This is what I call a "Hz based" approach to composition, and it's a new idea (in my mind) that I'm trying. I'm curious if similar work exists.
To write material this way, there are no "notes," but rather everything is written as frequency numbers. There is not a defined scale; I'm trying to continuously adjust the frequency of all pitches or "voices" in real time to arrive at precise frequency ratios as the harmony moves forward. So it's essentially an open and fluid pitch space.
I perceive the advantage to this to be (among many practical disadvantages, if writing with the intention for live instruments) that you can essentially utilize any tuning space or framework you wish to adhere to at any given moment - Any just intonation chord, equal temperament, or other pitch relationship is possible if you are patient enough to calculate the frequency relationships / hz value.
In this piece I focused on fluid just intonation - The result is a kind of “floating” or adaptive just intonation, where the sense of root and tonal gravity drifts organically.
Core ideas experimented with in this piece;
-"Artificial Overtones" (Controllable harmonics)
-Adaptive just intonation (cycles between 5/7/11 limit and others)
-Beating frequencies aligned with the track BPM, paired with harmonic or other occurrences
-Fluid frequency / pitch space (written in numbers /hz instead of "notes")
Crazier Xen stuff / harmony picks up around 1:40
I’m curious how this comes across perceptually. . . The resulting music is to me music that is both eerily natural and unnatural at the same time, and kind of creepy and charming in an odd way. I appreciate any thoughts or if anyone knows of related work I can research or listen to that's written this way (Beyond pieces that do this naturally like a choir, string quartet, or barbershop group)