We use controlled randomness - we allow variable relationships between collage elements, as well as uncertainty or random sequence of these elements when writing the score and assembly. We do not act on the basis of pure chance, but have a choice of parameters and a range of effects on them.

In the vast world of modern music, there is a direction in which chance becomes a co—author of a work - this is aleatorics. Randomness is introduced into the process of writing and/or performing a piece of music. The name of the term comes from the word “alea” (Latin), which means “dice” or “chance"

In aleatoric compositions, some details of the work are left open: tempo, dynamics, tonality, the order of events or the choice of notes. This is the opposite of standard practices, where all the elements of execution are specified as accurately as possible.

CHANCE
AND SIGNIFICANCE

Fonbient is a project dedicated to sound experiments.

At the moment, the task of the project is to use randomness as one of the tools and combine the sounds provided by the authors to get unique and unpredictable results in the form of complex audio collages.

THE MAIN IDEA
OF THE FONBIENT PROJECT

Aleatorics gives authors the opportunity to move away from strict structures and allows them to experiment with form, content and execution. Performers are also given more freedom for interpretation and have a chance to contribute to the creative process. Aleatorics can reflect the composer's philosophical views, emphasizing the influence of chance and uncertainty in the creative process.

Authors can use aleatorics to explore new sound possibilities and combinations that may be rejected in ordered works.
The composer is required to let go of some of the control over the composition and allow randomness to contribute to the final results. This is, in a way, a release for a more creative approach.

Each performance of an aleatoric piece is unique, which makes live performances more interesting and unpredictable for both the listener and the performers.

1st milestone. A parade of sounds

Absolutely all samples are played for the full duration, without changing parameters, in three layers.

The sequence was determined using a random number generator.
After that, the sounds were grouped into a table.

2nd milestone. Part 1

The milestone contains one complete cycle of 11 phrases, each of which is divided into 30 equal segments (it can be seconds, minutes, divisions of the sequencer grid, etc.). It is these segments that measure the duration of the sample.
Phrases are a closed event - the transition of sounds to the next phrase is not provided at this stage.
Randomness affects the following parameters:

p = tonality (from -12 semitones to 0)
d = sample duration (from 1 to 6 time intervals). If the sound is shorter than the dropped duration, it is played again.
R = reverse
x = pause or inability to play the layer. The length of the pauses is generated individually for each phrase. There is a possibility of alternating the number of layers from 2 to 4.

It is necessary to understand that this method of selection, calculation, recording and designation of parameters is not the only correct one.

2-nd milestone. Part 2

This milestone is built by analogy with the previous one, but contains one complete cycle of 12 phrases.

Phrases are a closed event - the transition of sounds to the next phrase is not provided.

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