I have this fascination for accelerating and, even more, decelerating shapes. Most of them don’t take longer than a few seconds. When applying the Pool Tool on pieces, it quite soon became clear that it would make sense to distinguish between two main Pools. One is for decelarating shapes inside a steady pulse (Part 1). The other one is for decelarating shapes without a steady pulse (Go to Part 2).
So, to the first part.
Decelerating shape which consists of several (6 or more) impulses inside a steady beat. The durations between the impulses get smaller in at least 3 steps.
Stromae, Ta Fête
Shape (very short) in the high synth appears 1x 0:03, then again 0:40 and 0:49, 1:26 and 1:33, 2:26 and 2:33, 2:41 and 2:48
Iannis Xenakis, Rebonds a (perf. by Jeff Stern)
Shape appears 1:55, 2:12, 2:15, 2:18, 2:30, 2:32 and then gets more and more overlapped with other accelerating and decelerating shapes up until 5:45.
Death Grips, System Blower
Shape appears 5x 0:54-1:22, 4x 1:49-2:03, 4x 3:01-3:15
Conlon Nancarrow, Study for Player Piano 3b
appears 3x 3:53-4:07
In this excerpt, the shape contains a small difference. In all the other excerpts, the decelaration is adjusted to the beat. Sometimes stronger (Ta Fête, Rebonds a), sometimes only slighty (System Blower). But there is a manipulation of the distance between the impulses. It would be possible to write a transcription with simple binary and triplet notes.
Here however, the deceleration is completely linear. The change in the durations between the impulses does not happen on each beat. The impulses get longer linearly. There are no groups of two/three notes which have the same length. Every impuls is longer than the one before.
The excerpt still belongs to the Pool, because the linear deceleration is not enough to make the shape stand out from the other three. It is almost similar in its appearance. It is not, however, in its making.