Triogadan

Little Girl about Beauty by Yannick Heeren

This is one of many experimental improvisation behind my prepared piano. This recording session was edited and designed to make a prevading background. Usable as an Ambient sound effect.

Commissioned by the University of Antwerp a sound design composition that audibly reproduces the "museum to scale" mini-installation by the Belgian Conceptual artist Arne Quinze: "There is no chaos only structure". This unique art project at the University of Antwerp spans over a 100 mini-rooms with original work from contemporary Belgian artists, from paintings to complete installations.

Commissioned by Parlangi.net (social learning network) I pre-edited the podcast. As well as composing an intro and outro tune and Jingles. For commercial branding purposes I chose a recognizable, recurring theme that could also be used as a jingle.

Commissioned by Parlangi.net (social learning network) I pre-edited the podcast. As well composed an intro and outro tune and Jingles. For commercial branding purposes I chose a recognizable, recurring theme that could also be used for the jingles.

Repetitie De Vlinder Van Pierrette COffrée 22/10/2017 by Yannick Heeren

A 4Fold-collective event presents all possible acts with words and their absence, silence, noise, intuitive, invented or with any form of communication expressing poetics of space. Everyone is welcome and encouraged to speak, play, interact or just sit in unspoken space and soak it all up... 4fold is an interdisciplinary project focused on intertwining movements, sounds, visuals and words. It sets up a composite work fusing all branches of art in an artistic unity.

A 4Fold-collective event presents all possible acts with words and their absence, silence, noise, intuitive, invented or with any form of communication expressing poetics of space. Everyone is welcome and encouraged to speak, play, interact or just sit in unspoken space and soak it all up... 4fold is an interdisciplinary project focused on intertwining movements, sounds, visuals and words. It sets up a composite work fusing all branches of art in an artistic unity.

A 4Fold-collective event presents all possible acts with words and their absence, silence, noise, intuitive, invented or with any form of communication expressing poetics of space. Everyone is welcome and encouraged to speak, play, interact or just sit in unspoken space and soak it all up... 4fold is an interdisciplinary project focused on intertwining movements, sounds, visuals and words. It sets up a composite work fusing all branches of art in an artistic unity.

Prepared piano like composition with integrated sounds recorded in the Luc Deleu - Orbino container. ( ° 1944 Duffel, Belgium ) is a Belgian architect, philosopher and artist. His quest to break with the traditional vieuw of things, is his driving force. This search often leads to surprising designs and proposals always with the idea of creating a better world for humanity. Title of the work: Orbino

Soundscape recorded in Luc Deleu - Orbino Container - 2004 Luc Deleu ( ° 1944 Duffel, Belgium ) is a Belgian architect, philosopher and artist. His quest to break with the traditional vieuw of things, is his driving force. This search often leads to surprising designs and proposals always with the idea of creating a better world for humanity. This work of art can be seen at the Middelheim museum in Antwerp.

Musique C Noise Concept by Yannick Heeren

Blauw (Short Film Soundtrack) by Yannick Heeren

Beijing (Field Recording) by Yannick Heeren

There are 72 hours in a day by Yannick Heeren

Composition courte pour une voix féminine interprété par Els Van Laetem.

Stilted Effect 01. (Playing with drum brushes on a aluminum fence) by Yannick Heeren

Sound Design inspired work on Auguste Rodin, The Thinker (le Penseur) Auguste work depicts a nude male figure of heroic size sitting on a rock. He is seen leaning over, his right elbow placed on his left thigh, holding the weight of his chin on the back of his right hand. The pose is one of deep thought and contemplation, and the statue is often used as an image to represent philosophy and is therefore the starting point for this soundscape.

Rainscape for Violoncello The Rainscape solo pieces have been developed to provide the musician with the necessary tools to accompany the “Rainscape 2019” kinetic sound sculpture made by Anna Godzina. The main goal of the composition is to explore the alliance between the audible sounds of the sculptures and the human musician’s ever-changing perception. The violoncello piece focuses on the research of various (en)harmonic sound components, irregularities in pitch and rhythmic patterns produced by the kinetic sculpture, providing musical constructs with nuances, tensions, repetitions and melodic properties transcribed into a score. The performer is presented with a linear score which must be played from the beginning till the end. Some longer measure-groupings within the score may be interpreted as non-linear, which can permit live playing, listening and responding to structures heard from the machines at the same time. The main resonant frequency of the corresponding machine is C#. In order to enhance the resonating qualities of the instrument the piece is recommended to be performed with scordatura [retuning the instrument]. The performer may aim at slight variations which would not interfere with the gestural profile of the bar-groupings. Together with the machine sounds, the piece should give the impression of a continuum or dialogue between instruments. The performer may choose between different options for transitioning if the score is used in a non-linear manner: • short rest (filled with the drone on c#) • “breathing” or caesura • immediate playing of another module • playing of transitional modules • repeatedly playing any structures containing 16th notes from the score Notations: A gradual transition between one technique to the other less finger pressure in left hand for a slightly distorted sound left hand finger pizz. Feather beams – tremolo to be played in accel. or rit. Slapping sound obtained by hitting the tailpiece with the wood of the bow. The main transition material: variations on the continuous lower C# drone. Examples of variations are suggested but the performer may choose any other as long as the sound is continuous.

My early period of composing. Based on Bill Evans' chord sheet "Waltz for Debby". My girlfriend was also called Debbie then.

Sound design assignment for Jana Horálková's Pet http://horalkova-art.com

Audio guide in Flemish, English for visitors to "De Ruien". Is a system of 8 kilometers of underground city canals in the city of Antwerp. Audio guide commissioned for the city of Antwerp. https://ruien.be/en

Radio documentary in Flemish about the origin of Musique concrète.

The solo piece “Room of Six'' has been developed in such a way that the musician has the necessary tools to reproduce as faithfully as possible the “Room of Six” kinetic sound sculpture created by Anna Godzina. The main goal of this composition is to explore the alliance between the audible sounds of the sculptures and the musician’s ever-changing human perception. The bassklarinette focuses on the research of various anharmonic sound components, irregularities in pitch and rhythm patterns produced by the kinetic sculpture, providing musical patterns with any nuances, tensions, repetitions and pitchless melodic properties transcribed into a graphic score. The performer is presented with an 8 measure non-linear modular score; permitting slight variations that would not interfere with the gestural profile of the sculpture just reinforce it. The overdub track with only breathing sounds simulates the installation balancing barrel. On this, the extractable modules were carried out using extended techniques such as: slap tongue pizzicato. dyads, multiphonics, singing or humming sounds. Air flutter, smear and valve sounds. The piece should give the impression of a continuum or dialogue between the instruments and the sculpture.

The Rainscape solo pieces have been developed for providing the musician with the necessary tools to accompany the "Rainscape 2019” kinetic sound sculpture made by Anna Godzina. The main goal of the composition series is to explore the alliance between the audible sounds of the sculptures and the human musician’s ever-changing perception. The composition focuses on the research of various (en)harmonic sound components, irregularities in pitch and rhythm patterns produced by the kinetic sculpture, providing musical constructs with nuances, tensions, repetitions and melodic properties transcribed into a score. "The Rainscape" for viola score focuses on a different strategy of employing and interacting with the sculpture. The original sound recordings of the machines are provided for practice purposes. The performer is presented with a modular, non-linear score which can permit playing, listening and responding to structures heard from the machines at the same time. The main resonant frequency of the corresponding machine is C#. In order to enhance the resonating qualities of the instrument the piece is recommended to be performed with scordatura [retuning of the instrument]. Structure The beginning and ending modules are fixed (M1 and M24). Modules M2 - M23 may be played in any order of choice. If needed, modules can be played more than once while other modules may be excluded even though the performer should aim at playing them all. Modules may be: • repeated when the musician feels that it serves the flow of the performance. • played at random or sequentially • played in succession or separately (when separately, transition modules can be chosen to fill in the time until the decision is made about which module to play next) Modules have specific rhythmic, dynamic and sound profiles but on repeat, the performer may modify some of these parameters for a more spontaneous interaction with the sound of the machines. • modifiable parameters: tempo, dynamics, sound colour (only tasto-pont-legno, half-stopped fingering of left hand) • non-modifiable parameters: pitches*, articulations (pizz, gliss, tremolo, specific non-pitched effects) *exceptions for pitch parameter: switching between alto/treble clef (the module may be performed entirely in one or the other) The performer may aim at slight variations which would not interfere with the gestural profile of the module. Transitions and spaces between modules: Together with the machine sounds, the piece should give the impression of a continuum or dialogue between instruments. The performer may choose between different options for transitioning between modules: • short rest (filled with the drone on C#) • “breathing” or caesura • immediate playing of another module • playing of transitional modules • playing repeatedly any structures containing 16th notes from the score, e.g., at the end of M6, the opening 16th notes are repeated until a new module is chosen and played. Notations: A gradual transition between one technique to the other less finger pressure in left hand for a slightly distorted sound left hand finger pizz. Feather beams – tremolo to be played in accel. or rit. Slapping sound obtained by hitting the tailpiece with the wood of the bow. Main transition material: variations on continuous lower C# drone. Examples of variations are suggested, but the performer may choose any other as long as the sound is continuous.

Rainscape for Violoncello The Rainscape solo pieces have been developed to provide the musician with the necessary tools to accompany the “Rainscape 2019” kinetic sound sculpture made by Anna Godzina. The main goal of the composition is to explore the alliance between the audible sounds of the sculptures and the human musician’s ever-changing perception. The violoncello piece focuses on the research of various (en)harmonic sound components, irregularities in pitch and rhythmic patterns produced by the kinetic sculpture, providing musical constructs with nuances, tensions, repetitions and melodic properties transcribed into a score. The performer is presented with a linear score which must be played from the beginning till the end. Some longer measure-groupings within the score may be interpreted as non-linear, which can permit live playing, listening and responding to structures heard from the machines at the same time. The main resonant frequency of the corresponding machine is C#. In order to enhance the resonating qualities of the instrument the piece is recommended to be performed with scordatura [retuning the instrument]. The performer may aim at slight variations which would not interfere with the gestural profile of the bar-groupings. Together with the machine sounds, the piece should give the impression of a continuum or dialogue between instruments. The performer may choose between different options for transitioning if the score is used in a non-linear manner: • short rest (filled with the drone on C#) • “breathing” or caesura • immediate playing of another module • playing of transitional modules • repeatedly playing any structures containing 16th notes from the score Notations: A gradual transition between one technique to the other less finger pressure in left hand for a slightly distorted sound left hand finger pizz. Feather beams – tremolo to be played in accel. or rit. Slapping sound obtained by hitting the tailpiece with the wood of the bow. The main transition material: variations on the continuous lower C# drone. Examples of variations are suggested but the performer may choose any other as long as the sound is continuous.

Landscape Set To Music / Pressure, Vibration & Resonance Is an exploratory survey on scoring a kinetic, sound generating sculpture. The video scoring of Anna's first landscape (original trial), posted on Facebook on June 30th 2019, is the basis for my musical approach into the inner workings of kinetic sound sculptures, by using Cubase (digital audio workstation software) and creating a practicable user template. The score editor renders a visual representation of the sound, for preservation, replay and analysis. The fundamental overtone, “from the first landscape original trial” undulates on a frequency of 466.164 Hz, in the key of B-flat major or its relative minor key in G. The 5200 RPM of the mini electric motor is synchronized to 172 BPM by using the Cubase tempo track. Rhythmically, the best possible transcription has been sketched. Melodically, it is harmonized to chord and scale progressions related to the musical scale of B-flat with a subtle hidden pitch modulation towards the SubV7/ii in D-major. The Landscape composition has a fixed tonal center due to the RPM of the electric motor and the 3 clock rods. The small divergences observed in the resonances of the rods, hit by a swirling rubber hose, were my first steps into this exploratory survey. It is - after all - listening to the hidden music within those industrial sounds.

The Runner's Body solo piece has been developed to provide the musician with the tools needed to accompany the kinetic sound sculpture "The Runner's Body 2019” made by Anna Godzina. The main goal of "The runner's body for drums" is to explore the alliance between the audible sounds of the sculptures and the human musician’s ever-changing perception. This percussion piece focuses on the research of various sound components and irregularities in rhythmic constructs produced by the kinetic sculpture, providing a pattern with nuances, repetitions and compound time signature properties, transcribed into a score. The performer of the piece is presented with a transcribed score that provides the same rhythmic profiles used by the machine for regulating purposes.

I Sing the Space Electric/ Rainscape from 2019 Metal bars, stone fragments, electric engine. 2.5m x 0.25m x 0.24m

Landscape Set to Music/ pressure, vibration and resonance from 2019 Wood, saw blade, electric engines, electric guitar parts, strings, led lights, clock bell. Variable dimensions

The Runner’s Body from 2019 Tree trunks, speakers, electronic amplifier. Variable dimensions. In collaboration with Domenikos De Visser

The Room of Six from 2018 Piano strings, guitar strings, plastic barrel, electric engines, wood, stones, plastic tubes. Variable dimensions In collaboration with Domenikos De Visser

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

30 second sample based on a kinetic sculpture by Anna Godzina. An exploratory survey on how to score for a kinetic sound generating sculpture and unaccompanied instrument. Preview of the upcoming Online and Offline release (27/9/2021) of the album "Landscape Set To Music".

1995. First exploratory steps in Jazz harmony & composition during my early studies at the Jazz studio in Antwerp. Sometime in 1994.

Yttre Arasjon by Yannick Heeren