*_Nature-Symphony 60 (Dancing Song of the Earth: There shall be no more war!)_* — Densely textured, this work has a vigorous and impassioned sound — a sort-of joyfulness-with-depth, but is repeatedly heckled by the Layer 1 chime’s plaintive cries, though with respites from it.
*Chimes used:*
(Layer 1)
1. Woodstock Chimes of Olympos (tuned to a melancholy-sounding Ancient Greek scale). This is two copies of the recording, a fifth apart, mixed to give the notes an incandescent timbre.
(Layers 2-4)
2. Woodstock Chimes of Pluto (5 tubes, moderately high-pitched, tuned to a radiant sunny-sounding pentatonic scale. Not to be confused with the larger and very different-sounding Davis Blanchard Pluto chimes that also figure in some of my Nature-Symphonies)
3. Woodstock Chimes of Polaris (5 tubes, high-pitched, tuned to a radiant pentatonic scale)
4. Woodstock Chimes of Mercury (5 tubes, very high-pitched, tuned to a radiant pentatonic scale)
I made the original Olympos chimes recording (https://freesound.org/people/Philip_Goddard/sounds/705706/ ) on 14 November 2012, near Sharp Tor, by the Hunter’s Path, high up on north side of the Teign Gorge, Drewsteignton, Devon, UK. The ensemble of Pluto, Polaris, Mercury and the pair of bamboo chimes (https://freesound.org/people/Philip_Goddard/sounds/693779/ ) was recorded on 2 January 2014 on steep rough ground just below the Hunter’s Path by Hunting Gate, highest point on that track. Geolocation is for the tentatonic trio plus bamboo.
*Advisory*
To get the best out of this, with its mass of detail, listen with high-grade headphones.
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My Nature-Symphonies are, at least in my experience, a new type of music composition, whose nature and origin has interesting parallels with some of the most inspiring works of Iannis Xenakis through effectively being stochastic (probability-generated) music, and his tendency to create electroacoustic works in which natural sounds and real live instruments are used as a starting-point for transformation in meaningful ways.
Note the hyphenation of ‘nature-symphony’, because it’s important. These are NOT any old type of symphony that is ‘about’ nature, but are a new type of symphony-type music that is *originated and played* by ‘Mother Nature’. My role as composer, therefore, is as a sufficiently aware and ‘deeply connected’ enabler, facilitator, and recogniser of what choices have truly ‘clicked’ and _mean_ something, so that I’m motivated to gather together those inspirational gems and to present them in a meaningful way.
For fuller notes about this type of music work, and the transformations used, see my relevant playlist (https://www.youtube.com/playlist?list=PL2QPtPIi_uE40eJXM2sDzMXu7h1h-tjev ).
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*Images used*
No location photo fitted in for this. The photo of coastal clifftop crag (on Lizard peninsula, Cornwall, UK) is my own, and the other images are AI-generated from Bing Image Creator, and outpainted to requisite 16:9 aspect ratio by the Neural Love service.
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*The composition, video and original recording are the Composer’s COPYRIGHT, licensed under provisions of *Creative Commons — Attribution*.
The audio is CD quality (16-bit, 44100Hz).
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