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Different kind of synthetic microtune scales

Zsuzsanna Aba-Nagy - harp
Zsolt Szabo - viola da gamba
Roland Szentpali - serpent
Robert Mandel - hurdy-gurd
Akos Nagy - electronics

recorded/mixed by: Gabor Halasz & Akos Nagy


I’ve been searching for a long time how I could totally merge the spectrums of the acoustic instruments with the spectrums of electronic instruments. I would like to do some „Mission Impossible” thing as I am trying to handle an acoustic medium as it would be an electronic one and vice versa.

Robert Mandel found me with the idea that he and Zsuzsa Aba-Nagy wanted to widen their own-founded Geneamus Ensemble named formation which used historical instruments from Vienne and Budapest and electronic instruments together.

As I think to myself as a par excellence electronic composer because I am trying to make electronic soundings in acoustic medium I really liked the idea of mixing the electronic music with the olden instruments which are much more richer in intonation and have more colours than modern instruments.

I have been experimentalising a kind of multitimbral way of composing where the melodies are accompanied by shade voices. In this case I mean the melody as a vectorial direction and I mean the same for the tonal melody but maybe while listening to the tonal melody the listener can feel an arrival or disappointment feeling (unresolved, surprise-cadence, Neapolitan destination tone, minor edge VI, alterations, et cetera). These shade voices are the main reasons for making the unisono voices multitimbral. The multitimbrality is when there are more tones at the same time which can turn into each other back and forth. At this time the spectrum is broadened or narrowed by harmonics or inharmonics so the fluctuation is continuous.

This can be easily put with my former multilayer way of composing together, where I could get complex sound density because of the several hundreds of layers which I wanted to control afterwards. We could call it vectorial multitimbral synthesis where the oscillators and the acoustic instruments morph each other’s tone as a frequency or phase synthesis.

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released June 12, 2022

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Akos Nagy Budapest, Hungary

His art is synthetic and shows synthesizing tendency which is built from the Netherlandish polyphone tradition.
He examined Gothic and late Renaissance music, traces of which show up in his later music along with elements of Transsylvanian, Indian, Khmer, Balinese and Japenese classical culture.
He is researching the rhythm and tone systems outside Europe. ... more

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