"Stereotomy"

Back in December, I figured out the lower register synthesizer part at the beginning of "Stereotomy," and a couple years ago, I'd figured out the main part.  Yester-day, I finally got around to making a recording of the two parts.  There's a bit of an introduction before this, but I didn't include that.  What I have is just the section that repeats.

I played this on my Moog Subsequent 37.  I got it recently enough that I'm still learning how to use it and don't really know what I'm doing.  My tone doesn't match at all, but at this point, I'm more concerned with having the right notes.  I don't even know what synthesizer was used on the original recording.  Specific synthesizer identification is an aspect of this project I'd never even considered before.

"Stereotomy"

I was going through some old notes last night, and I found one about "Stereotomy" from 7 March that I'd forgotten about.  Almost all of the "Turn me to stone" lines are sung to a single pitch:  the first two (at ~1:35) are sung to F notes, and the later two (at ~5:10) are sung to A notes.  (The last two [at ~5:37] are both sung to more than one pitch).  This constancy of pitch musically represents the immobility of being a stone.

"Stereotomy"

I still have a handful of notes from Stereotomy and Gaudi from the end of last year that I need to flesh out into posts, which I hope to do over the next month or so.

When I listened to Stereotomy back in December 2018, I noticed that in the title track, "forever" in the line "Stereotomy, we can make it forever" at ~3:04 is sung with a melisma (F Bb A G), musically giving a sense of duration.  When I listened to the album again last December, I noticed not only that this feature is repeated at ~4:45, but that it also appears in "Stereotomy Two" (at ~0:17), albeit with a slightly different articulation (F A Bb G).