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).

Atlantic Center for the Arts Concert Videos

Videos from this spring’s residency with David Behrman at the Atlantic Center for the Arts are now online. All the videos from the “Live Listening Party” concert we presented can be seen here, including beautiful work by David Bessler, Klara Schilliger and Valerian Maly, Laura Cetilia, Matt Sargent, David Behrman, Zachary Fairbrother (also performing Valerian Maly’s Electric Guitar II) and Nomi Epstein. To close the concert we all performed together as The New Smyrna Beach Weather Report All-Star Free Will Gospel Choir.

Below are the videos of my solo performances.

This version of “Blackjack David” served as the basis of the performance with Matthew Carefully heard here.

The audio recording of “Everyone Looks to the Sky” was previously posted here.

Everyone Looks to the Sky

Photo: Diana Cooper

Here’s a recording of a new piece called Everyone Looks to the Sky.

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Everyone Looks to the Sky

I made the piece and the recording during my recent residency with David Behrman at the Atlantic Center for the Arts. The work is for any sustaining instrument with computer (here, I’m playing the soprano saxophone). The computer produces a gradually rising tone that matches the first note of each gesture (see the score below). The result is–yes, more glissando music–and a curious kind of interactive piece that always ends the same way.

Here are the juicy bits from the score:

Gesture 1
• Play 5 notes in an ascending series, beginning near the lowest note on your instrument.
For a performance lasting 10 mintues, each note should last 7 or many more seconds. Each note should be separated by a rest of approximately 7 or many more seconds–at a minimum, allow enough time between notes to perceive the computer’s pitch rising. For longer performances, adjust the durations appropriately.

Gesture 2
• Play 4 notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 1.
Durations of notes and rests are as in Gesture 1.

Gesture 3
• Play 3 notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 2.
Durations of notes and rests are as in Gesture 1.

Gesture 4
• Play 2 notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 3.
Durations of notes and rests are as in Gesture 1.

Gesture 5
• Play 5 or more notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 4.
Durations of notes and rests are as in Gesture 1, with a few notes or rests lasting shorter than 7 seconds, if desired.
Repeat as needed until the piece ends. The last 4 or more pitches played should be near the highest note on your instrument.