Name: Fiddler On The Riff Remix by Allan Segall
Duration: 4 min 47 s
Description: Remix/revision of my last piece. With more 'riff' and a much more lively fiddler!

CBH T-80: Trio for Clarinet-Bass Clarinet and Harp

Remix/revision of my last piece. With more 'riff' and a much more lively fiddler!

Fiddler On The Riff Remix

FOR REASONS UNKNOWN
French Horn Quartet
Matthew Lee Knowles
2025


Play once as written, then repeat, permanently removing a single note from any part
Keep repeating and removing until the 80th section contains only one note
An average performance will last 67 minutes
Each section should have a randomly chosen MM between crotchet=30 and 300
This realisation is only one of a potential 10^311 unique performances which would take 10^307 years to hear in full

In Lucky's speech in Beckett's "Waiting For Godot", the phrase 'For Reasons Unknown' is spoken ten times. 


SCORE
https://www.youtube.com/watch?v=NlHdtsJGjHk

For Reasons Unknown

[NOTE: this is the 2.0 stereo reduction of a 4-channel sound piece.]

A ritualistic, immersive experience in continuous playing (34-minute loop), "La casa è un tempo" explores the concept of living and its re-meaning. A spiral of ritualized time, articulated in golden proportions, weaves into its materials the most remote imagery of our species with a heightened impression of current reality, that of a migrant in the Mediterranean and that of a Western citizen.
"La casa è un tempo" inhabits the intersection of the familiar with the distant. It is an act of knowledge caught in its unfolding through dreams, nightmares, individual and collective memories, daily life, relationships and hopes. It is an invitation to redefine the very concept of living as a place where we can re-weave meanings, feelings and rituals, where we look for and meet - through signs and with our bodies - the Other within and outside ourselves.
Created in dialogue with Pietro Motisi's photo-based installation "Cratere", and in support of the Caritas projects for exploited migrants.
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SOUND MATERIALS: field recordings from Covid-19 lockdown at artist's home (Palermo, 2020), migrant tent cities (Crotone, 2022), a sung pandemic alert message (Sahel refugee camp, 2020); field recorded sea waves from a boat and shoreline; studio recorded percussion on shells, symphonic bass drum, wood blocks, suspended cymbal, bells, crotales, frame drum.
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FIRST INSTALLATION: from 21 July to 28 August, 2022, at Ex Chiesa San Vincenzo Ferreri (UNESCO World Heritage Site), Ragusa Foto Festival - Ragusa Ibla, Italy | Curator: Steve Bisson.
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CREDITS:
Concept, sonic composition, sound design, editing, mix: GianlucaCangemi, at E.S.A. Studio (Sambuca di Sicilia, Sicily), July 2022 || Tech consultants: Giuseppe Rapisarda, Luca Rinaudo || Percussions: Vito Amato || Percussions recorded by Luca Rinaudo at Zeit Studio (Palermo, Sicily) || Mastering: Luca Rinaudo at Zeit Studio.
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©℗ 2022 Gianluca Cangemi (SACEM)

"La-casa è un tempo" ["Home is a Time"] | [stereo reduction of multichannel sound piece]

Fantasy for Alto Flute, Bb Clar and Cello

Nebulae - 1. Pinwheel 11/19/25

Organ: Kerstin Petersen; sound engineer: Andrew Levine http://mobile.blumlein.net
STOP, for organ (2025)
The raw material of the piece is a standing 12-tone cluster whose notes are distributed across the entire tonerange of the instrument. The material also represents the medium within which the form emerges as a process.
As in Schoenberg's orchestral piece "Farben", the timbre is the only factor in which movement takes place. In the first third, the basic color is mixed by a slow fade-in of 12 registers. In the middle section, individual notes are exchanged between the manuals one after the other, with both the pitch structure and the registration remaining unchanged; thus, only the relationship between the octaves within the cluster changes. In the last third, the registers are pushed back one after the other.  
The piece is a model of a plastic process. The form here is not the music, but the bare sonic shape. The music is, at most, the background against which this process takes place.

STOP for organ

Paul Amlehn - Catalyst texts and vocals for saxophone and piano compositions, preconscious and supraconscious directing of the self-assembling musical work
Mick Rossi - Piano
David Crowell - Alto saxophone
Scientists from the Max Planck Institute for Intelligent Systems, the Adam Mickiewicz University, and the Polish Academy of Sciences - Still image taken from a film of a micrometer-sized space-time crystal consisting of magnons at room temperature

The self-organizing, self-assembling, self-making musical organism differs from "generative music," the form of music pioneered by Tim and Peter Cole and Brian Eno, in that generative music is a branch of systems music, whereas the self-making music is not; it also differs from the branches of algorithmic composition, such as AI music or fractal music, in that they are, while not wholly absent of psychical influence, via the phenomena of quantum entanglement and quantum non-location, the self-making music is both less subject to direction, via preconscious and supraconscious guidance from the human operator, and at the same time, is, to a much greater degree, autonomous and self-shaping in the arrangement process.

Towards a Self-Making Music: Opus 1 (Points In Space and Time)

Primal Scream of Consciousness by Gary Lloyd Noland (March 12, 2026). For more information on the composer, please visit his website at: garynolandcomposer.com

PRIMAL SCREAM OF CONSCIOUSNESS

Finale of my string quintet homage to Charleston

Fiddler On The Riff Remix

Allan Segall

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