My flute music

This Is Where It Gets Complicated, for flute alone

Tangled Lynes for flute alone

The title is an anagram.  

Decipher the anagram and you will discover precisely the experimental compositional procedure I employed to make this piece.  If you have trouble with the anagram, listen to the piece.  If you know the solo flute literature, then you'll be almost there.

If you'd like to play the piece, you'll either have to find another flutist and do it relay-race style, or record a few passages yourself so that you have time to switch flutes.  I'd also be open to realizations on other instruments (e.g. saxophones).

Desired Syntax, Dandy Din (1980), for superflute

Music for a Dance (1983), for solo flute

ANARS ! La ville des échos

All I could remember in a really short demo.

"Ur the Eternal" 2025.

TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music

Rec.name : " Mi22 Math "
credit : doepfer a100,aleatoric ,ipad9

date :11-09-2025

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and
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daily videos :

https://youtu.be/38Htl543w9s

https://youtube.com/shorts/0j1XpySvBD0

Basdritioat

THIS LIFE I AIN’T LIVING
V1
Things are so expensive
It’s eat or pay the rent
Before my paycheck comes
My money’s already spent 

CHORUS
This life I ain’t living is killing me 
This life I ain’t living is killing me, oooh-oooh-oooh
Killing me, oooh-oooh-oooh 

V2
This country’s in trouble 
The world has turned its’ back
Hear the people moaning 
For the hope they lack

CHORUS
This life I ain’t living is killing me 
This life I ain’t living is killing me, oooh-oooh-oooh
Killing me, oooh-oooh-oooh 

V3
Try to do things right
Find out it’s all wrong
The men pulling the strings
Are few but they’re strong, oh

This life I ain’t living
This life I ain’t living

V4
Lock up the house tight
Another weekend alone
Nobody cares where you are
Nobody calls on the phone

CHORUS
This life I ain’t living is killing me 
This life I ain’t living is killing, killing me, oooh-oooh-oooh
Killing me, oooh-oooh-oooh

V5
Another broken promise
Another broken dream
Broken hearts all around
Hear the children scream

CHORUS/TAG
This life I ain’t living is killing me
This life I ain’t living is killing, killing me, oooh-oooh-oooh, oh!

This life I ain’t living
This life I ain’t living is killing, killing me..

Oooh-oooh-oooh, Oooh,-oooh-oooh

© 2025 Renee La Chapelle – All Rights Reserved


THIS LIFE I AIN’T LIVING

TRBMN, orig., timepass (instrumental, rec 25 09 16)

A procession reborn. Old Hearse returns in its remastered form, carrying the ache and architecture of its original descent with sharpened clarity. This track is a sonic reliquary—where synths pulse like funeral lights and vocals drift like memory through fog. Originally released as part of Bleak Cathedral’s early archive, this version restores the track’s full spectral resonance. It’s not nostalgia—it’s ritual recursion. A hearse that drives backward through time, collecting fragments of devotion along the way.

Bleak Cathedral - Old Hearse (Album Version)

Free rock and roll

ANARS ! Oh quoi ?

TEMPONADE

"Modular Residue"

In the original score, from 40 years ago, the flutist sees two staves, one with just the notes to finger, one with just the tonguing notated as though a percussion part.  

The fingers and tongue run along in different meters, 4 against 3, then later 3 against 4, switching off at the quietest, shyest moment of the piece, midway.

This MIDI realization suffers, of course, from the lack of artistic coloring a master flutist would render.  But it is a practical piece and has had two brilliant performances.  Lately I have an alternative version of the score on a single stave, in a more traditional notation.  Everyone I know has a strong (but not necessarily the same!) opinion about which score, new or old, constitutes the better representation.  The old score conveys the theoretical ideas most immediately, but new score eliminates the hurdle of learning to read a strange notation before learning the piece.

As with my solo viola piece, Reflex employs a "row," but not of 12 pitches, but rather of 24 4-note contours.

Much atonal music of its day had an exaggeratedly nervous surface, with rapid changes in register and articulation perhaps suggesting an analog for the tortured marks of a certain stripe of abstract expressionistic painting (already then a style past its heyday, but music always gets there late).  Influenced by minimalism, this piece aims for something more solid, a single, integrated gesture.  

One might hear Nancarrow as an influence, but I couldn't yet have had much more than a tiny taste of his music, with those records containing his complete works still some years away from release.

Reflex, for solo flute

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

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Tangled Lynes for flute alone

David Victor Feldman

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