Movement two of the Untitled Suite is derived from recordings made for and during the first movement. The work is in two main sections with a short transitional section, section one begins at 0:00, the transitional section at ~1:16 and finally section two begins ~2:07. Small elements of the second section are alluded to in the first and materials from both sections are utilised in the transition. This is used to foreshadow what is about to happen and prepare the listener for a change in sound world. This movement treats the piano sounds as a metaphor for Hallam Tower, as the piano begins to break down so does the building.
Derived from the piano recordings that were played back as part of movement one, the first section of movement two alludes to what the piano and building were and could be. This section is composed from two main sound sources, samples 1 and 2.
This sample is the main sound source used in section one, the piano resonance on this recording forms most of the drone content of this section. Starting with an unedited version of the note the resonance is extended through looping and as the section progresses pitch shifted versions of the resonance are layered to increase the complexity of the drone.
This note is used to contrast the harshness of the fortissimo note in sample 1 and an extended version of this note is used to signal the start of the transitional section.
Neither the piano or the building suddenly reached a state of decay over night. This is a process that took many years. The transitional section of this piece begins to introduce and merge sounds recorded at the installation of movement one with the natural piano sounds. The transitional section ends with sounds derived from the motors used in movement one of the work (sample 4) used to symbolise the state of the building today.
In this recording a broken key can be heard making a knocking sound. This sample was chosen to suggest the breaking down of the piano as sounds recorded at movement one gradually take over.
This sample recorded at the installation of movement one is used extensively in the transitional section. It is mostly pitch shifted down and used to create rhythmic contrast to the drones that underpin the whole piece.
Section two presents a gradual breakdown of the sounds of the first movement into complete noise. Finishing with a recording of general ambience from the site of Hallam Tower that features prominently in movement one. This sections aims to represent the eventual collapse of the tower leaving only the ambience of the surrounding area.
The majority of section two is derived from this recording. Captured at the recording of movement one this piece of audio was unusable in the first movement due to the heavy wind noise. I chose to use this in the second movement as the broken recording caused by the damage to the building worked fantastically as a representation of the building gradually breaking down.
This is the final sound heard in the piece, it features prominently in both movements of the work. This ambient recording represents the space that the building occupies that will continue to exist long after the build and piano are both gone.