The Circle of Fifths is made up of twelve concentric rings of cylindrical resonant chambers that are configured to create a dramatic hanging ceiling installation. Each element consists of an upper and a lower length of translucent acrylic tube. These two lengths are connected by an assembly consisting of an internal tube that acts as a joining bush for the two column elements. It also houses a small speaker. The lengths of the cylinders that extend from the central housings are cut to correspond to a specific wavelength of a note of the chromatic musical scale. Each individual ring of columns represents a different note. The assembled columns produce a subtle domed ceiling form which is intended to hover gracefully within an architectural space.

The piece acts as a ‘sonic chandelier’ in which each column resonates to specific notes when a musical piece or soundscape is played through them. The arrangement of resonating columns in the circular form creates an intriguing spati alisati on of the sound field as different areas of the installation resonate at different times relative to the compositions that are played through them. The piece is not envisaged to act purely as a sound sculpture which responds to specifically composed tonal orchestrations but also provides the platform for all manner of sonic interactions from carefully produced responses to its geometric principles through to the playing of musical pieces through its resonant chambers. The work is considered as an interior architectural fixture appropriate for foyers and entrance spaces of public buildings which would operate as an kind of resonating instrument that is capable of manifesting many and varied acoustic effects and sonic envelopes.

In concert with the shaping of the sound field the piece would also act as a means to modulate light
within the space. Each tube construction is fitted with RGB LED 'cats eyes' ring lights which would illuminate the frosted acrylic tubes. This field of adjustable light sources would offer an extraordinary range of possible lighting scenarios that could work in unison with the shift ing sound fields produced within the resonating columns. The connecting of both light and sound systems so that they can interface with programmable controllers and audio visualisati on soft ware would allow the piece to become a device for the expression of synaesthetic connections between the seen and the heard. The Circle of Fifths may be programmed to pulsate in a direct relationship between tone and colour or could create immersive atmospheres that subtly shift the mood of the space in response to a soundwork’s emotional character.