I’ve been liking Chicago footwork a lot lately - sparked by finding some good albums on emu on Lit City Trax. Even at $6.49, even with almost nothing left, I still find it useful for discovering stuff.
"Nebulae" is largely inspired by the instrumental notated musics for saxophone quartets led by multi instrumentalist-composers Roscoe Mitchell ("Nonaah" for four alto saxophones) and Anthony Braxton ("Composition 37" for saxophone quartet). Commissioned by the Philadelphia-based PRISM Quartet, "Nebulae" is an exactly notated work written for the said group along featuring optional improvising percussion (drum set) or mallet percussion. This extended version of "Nebulae" is a live performance in which I am performing on extended range glockenspiel. There is a yet-to-be commercially released recording of this composition.
Commissioned by Opera Philadelphia, Carnegie Hall, and the Lyric Opera of Chicago, "Cycles of My Being" (2018) is a song cycle developed in collaboration with tenor Lawrence Brownlee (for whom the song cycle is written) and poet Terrance Hayes, both of whom contributed the texts. There are two versions of the work. The performers in this recording are Brownlee and pianist Myra Huang. The second version of "Cycles" is scored for tenor, clarinet, violin, cello, and piano.
Scored for string quartet, two vibraphones, glockenspiel, and piano, "Sentimental Shards" is an original work after Duke Ellington's "Sophisticated Lady" (1932) and John Adams' "Sentimentals" movement from his AMERICAN STANDARD (1973). This premiere performance of features members of the International Contemporary Ensemble, the wildUp ensemble, and myself (piano) at Walt Disney Hall, 8 April 2014
One more posted an hour ago:
Similar to Butch Morris’ “Conduction” ™ and Anthony Braxton’s “Language Music” syntaxes for improvisers, my "Autoschediasms" is a conductor’s vocabulary that is used to generate live composition through cuing specific ensemble members (or a group of musicians) to produce a given sound or perform specific actions. Autoschediams is a duet for conductor and orchestra that can be viewed as both an evolution and a departure from both the Morris and Braxton vocabularies.
This system contains three distinct methods that can work simultaneously and interchangeably. The first of these three methods is Gesture: a series of cues that indicate specific actions for musicians to perform given with a preparatory cue, followed by the conductor’s downbeat. The gestures can involve the use of up to four batons simultaneously by the conductor, depending on the nature of a given cue from this series. The second of the three methods is Autonomy: a series of ten (10) numerical signals (given using only the right hand) that indicate specific actions for musicians to perform of their own accord and in their own manner. These cues may also be performed in combination with one another by the same performer, when indicated with both hands or on a small placard. The third, and most involved, of these methods is Category. Similar to Autonomy, this method includes indications for musicians to perform activities in their own manner. However, the cues in Category are all indicated by either one or two small whiteboards. Moreover, there are multiple parallel series (strata) that can coexist within this method. For example, players are sometimes asked to perform a number of actions that are relational to another musician or a group. Another example could be a situation where players are asked to perform or repeat a series of distinct musical events (these could range from assigned memories that recall earlier performed actions to instrument specific playing techniques, among many other possibilities) or one or more minimally notated events.
All three of these methods demand a considerable amount of time to learn and rehearse and are often juxtaposed into a unique whole, therefore creating a unique compositional model for orchestral and chamber music: one that incorporates painstakingly detailed formal processes and calls for both instrumental and virtual soloists to navigate highly prescribed performance parameters that may otherwise be ignored.
This is an excerpt of the fifth installment of my 2019 series of Autoschediams conducted by myself, featuring flute, English horn, bassoon, tenor saxophone, trombone, soprano (doubling on theremin), piano, viola, and two double basses. This work is spontaneously composed and therefore contains no score.
Satellite planet in the -Pellis galaxy, Extrapellis is the third and last
chapter of a trilogy started in 2014 with Solarispellis, and followed
by Umbrapellis in 2015.
A document made of demos, live versions, edits and remixes, Extrapellis
is an extension of the -Pellis domain, which turns around the original
Sections, questions and plays with them.
All 12 at once! In addition to this time-efficiency, it naturally also serves a specific purpose. I have been researching all kinds of chaotic systems and their applications in music for years. In this example you can hear that this chaos is actually an accumulation of beauty. What these 12 mathematically perfect compositions are. Everyone can decide whether this 'accumulation' is also of beauty or composition. Roland Kuit - KYMA
“Ping-Pong” (2004), a Concerto for Pipa and Chinese Orchestra, was commissioned by Min Xiao-Fen, and first performed by the Taipei Chinese Orchestra, Min Le-Kang, Director; Min Xiao-Fen, pipa soloist; at Zhong Cheng Auditorium, Taipei Zhong Shan Hall, Taipei, Taiwan, on December 11, 2004. 1. “Huangshan Mountains” 2. “Invitation” 3. “Diplomacy”
Comments
1987 Sud/Dialogues/Inharmonique/Mutations 1988 Songes/Passages/Computer Suite From Little Boy/Sud
1996 Invisible
UbuWeb Sound - Jean-Claude Risset
2002 Jeff Buckley & Gary Lucas 2013 Dreams Of The Way We Were
- Songs To No One 1991-1992 (no longer at Emusic)
RP Boo - Crack Mix 308
I’ve been liking Chicago footwork a lot lately - sparked by finding some good albums on emu on Lit City Trax. Even at $6.49, even with almost nothing left, I still find it useful for discovering stuff.
“As promised, further investigation into the futuristic spaces in Japanese ambient and pop music from the 1980s”
http://rootstrata.com/rootblog/?p=8231
See also:
Vol. 1: http://rootstrata.com/rootblog/?p=3706
Music Interiors: http://rootstrata.com/rootblog/?p=7819
This system contains three distinct methods that can work simultaneously and interchangeably. The first of these three methods is Gesture: a series of cues that indicate specific actions for musicians to perform given with a preparatory cue, followed by the conductor’s downbeat. The gestures can involve the use of up to four batons simultaneously by the conductor, depending on the nature of a given cue from this series. The second of the three methods is Autonomy: a series of ten (10) numerical signals (given using only the right hand) that indicate specific actions for musicians to perform of their own accord and in their own manner. These cues may also be performed in combination with one another by the same performer, when indicated with both hands or on a small placard. The third, and most involved, of these methods is Category. Similar to Autonomy, this method includes indications for musicians to perform activities in their own manner. However, the cues in Category are all indicated by either one or two small whiteboards. Moreover, there are multiple parallel series (strata) that can coexist within this method. For example, players are sometimes asked to perform a number of actions that are relational to another musician or a group. Another example could be a situation where players are asked to perform or repeat a series of distinct musical events (these could range from assigned memories that recall earlier performed actions to instrument specific playing techniques, among many other possibilities) or one or more minimally notated events.
All three of these methods demand a considerable amount of time to learn and rehearse and are often juxtaposed into a unique whole, therefore creating a unique compositional model for orchestral and chamber music: one that incorporates painstakingly detailed formal processes and calls for both instrumental and virtual soloists to navigate highly prescribed performance parameters that may otherwise be ignored.
This is an excerpt of the fifth installment of my 2019 series of Autoschediams conducted by myself, featuring flute, English horn, bassoon, tenor saxophone, trombone, soprano (doubling on theremin), piano, viola, and two double basses. This work is spontaneously composed and therefore contains no score.
A document made of demos, live versions, edits and remixes, Extrapellis is an extension of the -Pellis domain, which turns around the original Sections, questions and plays with them.
- To my big surprise only purchased by 7 Bandcamp users . . .
ETA:
2014 The Complete Recordings (Emusic)
1994 In Love
2002 Lazy Sunday Afternoon
1997 Rendezvous
2002 The Naked Ride Home 2008 Time The Conqueror
In addition to this time-efficiency, it naturally also serves a specific purpose.
I have been researching all kinds of chaotic systems and their applications in music for years. In this example you can hear that this chaos is actually an accumulation of beauty. What these 12 mathematically perfect compositions are. Everyone can decide whether this 'accumulation' is also of beauty or composition.
Roland Kuit - KYMA
1. “Huangshan Mountains”
2. “Invitation”
3. “Diplomacy”
Ernest Hood - "Night Games"
Taken from Neighborhoods, available October 11, 2019.
Jaap Blonk, James Falzone, Owen Davis, Rob Wallace
released September 13, 2019
2001 Miles From The Lightning 2004 Stripping Cane
2006 Ghost Repeater 2008 Shoot The Moon Right Between The Eyes
Shoegaze Heaven
2002 The Palace At 4AM (Part 1) 2003 Palace 1919