#Paints - Anneloes Wolters

The #Paints are orchestration phantasies, soundcolors that can be used. The #Beads are melodic and harmonic shapes. Color the #Beads, use #Paints.

#Paints 14: Torch – Felting Soundcolors

#Paints 13: Torch – Felting Soundcolors

#Paints 12: Torch – Felting Tonecolors

#Paints 11 var. A3: Torch – Felting Tonecolors

#Paints 11 var. A2: Torch – Felting Tonecolors

#Paints 11 var. A1: Torch – Felting Tonecolors

#Paints 10: Torch – Felting Tonecolors

#Paints 9 Var. A4: Torch – Felting Tonecolors

#Paints 9 Var. A3: Torch – Felting Tonecolors

#Paints 9 Var. A2: Torch – Felting Tonecolors

#Paints 9 Var A1: Torch – Felting Tonecolors

#Paints 8: Torch – Felting Tonecolors

#Paints 7: Torch – Felting Tonecolors

#Paint 6: Electronical screeching music-boxes.

These are the boxes that better remain closed, because the truth will drive you into madness. These will be combinations of real and electronic sounds.

Maybe in a real orchestra these boxes are electronic, to create a contrast. Maybe it’s just something to play through your phone from the website within the audience. You say don’t open it and the audience will at some point and it will sound from off stage.

#Paint 5: Pointilistic styles

The ultimate goal is to orchestrate in a pointilistic way, that the overtone waves interfere in such a way that the orchestra won’t sound muddy. Pointilist painters work that way to get a vibrant, light effect.

#Paint 4: The harp as center of fanfare writing.

#Paint 3: Mallets, harp, piano.

#Paint 2: Squ.Id and a Nail.

Designing an orchestration by imagining a squid in water with nails flying over it: The squid would be vibraphone, with motor on, in the low a tremolo bass, the deep sea. Over it would be a high E violin flageolet. In the void between the water&Squid and the flying nails, could sound a melody: flute, trumpet with mute, clarinet. It would have the Pulse of a squid swimming with a direction. Now we have an orchestration and a rhythm to start with.

The second part could be nailing the squid to a stone wall with a nail. that would sound completely different. There would be muted triangle in a hammering pace. No deep sound, but a room, an empty room, white. Or would it be the rocks rising up from the sea? But nails on stone and the squid hanging and dripping. It would fall on the ground with a thud, ending the part. Now we have a rhythm, 2 variations of Space, and (muted) triangle solo.