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The sound understood as a physical phenomena in nature is not a regular and continuous thing, but something imperfect which changes constantly.
In western music, the obsession of creating a “perfect” sound was mainly achieved through the invention of the pianoforte and the equal tempered scale.
In this piece the intention of creating an imperfect, fragile and irregular soundworld leads to an experimentation process of the timbre possibilities in every instrument, but specially on the piano, which is, in this sense, the most challenging.
The title and the essential idea comes from sound objects inspired in real sounds from nature that are continuously transformed by drawing outlines, which go from one instrument to another creating different levels of modification.
The sound objects can be originated by a single instrument and then transferred to the rest or they can belong to a concrete instrumental group. In any case they role is directly related to the listener's memory, as if they were a sort of rhetorical figures.
The transformations occur at three main levels: general timbre, counterpoint and distortion.
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