Can we extract the tonality of nature to create music that will play in harmony with a given environment? 

Field Modes is a compositional process that explores this question with the successive layering of three components: the distinct ambiance of a physical location, a synthesized interpretation of its natural sounds, and an improvised solo. The goal of this process is to create work that encourages the audience to listen mindfully to the ambient sounds of a place by setting those sounds in a musical framework. 

To find a tonality in nature, I designed an algorithm in Max MSP employing pitch tracking technology and sinusoidal analysis to determine which pitches are present over a period of time within a given sound source. This approach results in the creation of unique tonal scales, derived from the most prevalent pitches identified in field recordings. These scales, though not aligning with traditional equally tempered notes, are “in tune” with the sounds captured in the field recording, and can be used as a structure upon which to build a piece of music

With a system in place to identify notes occurring in nature, Field Modes was designed as a three part compound compositional process. The process starts with a single uninterrupted recording of ambient sounds from a chosen location. Then, using the scales defined by the algorithm, I create a musical bed on a modular synthesizer to blend with the field recording. Finally, an instrumentalist improvises freely over the mix of field recording and musical bed. This method, a compound of successive layers, juxtaposes the electronic elements with the organic sounds of nature. The musicians, selected for their improvisational abilities, transform the soundscape into a dynamic musical performance.

The three movements are set in locations around Lafayette, Louisiana and all have varying proportions of human and nature sounds (cars, boats, and HVAC vs. birds, insects, and rustling leaves), each paired with a solo improviser. Since the tonal frameworks of these pieces are made up of the pitches present in each respective location, any emotions we connect to harmonies we hear as listeners are based on a momentary sonic profile of a place. 

In making compositions based on this process, endless iterations are possible, blending nature, technology, and performance in such a way that nature itself informs the sound of the piece. The point isn’t necessarily to theorize about how nature works, but to pull tonality out of an ambient environment so that it may be used as a compositional tool and encourage mindful listening to the world around us.