Flame
Scott Wilson

piece for violin and computer.
violine:Barbara Lüneburg

Flame takes its title from the so-called 'fractal flame' animations which form the core of its optional interactive video component. The sonic material is based around another 'self-similar' phenomenon, the harmonic series, which forms the basis of most traditional musical sounds. The piece's overall structure relates loosely to the tuning of the open strings of the violin, and the electroacoustic sounds are derived entirely from recordings of violin sounds. These sounds are re-synthesised in real-time, but with alterations to their spectra; notably pitch-shifting of their harmonics by further harmonic ratios in various patterns, creating rich, just-intoned 'clusters'. The spectral components of the sound are also distributed spatially, literally placing the audience within the notes of the violin. At times these harmonics can be heard separately, splitting the sound into many separate 'notes', and at other times they fuse together, making the source difficult to locate; an enjoyable ambiguity. The noisier aspects of violin sound (a particular favourite) are given special treatment, exaggerated and shaped; the crackle of the fire, so to speak.

The work was originally composed for violinist Darragh Morgan, and I owe him a debt of thanks for his enthusiasm and plentiful suggestions, both of which I found immensely helpful while composing the work. Flame is also dedicated to Jennifer Waring, for her honesty, friendship, encouragement, and enduring enthusiasm for all things musical.