Cybertrack Types     

Home      Gallery      Workshop      Announcements      Contact

  Overview     

Introduction
Cybertracks can be classified according to the main characteristics of their inner musical structure.

The following list provides one listening example for each type. Further examples can be found in the Sound Banks section.
Fields
Play Sound Example Sound Layers

 Long lasting, slow changing, large sound strips
Play Sound Example Sound Fields

 Sound layers with a strong inner life, distinguishable elements
Play Sound Example Granular Fields

 Chains of sound grains appearing in high density
Play Sound Example Shifting Windows

 Chains built from a metric repetition of a continuously progressing index range
Elements
Play Sound Example Repetitions

 All kind of metric sound repetitions
Play Sound Example Phase Shifting

 Overlaying metric structures
Play Sound Example Random Distributions

 Elements with randomly distributed parameter values
Play Sound Example Fractal Distributions

 1/f noise oriented distributions of rhythmic, dynamic, and other parameter values
Vectors
Play Sound Example Marcov Chains

 Markov chains applied to sound index, pitch, and other parameter values
Play Sound Example Parametric Vectors

 All kind of continuous element modulations
Play Sound Example Tone Glissandi

 Continuous pitch modulations and pitch modulation networks
Play Sound Example Complex Vectors

 Figurative (metamorphic) transformations
Complexes
Play Sound Example Element Sequences

 Figurative sequences built from a defined element set 
Play Sound Example Morph Complexes

 Element constellations of high complexity
Play Sound Example Source Complexes

 Element constellations sampled or quoted from original resources
Play Sound Example Accord Complexes

 Synchronized element groups of short duration used for rhythmical structures
Melodic Scale
Cybertracks may be of static or of extremely dynamic nature. The corresponding degree of musical information is called the "Melodic Scale".

The following five listening examples present cybertracks ranging from a very low up to a very high melodic scale:

Very low melodic degree Low melodic degree Medium melodic degree High melodic degree Very high melodic degree
Combinations
Naturally, a cybertrack includes the characteristics of various cybertrack types at once. This type combination can be realized on a structure level, where a certain control parameter includes different types at once, or on a parameter level, where different musical parameters are controlled by different types ('parameter counterpoint').

The first (left) example combines characteristics of the "Repetitions", "Random Distributions", and "Element Sequences" types, applied to the pitch parameter.

The second (right) example combines the "Repetitions" type applied to the pitch parameter with the "Fractal Distributions" type applied to the entry delay and duration parameters.

Structural type combination Parametric type combination
Functions
Within a musical piece, cybertracks usually fulfill different functions. The most important are as follows:
  • Figures:

    Musical structures dominated by permanent repetitive and rhythmical actions in order to keep the musical flow going. These structures are of organic nature and highly 'communicative'. They allow other structures to dock on.

    - Corresponds to type 4 of the composition types, see Fractals
    - Archetype: Striking with both hands (drumming); working
    - 'Home' cybertrack: Repetitions

  • Xpressions:

    Musical structures leading the musical communication, like a melody. Usually split in phrases, lead structures are of individual nature and most responsible for the profile of a certain piece while demanding for the highest attention.

    - Corresponds to type 1 of the composition types, see Arrangements
    - Archetype: Speaking, shouting, singing (including breathing); communicating
    - 'Home' cybertrack: Fractals

  • Layers:

    Musical structures of rather static or long lasting nature that allow to dive into sound, to experience space, while serving as emotional background. These structures (large fields, sounds) may occur arbitrary.

    - Corresponds to type 2 of the composition types, see Songs
    - Archetype: Bowing a string or something alike; relaxing, meditating
    - 'Home' cybertrack: Layers

  • Events:

    Musical actions of singular and individual character that occur arbitrary. Their functionality can be different and spans from filling in a kind of 'comment' or effect till important syntactic functions of a piece through special breaks, break-ins, etc.

    - Corresponds to type 3 of the composition types, see Serials
    - Archetype: Blowing with a pipe; playing, imitating
    - 'Home' cybertrack: Parametric vectors (modulation of a target)
The structure functions are sorted by their communication characteristics spanning from most common contents (Figures) till the most specific one (Events), see Listening Spaces, Pyramid. The same order is valid for the frequency of their occurrence.

Below are sound examples that suit the functions as described above:

Figures Xpressions Layer Event
RELATED TOPICS
   Previous Topic: Musical Parameters
   Next Topic: Counterpoint

  Top        Overview     

© 2022 Copyright. All rights reserved.