mumbling around.
It starts with a famous female politician saying in the late 1940’s “Humanity is living tremendous days.
A cold materialism wants to mock the tenderness …” but when you want to focus on that it vanishes. So go ahead and wander with this one.

Fender Rhodes
Electric bass
Synthesizers
Acoustic guitar
Spoken voices

More on this 322nd weekly Disquiet Junto project
based on research by Dr. Liila Taruffi, PhD, and her colleagues) at:

disquiet.com/0322/

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Recording on the road, at 37°09’01.7″S 56°53’06.9″W

My laptop and a microphone (AKG 451).
As sound source I used what I have with me: the Requinto on the photo (taken on recording location) an instrument I bought in Tegucigalpa 22 years ago that proved to be a nice travel companion and perhaps the worst instrument I own.
A real bastard when it comes for tuning and playing comfort.

Three track created with this setup during february 2018: