for flute, accordion, and live electronics written for Collect/Project and premiered in February of 2019.
NOTES about the electronics
The electronics are performed by a person
They are all live, nothing is prerecorded
Some segments of the opening of the piece are recorded and played back at different speeds, this happens right after the very opening (before A) and for longer at G
The computer program has what I think is a unique feature: it has fully matrix-able, automatic mixing
This means that it is possible to sum any set of the digital audio signals, to track the loudness of that set of signals, and then to control any other audio signal based on that result
Surfaces and Essences
for saxophone quartet was written for the Prism Quartet and premiered October of 2018.
Final comments before listening
The “B” material focuses on more abstract, fragmented, less directional material
The material that is highlighted in gray in the annotated score, is transitional and hopefully provides some temporary relief to the dense, contrapuntal textures that dominate the 13-minute work
The alto saxophonist inserts a thunder tube, a percussion instrument made by Remo that is a tube with a drum head that has a spring on top - pictured below. This partially covers the final hole of the saxophone, which means that the more fingers are down, the more the head/spring of the thunder tube is excited.
This work and the previous work were written in fairly close collaboration with the performers. Much of what is written in these works is not advisable, will not sound good or be possible, for many performers.
for cello, bass, harp, piano, and computer was written for Ensemble Dal Niente and premiered in the fall of 2016.
The computer part is performed by a percussionist and mistakes can be a big issue for some cues. The computer performer triggers nearly 200 cues, most of which trigger sound files, but some only impact sound files. This allows for there to be no click track.
The patch allows for sound files to loop, gradually fade in/out, to play segments from any file, etc… It also allows for the files to be played back slower, but maintain their pitch, for rehearsal purposes. You can start from anywhere in the work for rehearsal.
The sound files are developed from synthesis, mostly, and from instrumental sample libraries, which can be dangerous.
The piece represents human displacement by having the performers displace parts of their body from their instruments throughout the piece. The electronics become the memory of playing by the end of the work and they mimic playing, rather than actually play.
Thanks to Professor Asia for inviting me to speak with you all today!