Archive for the ‘Guided Improvisation’ Category

Newer Entries »

Open Ended (redux)

Monday, November 16th, 2009

Open Ended

 
Do to unforeseen circumstances the composition I planed on having performed on the November 7th 2009 SFCCO concert had to be canceled. So I decided to pull out one of my guide improvisation compositions, Open Ended. I conducted/composed this performance as well as played tenor saxophone. It is a very versatile work that is composed live before your eyes and ears. Based on Rova‘s Radar techniques, Open Ended is less of a composition and more of a color or tool palette. It is an ever-growing collection of rules and games for the performers that are triggered by hand signals by the conductor/composer. The conductor/composer then composes the piece live using these hand signals to guide the performers. This work has no set instrumentation and can be played by any number of performers. It also has no set length; the piece could last 5 minutes or 24 hours. Open Ended has been performed several times, including two other performances by the SFCCO, but every time it is a world première and unique performance that can never be repeated.

Share

Tags: ,
Posted in Composition, Guided Improvisation, Orchestral | 4 Comments »

String Theory

Tuesday, March 3rd, 2009

String Theory

On February 28th, 2009, the San Francisco Composers Chamber Orchestra (SFCCO) premiered String Theory, a unique guided improvisation composition. This piece uses a graphical score inspired by the revolutionary branch of theoretical physics known as string theory.

String theory is a groundbreaking concept in theoretical physics that aims to reconcile quantum mechanics and general relativity into a unified quantum theory of gravity. It posits that all particles and forces in the universe are composed of tiny, vibrating strings. These strings, though initially considered one-dimensional oscillating lines, can also be conceptualized in terms of points or surfaces.

String Theory p.13

String Theory p.13


In my composition, I employ graphical notation to represent these strings, points, and surfaces, guiding the orchestra through improvisation. The piece culminates in a unification, symbolizing how string theory might eventually prove Einstein’s unified field theory, creating an elegant universe composed entirely of the music of strings.

One of the most exciting aspects of using guided improvisation as a compositional technique is that each performance is distinct, yet the overall composition remains recognizable. To illustrate this, I have recordings from both the dress rehearsal and the concert performance of String Theory for comparison.
Dress Rehearsal
Concert Performance
Share

Tags:
Posted in Composition, Guided Improvisation, Orchestral | 3 Comments »

Sun & Moon

Saturday, March 8th, 2008
Score of the Sun movement

Score of the Sun movement

On March 8th, 2008, the San Francisco Composers Chamber Orchestra (SFCCO) premiered my composition Sun & Moon, a work deeply rooted in the concept of circle-music. This form of music embraces a structure where phrases can be performed in any sequence or timing, offering a rich tapestry of sound that defies traditional musical narratives.

Sun & Moon draws inspiration from ancient mythology, where the celestial bodies have symbolized contrasting yet complementary forces since the dawn of humanity. The sun represents the masculine, the source of light and life, while the moon reflects the feminine, reigning over the darkness and the rhythms of time. Together, they embody the dualistic nature of existence—balancing light and dark, male and female, life and decay.

The composition is structured in two parts: the “Sun” section begins on the left side of the ensemble and sonically moves across to the right, mirroring the sun’s journey across the sky. Conversely, the “Moon” section starts from the right, moving to the left, encapsulating the moon’s nocturnal path. This movement not only illustrates their respective celestial paths but also their influence over the natural world.

I was introduced to the concept of circle music by Dr. Cindy McTee, who composed a piece in this style for my bassoon teacher, Sue Schrier (Bancroft). Inspired by its flexibility and the unique challenges it presents, Sun & Moon was crafted to allow each musician the freedom to explore the themes within a loosely defined framework, mimicking the dance of these heavenly bodies.

This performance by the SFCCO not only explored these ancient symbols through modern compositional techniques but also invited the audience to experience the perpetual interplay between the sun and the moon, echoing through time and space.

Sun & Moon

Share

Tags: ,
Posted in Composition, Guided Improvisation, Orchestral | 3 Comments »

Open Ended

Friday, December 2nd, 2005

Open Ended

 
I had one of my guide improvisation compositions performed by the SFCCO. Open Ended is a very versatile work that is composed before your eyes. This work has no set instrumentation and can be played by any number of performers. It also has no set length; the piece could last 5 minutes or 24 hours. Based on Rova‘s Radar techniques, Open Ended is less of a composition and more of a color or tool palette. It is an ever-growing collection of rules and games for the performers that are triggered by hand signals by the conductor/composer. The conductor/composer then composes the piece live using these hand signals to guide the performers. Open Ended has been performed several times but every time it is a world première and unique performance that can never be repeated.

Share

Tags:
Posted in Composition, Guided Improvisation, Orchestral | 1 Comment »

Concerto for Musician

Sunday, May 9th, 2004

     I finished writing a new guided improvisation orchestra piece called Concerto for Musician. Concerto for Musician, what does that mean? Unlike traditional concerto, which are usually for a particular instrument, Concerto for Musician is for a multi-instrumentalist. The first movement is for a soprano instrument, then second movement is for an alto instrument and the last movement is for a bass instrument. At the world premiere the “musician” was me, the composer. I played the first movement on flute, then second movement on alto saxophone and the third moment on bassoon.

     Each movement has a feeling or sound, which is reflected in the movement’s title. The first movement is entitled: Cosmological. This movement has a vast sound with flares of energy and twinkling. The first movement tapers in to the second movement, which is entitled: Mechanical. This movement has a fast pulse and sounds like many mechanisms working at once. Aqualogical is the title of the third movement, which has an organic and liquid sound. One can hear the depths and breadth of the ocean in this movement.

    Concerto for Musician uses an unusual compositional technique: guided improvisation. As apposed to free improvisation where everyone does what ever they hear or see fit during the music, guided improvisation uses some rules to limited the sounds and directions so the composer can get the sound and feeling he is after. Standard Jazz music could be considered guide improvisation, but the “rules” in Concerto for Musician are different then the rules of Jazz music. Some of the techniques used in this work are based on Larry Ochs’ “Radar” techniques. The soloist follows some rules as well, but is basically aloud to do want he/she wants. The soloist is encourage to use extend techniques like multi-phonics (playing more then one note at a time) and sounds on the instruments that are appropriate to the movement. The SFCCO premiered this piece (Program Notes) on May 9th, this performance would not be possible if it was not for the Subito grant I was awarded from the American Composers Forum.
Share

Tags: , ,
Posted in Composition, Guided Improvisation, Orchestral | No Comments »

Pollock

Friday, October 4th, 2002

I currently stopped working on an opera because my style is changing. Improvisation has become important to my classical work as it is to my jazz work. I’ll beginning to blur my jazz and classical music. I have a new CD out called “Statements” that is the beginnings of the merger. I have also been performing with other classical improv music in the S.F. bay area, and studying with Larry Ochs to learn ways of developing my ideas. I was writing an orchestra piece for the SFCCO called “Channels” which is to be a concerto for chamber orchestra in a collage style. I’m was writing four movements each one in a different style and featuring a different section of the orchestra, then I’m planning to cut it up and mix them together. This piece became very large and complicated so I put it on hold but completed another one instead for the SFCCO. This work is called Pollock after Jackson Pollock the painter. It uses improvisation to create a sound style that match Pollock’s painting style. It is supposed to sound like him painting in that unique style of his. Pollock (Program Notes) was premiered on Oct. 4, 2002.

Share

Posted in Composition, Guided Improvisation, Orchestral | 2 Comments »

Newer Entries »