related works
10 Dimensions – AEB160 : for large orchestra / Spiros Mazis
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
picc 2fl 2ob 3cl cl-b 2fg cfg 4h 3tpt 3trb-t/trb-b tb-b 3perc pf str
In Ecclesiis A 40 : voor 8 ensembles / Daan Manneke
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
I: ob cl 2cl (2ssax) fg 2 bsax (bcl cl) bcl II: 5trp III: 4trb tba IV: 4hn V: 3trp VI: 3trb tba VII: 2fl (pic) 2asax cl VIII: hn trp 2trb tba perc
Sinfonie nr. 18 in A-Dur : für Orchester / Julius Röntgen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2fg 4h 3trp 3trb timp perc 2vl vla vc cb
Le Mirage : for orchestra / Lina Tonia
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2fg 4h 2trp 4trb timp 2perc str
composition
10 Dimensions – AEB160 : for large orchestra / Spiros Mazis
Other authors:
Mazis, Spiros
(Composer)
Description:
10 Dimensions - AEB160 is inspired by the scientific theory of the 10 dimensions. Some theories in physics, including string theory, suggest that there may be additional spatial dimensions, and certain of these theories propose that there may be a specific number of these, such as 10.
In my work, I’ve been exploring the harmonic series and the relations of the intervals among their partials, in a way that I name multi-harmonic, multi-spectral modes which take shape if we combine different harmonic series. If we bind two, three, or more harmonic series together, then new shaping of sounds takes place vertically and horizontally.
I tried to represent the ten dimensions musically by multiplying the first 16 partials of a harmonic series by 10 (16*10 = 160), and I imagined that each dimension would contain the first 16 partials. I used three harmonic series whose fundamentals are A, E and B (separated by 5ths); the letters in the title of the piece (AEB 160) indicate that there are three harmonic series, each of which contains 160 partials.
Due to the fact that it was almost impossible to perform all these micro-intervals, especially on brass instruments, I studied the brass instruments mathematically and I use logarithms to discover new fingerings by means of which the performers would be able to play the partials of harmonic series more accurately.
Regarding the overall forms, I use mathematical roots to divide the sections of the form.
Spiros Mazis