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
back to top
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 piece's 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
adagio for saxophone quartet (2009)
- 1 soprano, 1 alto, 2 tenorscommentary on Adagio for Saxophone Quartet
Adagio for saxophone quartet is scored for 1 soprano, 1 alto and 2 tenor saxophones. It is in a rounded-binary form with the last statement of the theme being a canon on the unison. The initial title was “A slow recovery” as I was thinking about the fragile mental state of a patient undergoing surgery and having to will the process of recovery. There is the pathos of sorrow, but also the suggestion of nostalgia for the loss of life. The somber tone of the middle section precludes the final statement of the canonic melody that serves as a final whimper, wavering between resignation and hope. Nevertheless, the final section’s harmony is never resolved, the fate of the patient’s will balancing on a single tense note. back to top
silver and bronze (2009)2 soprano saxophones, 2 altos saxophones
<--click to enlarge
commentary on Silver and Bronze:
‘Silver and Bronze’ is a piece I wrote for 2 alto and 2 soprano saxophones. Each instrument is given its own metric framework of repeats. Each instrument has differing lengths of repeats (7, 9 and 15 bars) with the final instrument repeating with an even number of bars (4). In this way, the piece is generated by its own asymmetries as no two systems of material will every repeat in the course of the music. The exception to this system occurs about midway through the piece. This section, in phrases of 5 in the altos and 4 in the sopranos, is the prelude to the final wailing section (complete with glissandos). While the repeating-rhythmic material is fixed, the harmonic component changes throughout time. It was my goal that these changes would be subtle enough to be gradual and process-oriented. Additionally, the empty “space” between the repeats are gradually filled with more repetitions of the sixteenth note motif until the climactic glissando section renders the motif obsolete and the motif is elongated(quarter notes taking their place). The passage of time is deccelerated.
The choice of pitches was unique the overtone system of the individual saxophones. The pitch center in the beginning of the piece is the note, Bb, for the sopranos and the note, Eb for the altos. The fingering for this note is the same on both saxophones and enables the player to easily(or accidently) sound the immediate overtone(s) an octave above (or more). In this way, the vibrancy of the notes, and the unisons between the instruments, blossom into an unusually bright timbre. This note is also used as a springboard for injecting other harmonies into the field. back 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 an assortment of woodwinds and subjected canonic,temporal relationships
performed by Nolan Lem on piano
bach style counterpoint with fugal subjects
theme and variation in sonata form
strict canon form
prepared piano to an old, cavernous lester piano in miami.
for: metal spoons, knives and forks, duct tape, screwdriver, quarters, computer paper
harmonic distortion to pots and pans