Bordun Variations

by Chester Winowiecki

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T. Jervell
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bjc
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The Sonic Archives Recording Co.
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Pedro Figueiredo
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thruvik
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bettersafethancere
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Tony Van Dorst
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Tone Burst
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Tripp Nasty
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Cody Ariel Shaffer
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Graham Shapley
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vinylmonkey
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Bob Corrigan
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chesterwinowiecki
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c_a_curtis
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juliusmenard
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1.
Aye, avuncular universal vacuums audit aerial off-aim rice 07:00
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2.
Curvaceous survivalist's annual fiduciary luau aim emu free 06:59
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3.
A Cruel Emu 02:00
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4.
Uneasy C 02:00
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5.
Verdi Sin 01:59
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6.
Sulfa V 02:00
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7.
Natura Sui 01:59
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8.
Bruer Mu 01:59
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9.
Viola Cues 02:00
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about

Recorded in my home studio using a Macumbista Soundbox, mixer, piezo pickups, Casio keyboard and an assortment of resonant metal objects, with special help from passing cars and chirping birds.

credits

released January 26, 2024

One of the great joys of working on a T. Jervell
project are the rules. They are numerous and
detailed and they push me to consider music
making approaches that | wouldn't have
considered otherwise.

In this case, the idea of the Bordun was the
sticking point: how to incorporate this feature of
tuned, structured music into my noisy, abstract
sounds. | had been working with the Macumbista
‘Soundbox (essentially a homemade amp designed
for feedback) but found that while | enjoyed the
sounds it made, they tended to be of similar tone
or pitch most of the time. I knew that adding
objects between the speaker and the piezo
contact pickups | was using could change the
pitch but not to the extent | needed. By adding a
simple mixer | was able to inject a note from a
keyboard as well and experiment with objects until
| found a combination that liked to vibrate
sympathetically with it. Hopefully, this same group
of objects would also work with the fifth above or
below that note. In this way, | was able to cover all
the notes in a diatonic scale of C and their fifth.
Each of these became the seven tracks of 2
minutes each. The longer 7 minute tracks were
played in the key of C and G. Apologies to those
with perfect pitch as the keyboard was out of tune
and the resonant objects chosen for their
proximity rather than purity of tone but this led to
the harmonics and beat frequencies that make the
recordings interesting for me; a result I'm very
happy with. Here's to finding freedom within
constraints!

Chester Winowiecki 2024

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