FMK Ultra

Groove Evolution Synth

Performed by the University of Montana Composers' Workshop Ensemble 5/9/13.

Lorazepam

Performed 5/9/13.
Slow Epiphany deals with ideas slowly coming together to create a realization, a moment of bliss. It was inspired by the band Isis for their 
slow sludge metal, which is like a moment of enlightenment, and by the otherworldly landscape of Death Valley National Park. Like walking 
from the lowest point on land to the peak of an 11,000 foot mountain, the piece is like one great build to a final moment of clarity and knowledge.

Slow Epiphany

Voice Cavern was created by processing Tuvan throat singing in Peak Pro and Digital Performer. Tuvan throat singing uses overtones created by manipulating the mouth while singing. It also uses throaty vocals that carry over long distances outside. The piece depicts three distinct rooms within a cavern where a singer calls out into the room and the cave responds in a different way. It was originally made with quad audio, but has been reduced to stereo.


Voice Cavern

Performed by the University of Montana Symphonic Wind Ensemble  on May 7, 2013.

FLOW

Performed 5/9/13.
True False Prophet was inspired by the grindcore band Insect Warfare and the Westboro Baptist Church of Topeka, Kansas. Insect Warfare gave musical inspiration from their vehement and evil riffs and conceptual inspiration from their nihilistic, violent and politically leftist lyrics. The Westboro Baptist Church gave conceptual inspiration from their very controversial beliefs and practices. I watched two documentaries on the church: The Most Hated Family in America and its follow up The Most Hated Family in America in Crisis, both by British film maker Louis Theroux. One quote from the church's minister Fred Phelps inspired the title. As he was giving a sermon on the sins of America, he rose to a loud climax and screamed: "You're gonna eat your babies! And any preacher telling you otherwise is a lying, false prophet." Since many people would consider him to be a false prophet, he is a true false prophet. The piece takes from the Westboro Baptist Church's backwards ideas of preaching "god's hate", and mixies it with the musical power of Insect Warfare in a juxtaposition that works to create a sinister and sardonic musical experience.

True False Prophet

Performed  5/9/13
Untitled was a piece I wrote for my bass guitar teacher. It does not have a title because I could not think of one that would be appropriate for it. The piece has no conceptual inspiration and no major musical inspiration, it was made for its own sake. So no title is the best title to describe it.

Untitled Bass Duet

Performed  5/9/13.
Pure was written for the Cowell Woodwind Quintet in spring 2012. It is inspired by Italian composer Giacinto Scelsi who was famous for his use of microtonality. The piece centers around the pitch F which is presented by the horn. The pitch is distorted by using dissonance and quarter tones to created an out of tune sound. The pitches C, B flat, G and E flat are introduced as the piece moves forward, each pitch a fifth higher or lower than the last. The fifth is a perfect, or pure, interval which is distorted with microtonality. Different sections are marked by the kick drum played by the clarinet player. The climax of the piece has the five core pitches in an undistorted, pure chord played in unison rhythms by all the instruments. It ends with a resolution on the original pitch, F.

Pure

Performed  5/9/13.
You Derp was written for my UDRP (Upper Division Recital Performance). “Derp” is an internet meme used as a response to an act of stupidity. The title was originally a pun on UDRP but became an inner part of the piece as it was composed. The original theme is derped upon many times in strange ways before returning in a wiser, more reserved form. Much like a student preparing for their UDRP then finishing it and coming out of it wiser and more experienced than before.

You Derp

Performed by Emily Larson 5/9/13.
Groove Evolution is a piece based on some simple ideas that evolve over time into different adaptations. It relies on rhythm for variation and focuses on groove in time and space. It also uses sympathetic vibrations from the lowest strings on the piano to create a wash of sound. Musical inspiration for the piece came from the minimalist works of Steve Reich and the Stone Temple Pilots song Plush. Don't take it too seriously.

Christopher Everingham