Polymetric Piano Counterpoint (The Dawn), Fabio Anile (2010)
Polymetric Piano Counterpoint (The Dawn), Fabio Anile (2010)
“Minimalist composition based on patterns of different lengths sharing the same pulse. Instruments: grand piano, marimba, shakers, claves, live looping software.”
Dance – Polymetric Piano Counterpoint by Fabio Anile
Fabio Anile website (www.eterogeneo.com)
Chris Schlarb: Dream State > Police State (2010)
Chris Schlarb: Dream State > Police State (2010) Dream State > Police State by Chris Schlarb “An astounding work of passion and patience over one thousand hours in the making, Long Beach musician/composer Chris Schlarb bestows his latest musical vision, Psychic Temple, onto the world. Known for his work as half of the hypnotic, jazz/drone [...]
Greg Hooper: Unselected (2011)
Greg Hooper: Unselected (2011)
“A new piece using surrogate techniques to generate new works from old. This time I used a recording of the loudest drops of rain falling into a swimming pool as the timing sequence and mapped the pitch sequence of Gymnopedie#1 onto that. It sounded like Brian Eno circa Ambient 1. Some notes didn’t fit and were removed. What remains is that which was unselected.”
Jim Perkins (Bigo and Twigetti): Chopin Prelude (2010)
Jim Perkins (Bigo and Twigetti): Chopin Prelude (2010)
“The original prelude was one of the first pieces I learnt to play. It sparked hundreds of ideas for potential re-arrangments and just provided a lot of opportunities to experiment. I wanted to be able to fuse all the experience I had of editing digital audio files and mixing, with the sounds of the piano but not by chopping up an existing recording as that is quite limited but by starting with the musical arrangement and the playing of the piece, whilst also keeping in mind the editing and effects I might use later on. This allowed me much more flexibility in producing the piece I wanted. That recording triggered a whole series of events which led me to record endless hours of piano, meet some incredible musicians and studio engineers and ultimately create a whole album of piano and laptop pieces.“
James Ross-Undifferentiated Light (2010)
James Ross-Undifferentiated Light (2010)
Solo electric guitar and Boss RC-50 looper. Inspired by Aldous Huxley’s 1961 MIT lecture, “Visionary Experience.”
Undifferentiated Light by jrossmusic
James Ross at Goodbye Blue Monday, on Fri., August 20.
also performed (on video) were Alex Carpenter and Michael Waller with help technical help from Richard Lainhart, Jim Goodin and the folks at ImprovFriday for helping to make it a great night.
Alan Morse Davies-Night Falls Fast IV (2010)
Alan Morse Davies-Night Falls Fast (2005)
“Night Falls Fast was composed for the contemporary dance work of the same name by John Utans. The original performance was with the Milwaukee Ballet at the Pabst Theatre, Milwaukee, U.S.A. in February 2005.
Sections of the work were also used for the stage play “Through Wyeth’s Window” by the Aperture Tectonics Theatre Company at the Prince Music Theater, Philadelphia, U.S.A. in 2006.
In 2009 the earlier parts were remastered and a new 6th part added. The 1st, 2nd and 6th parts were then used in a new interpretation of the dance piece by John Utans for HKAPA dancers at the Monaco Dance Forum on 1st, 2nd and 3rd of April 2010 in Monte Carlo”
Night Falls Fast (archive.org)
Mark Harris: Still Frame (2009)
Mark Harris: Still Frame (2009)
“an experiment in granular synthesis. created from two notes (a piano and violin tone)“
website
curated by: Paul Muller
Dave Seidel: Nur (2009)
Ecstatic light: a virtual dhikr.
Duration: 7:50
Nur by mysterybear
www.mysterybear.net
from mysterbear.net
“This is my first SuperCollider (SC) piece. Having just put out a CD-R release, the result of three years or so of working with Csound, it seemed like a good time to try something new. Another excuse for experimentation was provided by an invitation to participate in the first show in the Unique States series. As I prepared for this event, I ported my Csound Risset harmonic arpeggio instrument to SC and started playing around with it in real time (something which is much easier to do in SC than in Csound). This piece is what emerged. I performed it for the first time at the Unique States event at BUOY in Kittery, Maine on Friday, January 9, 2009.
While it is intended to be performed live, I have included a rendering of the piece (available below) for people who just want to listen. If you use SuperCollider, and would like to try this, the source file (also available below) contains comments that explain how to play it; you should find it quite straight-forward. (Please note, if you are an SC aficionado: I know that the piece could have been written more compactly, but I am still a newbie, and I chose to err in the direction of directness, simplicity and readability as opposed to elegance. Plenty of time to get fancy later.)
The piece itself is no radical departure from my previous work, but continues to explore some of the things I find interesting, in particular the use of interference patterns to create subtle rhythms, the tension between stasis and constant change, and the power of perfectly tuned consonance.
If you listen to this on speakers (as opposed to headphones), please turn it up — the sound should fill the room.”
