"This segment is sort of ambiguous - am I listening to the Lech or to the Danube? Maybe both, or maybe it’s all Danube, and “Lech” is just what we called it before it got there. I worked on that moment, and I looked at what that could mean for the river water, which had come from all these different places, with all these different sounds. "One of the included photos is a bird’s eye view of the two rivers, side by side - they really appear independent in that photo. The satellite timelapse is different - first, the orientation and curve of the Lech make it feel like it’s contributing to the Danube, visually. Most strikingly, in the timelapse, color changes in the Lech appear to continue into the mixed river - when the Lech changes color, the water in the Danube which came from the Lech also changes color. This may simply show that the two rivers don’t mix right away, but it got me thinking about perspective, direction, and naming: There is a known end point of the Lech, but the Danube seems to exist before and exist after. "When the Lech ends, the Lech water continues, but now named Danube. This process is continuing constantly, and the water that meets the Danube could have come from many different places, and gone through many different experiences - those experiences show up in the variety of colors in the timelapse, and in the variety of sounds collected for this project, certainly. "I thought, I may be able to express these through music theory, through melody. Better than words, anyway. What’s in a name… "The piece itself is a collection of melodies, recorded on 9 different musical instruments - all the instruments are playing distinct melodies, and every melody leads to the same musical pitch. This is the many waters all leading to/becoming the Danube. "The field recording is also played back several times at higher and lower speeds over the course of the piece, sort of a like a slow melody of its own - those also lead to a final note: the recording played back at the original speed. "Hearing that last note, the drone, the tonic, I wonder if it’s possible to know all the different ways that an instrument could have gotten there. We see the Danube and call it Danube, but there may be some awareness of how the water got there, too. "For those interested:The music theory behind the scenes here is something I’ve been working on with some friends here in Seattle - the term we are using is “nonatonic harmony” (which translates to “harmony derived from a 9-note scale”). Since I recorded the melodies individually, one by one, and then stitched them all together after, there might be an argument that this is more accurately “polymodal music”, but I’m more excited about this 9-note system, so that’s why I’m considering it in those terms. "Here’s some more explanation -It’s common to refer to musical pitches by letters in the alphabet - A B C D E F G, then wrapping back around to A. That’s seven distinct notes - scales that have one of each letter are considered “heptatonic” (which translates to “seven-tones”). In this piece, I was working with these notes: A Bb B C D E F F# G. That’s nine notes all together, so, “nonatonic”. By the way, since there’s only seven letters in this standard alphabet system, the sharps (#) and flats (b) are added to existing letters in order to make new notes, between the letters. "There’s a few available perspectives on this arrangement of notes - one is to see it as 9 totally distinct notes. There are some moments in this piece that feel like that, the moments that are dissonant, because you have two different B notes (B and Bb), or two different F notes (F and F#), and they clash. "Another perspective is to play the heptatonic modes which are nested inside the nonatonic scale (this is the polymodal perspective). That original alphabet scale (A B C D E F G) can be played differently to lead to certain notes (“leading to certain notes” is one definition of many for a “mode”). Using those same pitches (A B C D E F G), the melodies that use the notes in such a way to lead to D are called “dorian”, and the melodies that use the notes in such a way to lead to E are called “phrygian”. If we were to use phrygian and dorian melodies, but instead have them all lead to A, we would have to amend the alphabet system a bit, using sharps (#) and flats (b). In the nonatonic scale listed above, we can find an aeolian mode (using the notes A B C D E F G), a dorian mode (using the notes A B C D E F# G), and a phrygian mode (using the notes A Bb C D E F G) - which each lead to A. "In practice, this system allowed me to navigate to the final note of each melodic phrase with more options, maybe specifically with two more options (either B and either F). It also introduced more dissonance, which is a characteristic of a lot of music, maybe music in general - I should note that this system isn’t particularly innovative in itself, we’re just putting words to something that happens already in a lot of music. How useful is that? Maybe, if only so that we can talk about it." Section of the river Lech reimagined by Nicolo Scolieri. ------- Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.
