Please Note: This CD is intended mainly for owners of the 1985 hardbound edition of Sound Color; it is included at no extra charge in the new paperback edition.
Track numbers refer to the CD; Example numbers, to the table of Recorded Examples on p. xxxiii in Sound Color; the page numbers in the Description, to the corresponding discussions in the text.
| Track | Example | Description | ||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 | 1A | Pitch change in systems with weak coupling (p. 29). Three different filter settings are excited by a buzz at 65 Hz, then again by a buzz at 130 Hz. | ||||||||||||||||||||||||||||||||||||
| 2 | 1B | Pitch change in systems with weak coupling (p. 29). Three different filter settings are excited by a buzz at 65 Hz, then again by a buzz at 130 Hz. | ||||||||||||||||||||||||||||||||||||
| 3 | 2A | Three different filter settings excited by impulses (p. 44). | ||||||||||||||||||||||||||||||||||||
| 4 | 2B | The filters of Example 2A excited by pulse trains (p. 45). | ||||||||||||||||||||||||||||||||||||
| 5 | 2C | The filters of Example 2A excited by noise (p. 46). | ||||||||||||||||||||||||||||||||||||
| 6 | 3A | Acuteness transposition (p. 70). Colors [uu oe oo] are transposed in acuteness to [oe ii ne]. | ||||||||||||||||||||||||||||||||||||
| 7 | 3B | Openness transposition (p. 70). Colors [uu oe oo] are transposed in openness to [oo ne aw]. | ||||||||||||||||||||||||||||||||||||
| 8 | 3C | Smallness transposition (p. 70). Colors [uu oe oo] are transposed in smallness to [ne ee aa]. | ||||||||||||||||||||||||||||||||||||
| 9 | 4 | Laxness transposition with "wrap-around" (p. 75). The noise-excited sequence [uu ii ae] is laxness-transposed step-wise to neutrality, then "wrapped-around" to its original non-lax state. | ||||||||||||||||||||||||||||||||||||
| 10 | 5A | Acuteness inversion (p. 77). Colors [oo ee uu aw] are acuteness-inverted to [ee oo ii ae]. | ||||||||||||||||||||||||||||||||||||
| 11 | 5B | Openness inversion (p. 78). Colors [oo ee uu aw] are openness-inverted to [oo ee aw uu]. | ||||||||||||||||||||||||||||||||||||
| 12 | 5C | Smallness inversion (p. 78). Colors [oo ee uu aw] are smallness-inverted to [aa oe ae aw]. | ||||||||||||||||||||||||||||||||||||
| 13 | 6A | The laxness dimension (p. 161). A sequence of colors is laxness-transposed step-wise to neutrality, then the process is reversed. | ||||||||||||||||||||||||||||||||||||
| 14 | 6B | Color preservation under laxness transposition (p.161). A version of Example 6A with varied rhythms, pitches and source types. | ||||||||||||||||||||||||||||||||||||
| 15 | 7A | Color in previous music (p. 178). The opening of Ensembles for Synthesizer by Milton Babbitt. Associated Music Publishers, Inc. (BMI). Used by permission. | ||||||||||||||||||||||||||||||||||||
| 16 | 7B | Clips from the four "static" sounds in Ensembles for Synthesizer by Milton Babbitt. (p. 178). | ||||||||||||||||||||||||||||||||||||
| 17 | 8A | A color-combinatorial duet (p. 213--14). A noise-excited, nine-color sequence is combined contrapuntally with its opennness-inverted, retrograded transformation with pitched excitation. See Table 6 (a). | ||||||||||||||||||||||||||||||||||||
| 18 | 8B | Another color-combinatorial duet (p. 213--14). Here the original sequence is pitch-excited; its transformation in the second voice, by noise. See Table 6 (b). | ||||||||||||||||||||||||||||||||||||
| 19 | 9, 10, 11 |
A stereo version
of Wayne Slawson's Colors. For discussion
of the composition as a whole, see pages 207--22.
The begin times of each variation are shown with reference to
the beginning of Track 19.
Selected variations are discussed in detail on the indicated pages.
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