Thēsaurōs is related to causal complexity and complexity within organic movements. Focus is on the collective embodied cognition of multitemporal tensions. (EPITOME)

 

This work emanates from one single polyrhythmic structure and two variations of this structure, resulting in three rhythmic circles. Each circle sets the frame for two compositions. In total: six disparate pieces with identical or closely related starting points. (DHĒ)

 

An essential counterpoint to the stringent concept is the trio’s embodiment of the multitemporal tensions through strategies and perspectivation on the six compositions. (TAXIS)

 

The starting point is found in the tensions emerging through multitemporal pulse sensations. The structural translation of this tension is complex, causal, and organic. (KINESIS)

 

The endpoint: Through the embodied cognition of the structural tensions and an open relation to the compositions, a feeling of freedom and flexibility emerges, enabling trialogues in a multitemporal musical language charged with an inexhaustible potential. (TREASURE)

 

A thesaurus is a group of synonyms and related concepts. It originates from the Greek thēsaurōs, which translates to treasure chamber. I named this album Thēsaurōs because I feel it is both. (CHEST)

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Peter Bruun , 2022

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The artistic result of 'Manipulation of puls and tempo' is 6 songs in 3 different 'Rhythm Designs'. 

All 6 pieces will be released on ILK music 2022 as THESAURŌS

Here you can listen to the THEME of the 6 songs, two in each variation of the three Rhythmic Design 

 

Composed by Peter Bruun 

Performed by Søren Kjærgaard (piano), Jonas Westergaard (bass), Peter Bruun (drums) 

 

Scroll all the way to the end end to find an interview about the first rhythm design and some spontanious reflections. Thanks to Uncovering The Scenius and Jan D Kardereit.  

 

Rhythm Design 

Through rhythmic design, it is possible to stage pulse sensation, centers of gravity and tempo-dynamic illusions in the very foundation of a work before it is composed. In the same way that a musical score can indicate a tempo or time signature in which the composition is understood / written, the rhythmic design provides a more detailed predetermined movement through tempo, pulse, centers of gravity and tensions. A conventional score will often be based on a specific subdivision (eg 16 parts, triplets or a rhythmic clave) and a form (eg a fuga, sonata ect), as well as tonality. Rhythmic design is a radical extension of the conventional starting points and creates a frame, movements in time / tempo, as well as an overall structural form.

 

The final works are inspired by the concept Reference Rhythm
Reference Rhythm (The reference Rhythm Method - An Intuitive Approach To Advanced Rhythms) is a technique developed by the Swedish guitarist Mulle Holmkvist. He has developed a learning method to approach advanced polyrhythms based on an intuitive phrasing of rhythms. Mulle Holmkvist's system is not designed as a compositional tool, but as a learning tool. In short the concept of Reference Rhythm is to create a rhythms in ‘normal’ subdivisions (8th-notes, triplets 16th-notes, instead of more complicated tupplets) that approach the exact polyrhythm. Then by phrasing you will approach the polyrhythm, thus creating an intuitive shortcut to perform complex polyrhythms.

The 6 works are composed into a polymetric structure where two different pulse sensations are experienced simultaneously. One pulse sensation is the written one and the other is a polymetric approximation. A polymetric approximation is not the exact notation of the polyrhythm but as close as you can get only using simple rhythms.  

 

The three Rhythm Designs is three different polyrhythmic approximations: 

 

Rhythm design no.1 is 12 over 11
Rhythm design no.2 is 12 over 13
Rhythm design no.1 is 18 over 17

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HERE you'll find the ORIGINAL DECRIBTION OF THE PROJECT and some FINAL NOTES