The following soundscapes are all experiments using the Ben Chasny (6 Organs of Admittance) Hexadic System. I have found the system to be a bold method in writing and recording music on the guitar. Somewhat a modern day psychedelic way of writing and thinking about music. As a extremely lazy guitarist the system has found a way to ignite a start…
You can find more info about the Hexadic system on Ben’s website here.
Hex Exp #1
This is my first Hexadic experiment. Played in the DADGAD tuning & using Linear Heaviness/Lightness to select the notes & time. The picking pattern is random/impro. Solo is also improvised.
Hex Exp #2
The is my second experiment using the 6 organs Hexadic System. Played in CGCF#CC tuning and using Linear Heaviness/Lightness to arrive at the root tones & times. Then using dynamic correspondence charts I created fractured tonal fields for each root tone (using the minor scale). The track feel came from working on various ideas. The heavier part (tonal fields) is partly improvised.
Definitely the most bizarre (but good) piece of music I have ever written!
Hex Exp #3 (part 1)
This is part 1 of my 3rd experiment with the 6 organs Hexadic system. This time using Triadic Movements (with a slight twist). In the key of Db from choosing the 9 of spades, and using dadgad as a basis tuning, I used a tuning of DbAbDbF#AbDb (Db -1 static correspondence). I chose 3 triads (from Db minor) and grouped, arriving at a square of 9 cards. Part one uses triads 1-3. The two rhythm tracks are the key plus 2 random picked cards – 9 of diamonds (Db) & king of hearts (E). The distorted triads are partly improvised. I also used groupings of the triads as chords towards the end!!
Hex Exp #3 (part 2)
Same basics as part 1 but different rhythm track and a lot of noise. Used triads 4-6 in various forms, as groups, random, solo and as they are!
Hex Exp #3 (part 3)
Final part of triads trilogy. Using diagonal triad & the two triangle triads. Again lots of fuzz and improvisation.
Hexadic Figure Exp #1
My first Hexadic figure experiment. Composition started at 22:15. Two tonal field progression. First tonal field 3(hearts)❤V (Root tone A❤ hearts). Second tonal field J(hearts)❤I (Root tone 6❤ hearts). Center tone is G – used as 7(spades) from the tuning (CGCGGC).
Another weird (but good) one. Found this more tricky because of the tonal fields chosen.
Hexadic Figure Exp #1 (v2)
Same fields as first version but sticking more to the time cards this time – 4(spades) for 3(hearts) & 9(spades) for J(hearts). Noisy solo guitar is improvised using the two hexadic tonal fields.
Hexadic Figure Exp #2 Exp #1
Hexadic Figure #2 with the inner circle rotated 1 whole step clockwise. Four field progression. Time done on feel rather than actual beats. Solo guitar totally improvised.
Hexadic Figure Exp #2 Exp #1 (Cathedral version)
(Hexadic Figure #2 with the inner circle rotated 1 whole step clockwise. Four field progression. Time done on feel rather than actual beats. Solo guitar totally improvised.)
New tune using the Hexadic system. Four string tuning C-x-x-F-A-D. Six note progression, using Linear Heaviness/Lightness to select the notes & (rough) time, played through twice. Static correspondence using minor pentatonic scale, with added “blues” note, to fracture each note. Bit rough around the edges.
Hexadic Figure #3
Hexadic field progression – Figure #3. 4 string Tuning. Bb-x-Bb-Db-E-x. Bb-1 static correspondence. 2 field progression using centre tone of Ace of Spades. Field 1 = 5 of diamonds, Field 2 = 6 hearts. For scale/solo guitar both fields combined and filled out.
The Seider Ramm Pt. II (with Expires)
A Hexadic collaboration with Mike from Expires.
The End Springs – rhythm guitar
Expires – solo guitar
Tuning CGCFAC (standard tuning down a whole tone with dropped C).
The End Springs rhythm uses C-1 static correspondence. Linear Heaviness & Lightness used to determine the notes. 6 spades pulled for 6 chord progression. Chords used where improvised then repeated.
Expires utilizes dynamic correspondence in creating fractured tonal fields. Creating 6 different fractured tonal fields after finding 6 notes that complimented the progression of the rhythm. Decided against creating the deck to match a certain scale as to enhance the possibility of atonality and dissonance.
Expires dynamic correspondence charts