The Kind of stuff that we are made of
The Kind Of Stuff We Are Made Of was composed while I was attending the 2016 Sō Percussion Summer Institute (SoSI) at Princeton University. This composition features several of my invented instruments in a more unified way. While at the institute, I collaborated with Sō Percussion and faculty to expand the compositional depth of my instruments and extend their use by performers. This video was recorded during the composers open reading session at SoSI. Video and sound editing by Evan Chapman.
Brighter Moments was composed for glass armonica, voice, toy piano, desk bells, and live electronics. The work is processed and performed live in Max/MSP and features the reversal of audio that was performed in the previous measure. This constant playback of material in reverse from the previous measure is reoccuring on each performer's instrument(s). The work also undergoes effects such as pitch shifting, granular synthesis, and delay.
This second recording, although lacks the audio quality in the first, demonstrates my interest in interactive visuals, which I began experimenting with early in my second year of study. This video is from Triangulus' performance at Wesleyan University and features the manipulation of live captured video through webcams situated in front of the performers. The video captured on the webcams is programed inside the same program as the audio, and is highly related to the sonic material.
you think like plastic shapes
You Think Like Plastic Shapes was inspired by my interest in progressive rock/songwriting groups such as Buke and Gase and Godspeed You! Black Emperor, and my upbringing as an "untrained" guitarist. Each player's guitar has alternate tuning and is played using only bar chords, which allows each performer to easily strum chords rapidly. The work also explores my interest in highly hocketed parts, but through the use of guitars these interlocking rhythms become much more melodic and harmonic. The composition also features bowed harmonics, and the alternation of palm muted and open string rhythms.
No More Rebels
No More Rebels is a solo percussion work for vibraphone, guitar, voice, and Max/MSP. The performer wears a contact microphone on their throat, which is held in place by a velcro strap. The contact microphone (which captures vibrations directly from the throat) allows the performer to sing bass lines, harmonic content, and melodies while simultaneously playing vibraphone. The electric guitar is in a non standard tuning, so that when struck it interacts with the note choices of the piece. The guitar and vocal sounds are processed in real time using Max/MSP. The processing allows for rhythmic panning, octave transpositions, distortion, delay, and live looping.
Although many of the sounds created by the electronics could be prerecorded and played back in sync with the vibraphone, it was important to me to write a piece with electronic sounds that could be controlled live by the performer. This adds another challenge for the performer, but it also allows the player to be more expressive. Personal choices, such as vibrato, glissandi, and octave transpositions, can be added at will to the vocal line.