A draft of a new virtual orchestra realization. Previous virtual orchestra realizations did not have the glissandi. The work was read by the UC Davis Symphony Orchestra ca. 2010. I was happy enough with that reading but I made a small revision that necessitates the virtual orchestra realization.

Regression, Tone-Painting for Orchestra

Slow-guitar (slowly developing guitar tones and loops) piece played, edited and mixed by Martin Hoogeboom. From the Bandcamp release The Empty Room (https://martinhoogeboom.bandcamp.com/album/the-empty-room).
No synth involved.
Mastered by Taylor Deupree
Painting by Shelagh Wilson (https://www.shelaghwilsonart.com/)
A Martin Hoogeboom project  (DS1397/2024)

The Empty Room

Komorebi

voice of the treats

while streaming my fan asked me to make a ringtone. he likes it a lot. makes me a happy day

Iiiiiiiiii'

In an article I published decades ago in Xenharmonikon, I proposed strategies for composing computer based microtonal music with no fiat scale.  Composed notes thus get their intonation on the fly based on music context rather than as members of a fixed but expanded gamut.

My Fugue and Postlude puts those theoretical principles into practice.   The form makes a twisted reference to Baroque music, a(nother) time when musical values intertwined closely with the theoretical expansion of music language. 

Fugue And Postlude

In her transcendent set of etudes Hierosgamos: Studies in Harmony and Resonance (2003), Cindy Cox uses the “hieros gamos” to unify two characteristics of the piano that on first glance seem very different: its tremendous capacity for resonance and a percussive, primarily motoric texture in this large scale set of seven etudes.  Performed here by Boston based pianist Oni Buchanan.

7 Hierosgamos 7

6 Hierosgamos 6

5 Hierosgamos 5

4 Hierosgamos 4

3 Hierosgamos 3

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

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Fugue And Postlude

David Victor Feldman

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David Victor Feldman

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