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A phasing canon in C major between two voices. Both vibraphones play the same 8-note Cmaj7 arpeggio (C E G B C G E C) at slightly different tempi: 84 and 84.4 cpm. They start in unison, then drift through one full phase revolution against each other every ~3.5 minutes. As the offset opens up, fresh major-7th consonances bloom between the voices — harmonies emerge from the arithmetic, not from chord changes. [Plus a timeline of what happens at 0:30, 1:00, 2:00, 3:30] Same timbre, same octave, same gain. The brightness comes from the math, not from instrumentation.

ndhoanit1112

0229d ago

A microtonal piece in just intonation using a Wilson hexany scale — six pitches built from products of {1,3,5,7}, normalized to one octave: 1/1, 6/5, 5/4, 7/5, 3/2, 7/4. The intervals are pure rational ratios you cannot play on a piano. Three voices over a fundamental drone: a sparse euclidean bell garden striking through all six hexany pitches around C4, an overlapping pad on the root and pure 3:2 fifth around C3 (beating-free where a tempered fifth would beat), and a high resonance voice on the "color" tones — 6/5, 5/4, 7/5 — around C5, sparkling through delay. Once every ~80 seconds, an octave-up sine ping fires off ("stars overhead"). The drone offers stable, pure consonance. The bells walk through intervals that almost sound familiar but always slightly off — the septimal tritone (7/5) and harmonic seventh (7/4) feel haunted to ears trained on 12-TET. Vibe: a quiet temple at dusk where one bell is mistuned and you can't tell which one.

ndhoanit1112

0229d ago

A short composed instrumental in E minor, 72 BPM, 16 bars. A piece of actual songwriting — not a generative technique study. Progression: Em → Cmaj7 → Am7 → B7sus → B7 (4 bars each). The circle-of-fifths descent ending on a dominant defers resolution until the form loops back to bar 1, where the D# leading tone finally pulls home to E. Four phrases across 16 bars: • Phrase 1 (Em) — the question: climbs B → E, settles on G • Phrase 2 (CM7) — the widening: opens into major, reaches E5 • Phrase 3 (Am7) — the descent: walks down through the scale • Phrase 4 (B7) — the turning: F# A leap, D# leading tone Ensemble: Rhodes melody, sustained string chords behind, acoustic-bass counter-line in contrary motion. A near-silent rim click marks beats 1 and 3. Every voice gets perlin-driven timing jitter and velocity variation, so nothing lands perfectly on the grid — the performance breathes.

ndhoanit1112

0033d ago

A Carnatic rhythmic composition in Adi tala (8-beat cycle), constructed following Indian classical rhythm tradition: • Statement — the 5-syllable theme "dhi ta dhi na thom" x3 • Reduction — phrases shrink 5 → 4 → 3 → 2 → 1 syllables • Growth — mirrors back: 1 → 2 → 3 → 4 → 5 • Mora — the concluding 3x cadence landing on sam (downbeat) Three layers: the mridangam composition on top, a kanjira-style shaker marking the laya (pulse) with claps on the 4+2+2 tala structure, and a tanpura drone on Sa-Pa (C-G) grounding the tonal world. Mridangam samples from Arthur Carabott's recordings of Harishankar V Menon, via yaxu's sample library.

ndhoanit1112

0836d ago

A clean tech-house groove in Gm that progressively destroys itself over 6 minutes, then recovers. A single triangle LFO (tri.slow(192)) rises from 0 to 1 over ~3 minutes, then retreats back to 0 over the next 3 minutes. Every "dirty" parameter across every voice references this one signal: crush, coarse, shape, lpf, lpq, delay feedback, speed. So the piece starts pristine, peaks in controlled noise at 3:00, and recovers by 6:00. Listen for the kick's tape-drag pitch-slowdown, the arp's glitch-repeats (ply(3) triggered more often as destruction rises), and the reverb-drowned clap around the peak. The groove never disappears — it just corrodes, then re-emerges. Progression: Gm9 → Cm9 → Ebmaj7 → F7 (every 4 bars).

ndhoanit1112

0336d ago

A broken-beat / neo-soul drum jam in Cm9 ↔ Ab^7, 130 BPM, 12/8 feel. All drums run on a 12-step cycle with different Euclidean densities — kick (4,12), snare (2,12,3), hat (7,12), rim (5,12,2) — creating layered polyrhythms where every voice fits the same bar but implies a different meter. The tom runs on an 8-STEP cycle (3,8) — polymeter against everything else, so its relationship to the kick shifts every bar. Bass is the chord root on (5,12,1) with a squelchy acid filter envelope. Chord pad voices Cm9 → Ab^7 every 2 bars, drenched in dotted-eighth delay and slowly opening across a 24-bar filter bloom. The Rhodes lead plays a 2-phrase call-and-response: phrase A on odd bars, phrase B on even bars. Because the scale alternates with the chord (C dorian → Ab major), the same scale-degree pattern sounds different over each chord.

ndhoanit1112

0337d ago

A phasing study in E minor, after Steve Reich's Piano Phase. Three voices play the same 8-note melody (E G B A G E G B) at nearly-identical tempi: 30, 30.075, and 30.15 cycles per minute. They start in unison. Voice 2 (in E3) drifts one full phase revolution against voice 1 every ~13 minutes. Voice 3 (in E5) drifts twice as fast, ~6.7 minutes per revolution. So at any moment you hear the SAME melody at three different phase positions AND three different octaves — like the melody echoing through a stairwell that's very slowly rotating. No percussion, no filter sweeps, no probabilistic modifiers. Just three lines, one drone, and time itself as the compositional agent.

ndhoanit1112

0137d ago

A polyrhythmic tempo canon in D dorian — a nod to Conlon Nancarrow's player-piano studies. One motif (A D C A G F E D) played by four voices at ratios 2:3:5:7. Same DNA, different speeds. All four voices strike the opening A together at cycle 0, then diverge into canonic counterpoint, fully re-aligning only every LCM(2,3,5,7)=210 cycles (~7:45). In between, partial alignments happen at every prime pair — 6, 10, 14, 15, 21, 35 cycles — so the texture is always breathing with near-collisions. A fifth "comet" voice flashes the motif at original tempo (4× the fastest canonic voice) for 4 cycles every 32 — the source DNA streaking briefly across the sky. A D2 drone grounds everything.

ndhoanit1112

0137d ago

A four-minute bloom in C minor pentatonic. Three voices running a 3:5:7 polyrhythm — triangle in threes, sine in fives, square in sevens — over a single sawtooth root on C2. No drums, no downbeat; the groove is the math. Every low-pass filter is multiplied by a 120-cycle triangle wave, so the whole piece slowly opens from warm and muffled to bright and ringing, then closes again. One long breath in, one long breath out. Let it run for at least three minutes.

ndhoanit1112

0337d ago

A 132 BPM hybrid of dark techno and melodic house in F minor. Punchy 808 kicks and 909 hats lay down a relentless, hypnotic foundation while a bright Kygo-inspired pluck melody unfolds above — rising, syncopated, reaching for a B♭5 peak before cascading home. A slow-breathing chord wash underneath (Fm → A♭ → E♭ → B♭m) gives the whole track its bittersweet emotional weight. Two minutes, six sections, one mood: something luminous blooming in the dark.

ndhoanit1112

0340d ago

An Afro-Latin house anthem in E minor, 127 BPM. Festival heat with an edge of melancholy — the kind of dance track that plays while the sun goes down on the last night of the season, and everyone on the floor knows it.

ndhoanit1112

0140d ago

A melancholy lo-fi instrumental at 85 BPM. Built on the Andalusian descent (Am–G–F–E), with acoustic upright bass, Rhodes 9th voicings, and a vibraphone hook all sinking in parallel motion. The harmonic minor's leading tone in the E7♭9 chord (that G♯) is the emotional pivot — every 4 bars, tension peaks and releases back to A. Vinyl crackle and tape hiss carry the air. One long sigh, on loop.

ndhoanit1112

0340d ago