//ALL INTERVAL TETRACHORD STUDIES - PHASING

//With Steve Reich's Piano Phase as the blueprints of this piece, I am going to attempt to recreate something similar in SuperCollider. Instead of the quasi-E-dorian mode used in Piano Phase, my pitch material will be on the all-interval-tetrachords. It would be interesting to hear the harmonic implications as well as the intervallic relationships of the tetrachords in the context of phasing.



//For this piece, I will be using two synthdefs. These are the synthdefs, and I am naming them marimba1 and marimba2. Marimba 1 is on the Left channel, and marimba 2 is on the right.



(
SynthDef("marimba1",

	{ arg atk=6, rel=4, out=0, freq=440, sustain=0.05;

		var env;

		env = EnvGen.kr(Env.perc(0.01, sustain, 0.2), doneAction:2);

		Out.ar(out, SinOsc.ar(freq, 0, env))

	}).store;




SynthDef("marimba2",

	{ arg atk=6, rel=4, out=1, freq=440, sustain=0.05;

		var env;

		env = EnvGen.kr(Env.perc(0.01, sustain, 0.2), doneAction:2);

		Out.ar(out, SinOsc.ar(freq, 0, env))

	}).store;
)


//this is to read the description of the synthdefs.
SynthDescLib.global.read;

)


//the chosen pitches all belong to the same tetrachord. There are 6 pitches in total, and they are in a Pseq because I want them to be heard in an arranged order. I have set the duration of every note in marimba 1 to 0.7, and the durations of marimba 2 to (0.7*0.99), so that marimba 2 will always be just a fraction faster than marimba 1. This is how the the phasing process has been programmed here.


(

~marimba1 = Pbind(

	\instrument, "marimba1",
	\out, 0,
	\freq, Pseq(#[60, 67, 66, 64, 60, 66].midicps, inf),
	\dur, 0.7,
	\amp, 0.5

);


~marimba2 = Pbind(

	\instrument, "marimba2",
	\out, 1,
	\freq, Pseq(#[60, 67, 66, 64, 60, 66].midicps, inf),
	\dur, 0.7*0.99,
	\amp, 0.5

);

//set tempo:
TempoClock.default.tempo = 144/60;


//start:
Ppar([~marimba1, ~marimba2]).play;

)

//for recording:
//ideally, try to end the recording/performance of this piece at unison.

s.makeWindow;

s.record;
s.stopRecording;