http:\/\/www.nonclassical.co.uk\/index.php\/2014\/03\/thursday-13th-march-nonclassical-leeds-cockpit-with-gabriel-prokofiev-juice-vocal-ensemble-damien-harron-more\/<\/a><\/p>\n <\/p>\n I Play in Leeds on Thursday in one of Gabriel Prokofiev’s NonClassical nights, as part of the International Festival for Innovation in Music Production and Composition iFIMPaC<\/a>. Performing Robert Ratcliffe’s “Wake Up Call<\/a>” that I programmed the electronics for, and a piece of mine I recorded 12 years ago but have never performed live yet, “A’d Amssong”.<\/p>\n The program notes for the pieces:<\/p>\n \u201cA\u2019d Amssong\u201d is a two-fold improvisation. The first was the <\/p>\n Wake up Call <\/i>looks at strategies for \u2018recoding\u2019 existing music to produce original material. This is explored through modes of both composition and improvisation, highlighting the similarities and connections between procedures of transformation in various musical practices.<\/p>\n Based on \u2018recoded\u2019 transformations of material sourced from Willy Burkhard\u2019s Sonate f\u00fcr Klavier<\/i>, op.66<\/i>, the bass clarinet writing of Wake up Call <\/i>simulates jazz improvisation through characteristic phrase construction, gestural archetypes, melodic contour and the use of a governing unison theme (a \u2018self-borrowing\u2019 from an earlier composition for bass clarinet). Whilst the \u2018theme\u2019 of Wake up Call <\/i>remains compulsory \u2013 \u2018fixed\u2019 in both notation and the \u2018double-tracked\u2019 unison of the electronic part \u2013 the performer may \u2018deactivate\u2019 other notated passages, which remain optional, choosing to replace them with improvised material. In this way, the outline structure of Wake up Call <\/i>emulates traditional jazz arrangements alternating a theme with improvisational passages or secondary material.<\/p>\n The fixed medium component initially functions as an electronic accompaniment to the bass clarinet, with an increasing dialogue between the two parts unfolding over the course of the work. Featuring a \u2018post-digital\u20191 approach to sound design incorporating noise-based artifacts, synthetic elements (EMS \u2018Synthi A\u2019,2 electronic percussion samples), and deconstructed fragments of bass clarinet, materials are equally derived from experimental electronic music and forms of EDM, such as glitch hop<\/i>.3 The result is a new form of hybrid musical discourse that amalgamates contemporary electronic music with aspects of jazz composition and improvisation.
\nelectronic accompaniment, played and manipulated live by me
\nin real time, improvising with various synthesizers, samplers,
\nand midi triggers. The recording of this live performance was
\nUsing this medication can be dangerous, as these drugs only suppress the symptoms and side levitra on line<\/a> effects but don’t cure the underlying reasons. Men, sometimes, have constricted blood vessels due to formation of plaque in the inner layer of the buy generic cialis<\/a> blood vessels and relaxes the muscles, improving the overall blood circulation. Many women have also undergone normal pregnancy after pharmacy on line viagra<\/a> MRgFUS procedure. Then there’s the involvement L-arginine has in the making of levitra free sample<\/a>. <\/span>used as the basis over which I improvise the bass clarinet. This
\npiece developed after a period of being deeply immersed in
\nthe Detroit electronic dance music scene, and prior to my life in
\nthe Netherlands. What I didn\u2019t realize when I recorded the bass
\nclarinet solo at the time was how influenced it was from the
\nmusical scene of Amsterdam, where I would end up a couple
\nyears later.<\/p>\n