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| Chopin's Polonaise Fantasie Op. 61, Winter
Destabilized |
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| Rachmaninoff's Sonata No.2 in Bb, Spring
Extroversion In this visualization mode, notes appear as lightly transparent blocks until passing through the 'now' in which they become representational vectors of diverse color. The vector shapes were generated from a photograph of one of Austin's majestic purple crown sunsets. In this fashion, each note has a unique shape. |
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| Rachmaninoff's Sonata
No.2 in Bb, Spring Extroversion It is interesting to note the first time occurrence of new notes through recognition of their associated shape. For some with excellent musical abilities, this same process can be performed using only the note's pitch. |
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| Franz Listz's La Leggierezza,
Surface Fractal A slight variation of the vector event visualization mode uses more paintbrush-like strokes. This is an interesting effect as it causes each block to appear to be 'loaded' with paint as it strikes the 'now'. |
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| WS Trachtman's Chevy Chase,
division pelagic spelled-out I just had to throw in at least one good American rag time composition. This particular choice shows the clarity and clockwork like precision of phrases within the composition. |
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| WS Trachtman's Chevy Chase,
division pelagic spelled-out This particular visualization is unique in that a letter notation is displayed while keys are played. These appear in standard western notation as 'a', 'c#', 'g', etc... The color scheme is an adaptation of the palette one might see staring out across the division that separates ocean from sky. |
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| Rachmaninoff's Sonata
No.1, jovian summer Audibly, the patterns of this composition can barely be deduced. However, when one views the rendered form, the note arrangement begins to take a more meaningful form. |
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| Rachmaninoff's Sonata
No.1, jovian summer With a color scheme adapted from the atmosphere of Jupiter and subtle expanding note bars, this visualization technique is certainly one of my favorites. |
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| Ludwig van Beethoven's
'Moonlight' Sonata No.14, Winter Destabilized Zoomed out we can see the entire 1st movement of the composition. In this mode, the score moves along very slowly. Notes passing over the 'now' light and gently glide off into oblivion with a bit of faked angular momentum. From this distance, the phrase patterns (indicated by structure) and harmonic changes (indicated by color) can be easily seen. All images captured March, 2002 |
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