An interpretation of 'Black On Black', a graphic score based on imperfections. Very quiet, very sparse.

Black On Black / This Side

An interpretation of one side of 'Black on Black', a graphic score of notated imperfections. Very quiet music; very sparse.

Black  On  Black / This Side

An interpretation of one side of 'Black on Black', a graphic score of notated imperfections. Very quiet music, very sparse.

Black On Black / That Side

Totally obviously my own music from scratch. This is so totally my own music.
I did not steal anyone else's material. I am not a bad person. Please, Please, Please, don't eat me, Geraci.

LOYARs Uncle Cabbage PLNDRPHNX

Music for birthdays performed on tracheostomy slide whistles, a maraca, and someone walking really loudly 10 feet above you. A special thanks to Mumbles Jones for this rare cut from his extensive library of questionable musics.

The Birthday Song - Mumbles Jones Arrangement

Cycles of emptiness and shadows; a lone voice hangs amidst the whispers. Ebb and flow. The cycles expand and contract; stretching, breathing, dying.

Shadows coalesce into statues, and the lone voice tenses, pulling away. Frustration.
Struggling, attempting flight.

Transformed, the lone voice becomes the shadow, the emptiness. Dissipation.

Composed Fall 2013 during my masters studies at University of Alberta. Premièred April, 2014.

Karayn: An Edifice of Emptiness for String Quartet

SEPTICK is composed of seven parts; three movements for septet along with three interludes and a codetta for smaller fractions of the ensemble. Only the final two movements of SEPTICK are ordered concretely, and the other five movements can occur in any order.

The piece uses a variety of restrictions to produce a wide range of elements. Almost every movement is limited to seven pitches, and those that do not adhere are composed of ranges of pitches represented by line drawings.

There are four primary durations that are manipulated throughout; very long, long, short, and very short. These durations are developed by their associated timbres via clarity and messiness.

Time within SEPTICK is rarely exact, rather gestures and figures are notated on a time line, and durations of a given sound are proportional to the time frame it occurs within.

For flute, Bb clarinet, horn in F, 2 violins, viola, and cello.

Composed Winter 2014 during my Masters at University of Alberta. Premièred April, 2014.

SEPTICK : Adumbrations of solution and fragmentation for septet

Edmonton's finest improvise music and dance at the Churchill LRT station in the evening on June 9th, 2015. Part of NextFest NuMusic's 2015 events.

NuMusic TrainJam 2015

Petrichor

For Trio

Premiered April 2016 at Alliance Francaise, Toronto, ON.

Zorana Sadiq, She Who Sings
Wesley Shen, The Master of Hands
Dan Morphy, The Sky's Caller

She is joined at 

Petrichor is a narrative-score, a musical story told through text and a magical spells. Aged and worn, the pages form a fragmented recipe to summon winds, clouds, and spirits through musical action. Each performer is a character in the story.

In the Place of Summoning She Who Sings, the Master of Hands, and the Sky's Caller cast ancient magics - hoping to break a long drought. Each knows their role in the ritual. They are connected through listening, each summoner's magic interwoven with the energy of the others.

Petrichor

Several years ago, a few friends and I had an incredibly interesting and moving conversation about pigeons.

Recorded on a rooftop patio somewhere in Chicago, IL during the summer.

Something is garbling the transmission - errors accrue, and what was a clear story about a pigeon problem degrades further and further.

Premiered live at University of Alberta in the 2-7 Performance space in Spring 2015. Later recorded.

Recorded with a Zoom H2n Field Recorder. Processed and maimed in Max/MSP.

Pigeons

Cherish Little Things
Violin, Clarinet/Alto Saxophone, Percussion
Composed during Composing in the Wilderness 2019
Performed by CORVUS in Fairbanks, AK, July 23rd 2019.

Cherish Little Things emulates the micro-scale environments of Denali National Park. Performers have a score that is mostly obfuscated - they can only see the smallest bits of the music at a time.

drewisraelsen

Pinned to spotlight