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Digital Album Content


1
“L'âme qui sonne" for piano (2021) 19:57



This recent piano piece “L’âme qui sonne” (The Sounding Soul) is nothing more than
a meditative repetition of the same extremely simple arpeggio E4-A4-E5 in the right hand spread over the higher regions of P-ART’s grand piano.
The broken notes of this chord are welded together by the sustain pedal producing subtle variations of overtones in the sound box of the piano.
 It's only towards the end of the intuitive process that the left hand kicks into action as a satisfying "undertone" reinforcing the arpeggio work in the right hand.

2
Balaphonia (2016) 03:35


P-ART's fascination for ethnic instruments is partly inspired by its sensitivity to exotic timbres,
by the sacral resonance of the wooden keys on the gourds and by the non-western tuning.
On his balafon from Central Africa the scale is: F2-G2-A2-B2-D3-B3-E3-G3-D4-E4-G4. Th
e individual tones of the balafon merge through the rousing up and down arpeggios while using the small metal stick.


3
Taal-Rijk (1985) 27:31
 


Taal-Rijk (aka Language Empire) fits in with the sonority of the glass plate and the two U-hooks i
n combination with primal words (universally experienced as sound) at the bottom of P-ART's Anthology box.
Two columns of primal words are embedded in the piano felt of P-ART’s musical sarcophagus of 1985.
The listener experiences only the organic level of Dutch primal words. This intuitive performance with the U-hooks,
the glass plate and the spoken primal words can be a prelude to the listener’s creation using the ingredients of the sound sarcophagus.
Look at the P-ART Anthology:  https://p-artweb.net/PARADISE/INSANE/INSindex1.htm


 
4
World Music Paper Man (2017) 3:35



With his solo DVD-project “Musica Povera”(2017) (https://youtu.be/gawc-aJ17aI), P-ART launched the new label “Musica Povera”
that derived its name directly from the arte povera movement of the twentieth century.
In World Music Paper Man two paper legs dance over balafon, doumbek, ocean drum and baya tabla and over the strings of a classical violin. T
hey form the ultimate drum set for the paper man who rages with his paper arms and legs over the strings and drum bodies.


5
Parade (2016) 3:35



P-ART's interest in producing microtonal music has grown in a very natural way.
Normally on a hardware or software synthesizer one first creates a digital sound completely separate from the tuning scale.
While P-ART adjusts the timbre on his Ensoniq ESQ1 synthesizer, microtonality emerges automatically. I
n the unique case of the ESQ1, P-ART captures timbre and microtonal scaling in one sound patch.
“So I don't feel the annoying need to do the time-consuming notation of acoustic microtones first.
On the ESQ1, the KBD and KBD2 modulation allows me to set the division of the octave into more or less than
the usual twelve equal tone intervals (ie more or less than 100 cents).” 
In PARADE the sound patch is an intuitive layer of a prominent 6 ET flute (1 octave divided into
 6 large equal tone intervals instead of the chromatic scale) mixed with microtonal touch sensitivity in the background.
PARADE is a mix of macrotonality (large tonal intervals) and microtonal shades.
The result is pitch and timbre sensitive.
Look at Microtonal Jamming in P-ART’s project“Microtona”: https://youtu.be/BQ56S0D39v4


6
Dance to this world (1983) 14:30



The endless repetition of the same tone sequence does not bore and keeps the listener's attention and experience alive
 through tiny changes in the repetitive course. The instrument at hand is Roland's analog synthesizer sequencer MC202.

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