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Modelagem VII (Modeling VII; 1996) presents a trajectory plain of shocks, tensions, and different sonorities. This is the perceptual side of a process of transformation that organizes the work. It departs from an unstable chord that starts to be deconstructed. The chord loses its integrality and many melodic designs emerge simultaneously. The deconstruction goes ahead until the moment when even the pitches are deconstructed. What remains are non-pitched sounds. The complexity of the initial chord and the result of its deconstruction reveal that in fact they have the same nature. From this moment on the pitches start to be constructed. It is not a return to the beginning, but the achievement of another and more complex chord, which includes in it some features of non-pitched sounds, that on principle do not constitute a chord.