Norafjells
This was the first tune that I transcribed from the Setesdal tradition and I have thus used it for several experiments of different ways to adapt it for the modular synthesizer, some of which can be heard below. I learnt the tune from recordings of Andres K. Rysstad, Daniel Sanden Warg and Torleiv Bjørgum and my version incorporates phrases from all three. Each time I play it the form is improvised, this is really one of the most fun aspects of playing these kind of tunes. I have also spoken with fiddler Anders Røine who agrees with this.
An experiment in hocketing
Hocketing is an old arrangement technique where a melody is split up over a number of alternating voices. Inspired by Meara O'Reilly’s contemporary implementation of this technique, I wanted to try this on some folk music material. The goal is to keep the melody groovy yet obfuscate it somehow.
In this example the melody is alternating between two ‘voices’. Each time I start a new phrase, the voice that is being switched out holds on the last played note. Furthermore the amplitude and length of the phrases are randomized with every voice switch. The result is some kind of arbitrary polyphonic accompaniment with a more diffused melodic and rhythmic structure.
Violin strobe
Inspired by violin strobe by Henry Flynt I've been experimenting with playing Norafjells with a triplet based delay (without feedback). Three envelope followers following the triplets are exciting three harmonics of the harmonic oscillator. The delay invites for some interesting rhythmical interplay, especially on the last part of the tune.
(next: notes from the shed)