51 3rd Recordings – Everyone Looks to a Sumatran, Virginian Curlew

Here are live recordings of my set from November’s show at 51 3rd Street that also included performances by Keir Neuringer and Rambutan (Eric Hardiman). It’s an eclectic set beginning with a slightly dysfunctional performance of

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Everyone Looks to the Sky

No one but me would know that the computer is responding to my playing differently than anticipated. Such is the fun of interactive computer music: you just have to work with it, ride with it, fight it, respond to the moment, change your plans. In this case, the conception of the piece is already so circumscribed that the content of the work is hardly changed, though the form is clearly different–and maybe more dramatic as a result.

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Batak Batak

A recent binge of Indonesian music led me to dust off this piece. I never felt I had worked out the sax part enough when the piece was new, which might account for why I shelved it. Revisiting the piece, I discovered very few indications of what I had intended for the sax part–little more than a scribbled microtonal scale. There’s clearly still work to do here, but I’m less bothered than I might have been in the past by the elliptical playing.

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East Virginia

This has become one of my go-to banjo pieces; a surefire way to find my place on the instrument.

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Curlew

A brand-new piece getting its first public airing. I learn so much by performing new material and can’t wait to revise this tune as a result. Yet another song with bird imagery (YASWBI).

East Virginia

This month’s score from Post & Beam is East Virginia.

Download the score as a pdf file: east-virginia.pdf
Download the score as a Lilypond .ly file: east-virginia.ly

Notes on East Virginia

  • The banjo break at the beginning comes almost directly from Pete Seeger’s How to Play the 5-String Banjo. I worked out the banjo part in the verse by ear, following the melody and drawing inspiration from Buell Kazee’s recording on the Anthology of American Folk Music.
  • The electronics part uses multiple looping delays to create a rhythmic texture from the banjo. The timing for each delay line is based on the time between consecutive instances of a given note played by the banjo. One delay line changes every time the computer hears the note g , another changes when the computer hears f, another for b-flat, etc.
  • The tablature above more accurately represents how I’d play the tune on a fretted banjo. When I play the fretless banjo, as on the recording, I throw in more slides on the 3rd and 4th strings.

Post & Beam CD Release Show Recordings

Here are the live recordings from my recent Post & Beam CD release show with Matthew Carefully and Century Plants.

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Matthew Carefully: Should I Sing a Song?

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Matthew Carefully: Prayers and Palms

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Century Plants: 1 and 2

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Holland Hopson: East Virginia

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Holland Hopson: My Own True Love

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Holland Hopson: Born in the Desert

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Holland Hopson: Bowling Green Green

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Century Plants and Holland Hopson: Improvisation

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Matthew Carefully and Holland Hopson: Blackjack David

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Holland Hopson: Fencepost