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Faces of the Machine

from Ephemera by Pierre-Yves Martel

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    6" x 11" — printed on 18pt cotton paper
    Liner notes by writer and podcaster J.F. Martel
    Photo by PYM, Rocher des druides, Rocsalière, France (2024)
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    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Ephemera, Musicamen, Mer Bleue, Weird Studies: Music from the Podcast Vol.2, Four6+One7, Abraxas Pulse, Weird Studies: Music from the Podcast Vol.1, Vacation in Canada 1954, and 18 more. , and , .

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about

Last week, I purchased a portable harmonium in preparation for an upcoming film score project I'll be undertaking this spring. I’ve had the desire to own a harmonium for a long time now, and I’m fortunate to have found such a beautiful instrument.

The harmonium, with its unique mechanics, offers distinct musical possibilities. Its design, which necessitates the pumping of air with the left hand while leaving only one hand to play the notes, inherently imposes limitations on chordal possibilities. Additionally, the reeds of the harmonium exhibit a relatively slow response, making rapid playing less feasible.

The particular instrument I acquired features two sets of reeds, each tuned an octave apart. The presence of stops allows for the activation of both sets of reeds simultaneously or individually. Furthermore, this harmonium includes four drone reeds—tuned to C, D, G, and A—which can be toggled on or off using the stops. These drone tones are softer in volume compared to the played notes. By opening the instrument's top, you can access its inner workings and 'deactivate' individual keys by shifting the metal rod that holds them to the side, leaving the reed to vibrate freely, without the need of having to press down on the key. This feature offers a range of options for incorporating drones and wide intervals into one’s playing.

One aspect I find captivating about learning to play new instruments is how their functionality and construction shape and influence musical decisions. ‘Faces of the Machine’ was composed and recorded late in the evening of February 19, and it is the result of a week of exploration.

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from Ephemera, released March 28, 2024
PYM — harmonium

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Pierre-Yves Martel Montreal, Québec

Multi-instrumentalist, composer, improviser and producer.

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