for any number of people with iphones and some means of mobility
two tenor saxophones, ableton live/max-msp, 4 channel audio
see/download FULL score (pdf) here (1.3 Mb)part 1:part 2:
notes on impulse response
Impulse Response is two-part sonic landscape based around a feedback control system environment for two tenor saxophones.
subterranean spaces (2011)soprano saxophonedownload/see full score
notes on Subterranean Spaces
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haptics (2011)tenor and soprano saxophone sans blown air
- I. strict-slop
- II. trill-mechanisms
- III. dotted
- IV. stereopush
- V. soprano 1
- VI. soprano 2
back to topnotes on haptics
Haptics explores the fingering mechanisms of the saxophone. The hidden, resonant chambers within the saxophone’s conical bore are exposed through a signal-process of amplification, distortion and and reverb. Within these ritualistic miniatures, the harsh, subterranean spaces of the saxophone are revealed, intimating the urgent, inner-workings of the instruments’ metallic machinery.
solo tenor saxophonefor KJHK Radio Show: July 31st, 2011 (2011)solo tenor saxophone
- I. scavenger
- II. sleight
- III. veil face
- IV. messhand
- V. globular
- VI. conclusion
notes on solo tenor saxophone
Dense, layered streams of melodic lines suggest a three-plane sonic hierarchy.
The foreground evokes the complex, note-to-note details of the sounds as they emerge from the instrument. The middle-ground suggests the larger structures—the (a)symmetrical groupings of rhythmic and/or melodic patterns that form the cellular content of the pieces. Lastly, the background relates to the listener a broad, static envelope that is sustained throughout the pieces entirety. back to top
saxophonic subterranea (2011)soprano saxophone, MAX/MSP,ableton live, 4 Channel Audionotes on Saxophonic subterranea
Notated, cellular vessels comprised of continuous strings of patterns to be used as a vehicle for exploring the vibratory potentials of those musical structures, timbres and physical ergonomics of the saxophone. The interplay of these three parameters will constitute the breadth of this piece as they interact throughout the course of the repetitions.
The structures of the cells are not to be interpreted directly but rather are intended to be used as a starting mold from which different sounds can emerge, each sculpted from the various trials of techniques within the performer’s arsenal.
In this way, the cells will be presented as atomistic in the piece’s structural hierarchy. These kernels will serve the performer in an architectural manner whereby the building blocks will hopefully induce or build upon one another, forming entirely new structures at which point the performer will have to decide when to move on to the consequent cells.
The cells are to be performed in numbered sequences which dictate that the perfomer maintain a continuous stream of air through the technique of circular breathing. These sections last approximately 3-5 minutes in length. Because these directions and method of performance place great strain of the mental state of the performer, it will be a physical feat to endure the entire process of the piece. It is through this practice that the performer will attain the robust mental capacity to better integrate the different psychological roots of his/her cognitive inconsistencies, creatively or not. back to top
back to topadagio for saxophone quartet (2009)
- 1 soprano, 1 alto, 2 tenorscommentary on Adagio for Saxophone Quartetback to topCHAMBER(ish)
for 4 jazz quartets and any additional number of horns and 2 independent metronomes
click to enlarge scores
incisive orchestrations generated from improvisations done to graphic scores
harmonic arrays distributed to chamber ensemble and subjected to canonic, temporal relationships
for: metal spoons, knives and forks, duct tape, screwdriver, quarters, computer paper