"SynthDefs_2013.scd".loadRelative;

(
~t1= TempoClock.new(70/60);
a= Pbind(
\instrument, "noisy",
\scale, Scale.minor,
\note,Pslide(list: (1, 2..12), repeats: 30, len: 7, step: 2, start: 0),
\dur, Pseq([0.1, 0.2, 0.3, 0.4, 0.5], inf),
\amp, Pseq((0.01, 0.012 .. 0.4 ), inf),
).play(~t1);
)

(
~t2= TempoClock.new(77/60);
b= Pbind(
\instrument, "plucking",
\scale, Scale.bartok,
\note,Pslide(list: (1, 2..12), repeats: 25, len: 9, step: 2, start: 0),
\dur, Pseq([0.1, 0.2, 0.3, 0.4, 0.5], inf),
\amp, Pseq((0.01, 0.012 .. 0.4 ), inf),

).play(~t2);
)


(
~t3= TempoClock.new(85/60);
c= Pbind(
\instrument, "noisy",
\scale, Scale.phrygian,
\note,Pslide(list: (1, 2..12), repeats: 30, len: 6, step: 2, start: 0),
\dur, Pseq([0.5, 0.4, 0.3, 0.2, 0.1], inf),
\amp, Pseq((0.01, 0.012 .. 0.4 ), inf),
).play(~t3);
)


(
~t4= TempoClock.new(127/60);
d= Pbind(
\instrument, "noisy",
\scale, Scale.chromatic24,
\note,Pslide(list: (1, 2..24), repeats: 30, len: 24, step: 1, start: 0),
\dur, Pseq([0.5, 0.4, 0.3, 0.2, 0.1], 50),
\amp, Pseq((0.01, 0.012 .. 0.4 ), 50),
).play(~t4);
)

(
~t5= TempoClock.new(68/60);
e= Pbind(
\instrument, "beating",
\freq,Pslide(list: (60, 65..2000), repeats: 50, len: 6, step: 2, start: 0),
\dur, Pseq([0.5, 0.4], inf),
\amp, Pseq((0.02, 0.022 .. 0.4 ), inf),
).play(~t5);
)


(
~t6= TempoClock.new(74/60);
f= Pbind(
\instrument, "blips",
\freq, Pseq((60, 62..1500)),
\note,Pslide(list: (1, 2..1500), repeats: 200, len: 1, step: 1, start: 0),
\dur,0.1,
\amp, Pseq((0.01, 0.012 .. 0.4 ), 200),
).play(~t6);
)



(
~t7= TempoClock.new(67/60);
f= Pbind(
\instrument, "PMCrotale",
\freq, Pseq((60, 62..1500)),
\note,Pslide(list: (1, 2..1500), repeats: 200, len: 1, step: 1, start: 0),
\dur,0.1,
\amp, Pseq((0.01, 0.012 .. 0.4 ), 200),
).play(~t7);
)

(
~t8= TempoClock.new(67/60);
f= Pbind(
\instrument, "noisy",
\freq, Pseq((60, 62..1500)),
\note,Pslide(list: (1, 2..1500), repeats: 250, len: 1, step: 1, start: 0),
\dur,0.1,
\amp, Pseq((0.01, 0.012 .. 0.4 ), 250),
).play(~t8);
)


Supercollider exercise1

Pink - by Fernanda Aoki Navarro

Video: https://www.youtube.com/watch?v=htTaTtBd5w8


voice: Tiffany DuMouchelle
flute: Michael Matsuno
clarinet: Robert Zelickman
piano: Kyle Blair
viola: Shayla James
violoncello: Judith Hamann
conductor: James Bean
Live recording, XX Concert, part of SpringFest at UC San Diego, April 15th 2014

 ī   θingk
 ī   θingk    ī   kan
 ī   θingk    ī   kan   θingk
 ī   θingk    ī   kan   trī
 ī   θingk    ī   kan   flī
 ī   θingk    ī   kan   dī




Pink

Otherness - by Fernanda Aoki Navarro

Video: https://www.youtube.com/watch?v=7sIEUBEJaEA

Talea Ensemble
flute: Daria Binkowski
clarinet: Rane Moore
piano: Yegor Shetsov
percussion: Alex Lipowski
violin: Yuki Numata
viola: Elizabeth Weisser
violoncello: Chris Gross
sound technician: David Adamcyk
conductor: Eduardo Leandro

Performance: August 24th, 2014 at Harvard University, Paine Hall, Cambridge, Boston, US.   




Otherness

Music for multimedia interactive installation and performance 
"a song to let go"

Video: https://www.youtube.com/watch?v=0_N4vjglPME
Documentation of the installation and Performance: http://www.fernandanavarro.net/installation--other-stuff.html

A song to let go

Dinner music to be played at UCSD Price Center food court.

This piece was composed to be performed at UCSD Price Center, in the fast-food dining area.
10 performers triggered the sound track using their phones, connected to small portable speakers.
They were supposed to act naturally and walk discretely through the dining area, around the costumers, carrying phones connected to portables speakers that should blast the music as loud as possible.
The speakers should not be visible (performers can hide them in their pockets, hats, bags etc) but should be pretty audible.
It is intended that the "audience" should not be able to recognize where the music is coming from.
The performers should disperse discretely when the music is over.


Many thanks to Colin Zyskowski for building those beautiful speakers! 

Dinner music

This piece is just a humorous response to Bruno Mantovani's idiotic and chauvinistic interview (http://chrisswithinbank.net/2013/10/bruno-mantovani-female-conductors/)

It was composed as an appetizer, the entrance music for a concert that happened in 2014, as part of SpringFest at UCSD. 

The "XX" concert featured music by:
Elisabet Curbello,
Carolyn Chen,
Annie Hui Hsin Hsieh,
Jennifer Hsu,
Tania Lanfer,
Caroline Miller
Tina Talon and
Fernanda Aoki Navarro

Poster by Annie Hui Hsin Hsieh

Homage to Bruno Mantovani

Through - 1st movement: Watching
by Fernanda Aoki Navarro

Flute: Ine Vanoeveren
Recording engineer: Andrés Gutiérrez Martínez
UC San Diego, June 2016. 


Through - 1. Watching



Through - 2nd movement: About Beauty
by Fernanda Aoki Navarro

Bass Flute: Ine Vanoeveren
Recording engineer: Andrés Gutiérrez Martínez
UC San Diego, June 2016.


Through - 2. About Beauty

Fendas - by Fernanda Aoki Navarro
for electric guitar and 'tape'
Electric guitar: Mario del Nunzio

Fendas is dedicated to Mario del Nunzio, a great guitarist and composer from Brazil. I composed this piece in 2011 and it was commissioned by Mario as part of his solo CD "Vértebra" (http://delnunzio.tumblr.com/).


Fendas

Parthenogenesis - by Fernanda Aoki Navarro
for clarinet, trombone, violoncello and piano. 

Performed by the Gnarwhallaby Quartet: Brian Walsh (clarinet), Matt Barbier (trombone), Derek Stein (violoncello) and Richard Valitutto (piano). 

"April in Santa Cruz" Contemporary Music Festival - 2012

____________________________________________________________________________________

Parthenogenesis 

In this piece I wanted to work with the idea of non-development. I thought about materials that didn’t need any fertilization (hence the title), which contained in their first occurrence all their characteristics already developed, avoiding the “evolution” of traditional developmental procedures. Even though the materials weren’t generated for purposes of development or variation, I tried to determine different levels of relationship between them, searching for coherence on other terms. The corporality involved in the realization of the sound structures -- the physical movement necessary for the performer to play certain sounds -- was my guiding element in dealing with the composition in the form’s micro-sphere. Parthenogenesis was composed for April in Santa Cruz - Contemporary Music Festival, 2012

[Português]
Partenogênese

Nesta peça eu quis trabalhar com a ideia de não-desenvolvimento. Pensei em materiais que não necessitassem de uma fertilização (daí o título), que contivessem em sua primeira ocorrência todas as suas características já desenvolvidas, evitando o “evolução” por meio de variações. Apesar de os materiais não terem sido gerados por meio de variações, procurei estabelecer diferentes níveis de relacionamento entre eles, buscando uma coerência em outros termos que não do mero desenvolvimento. A corporalidade envolvida na execução de estruturas sonoras , ou seja, o movimento físico necessário ao intérprete, foi meu elemento norteador para lidar com a composição na micro-esfera. Parthenogenesis foi composta para “April in Santa Cruz - Contemporary Music Festival 2012”. 

Parthenogenesis

Daddy for flute, clarinet, violin, violoncello, piano/disklavier and electronics

This piece was based on Sylvia Plath's reading of her poem "Daddy".

Daddy - Sylvia Plath

Unboxing Helena - by Fernanda Aoki Navarro
for prepared piano and fixed media 
Piano: Fernanda Aoki Navarro
______________________________________________________

(Portuguese/English)

Nesta peça eu trabalhei com a ideia de descontruir o desconstruído para, a partir deste processo, criar um novo "inteiro". 
O filme "Encaixotando Helena", dirigido por Jennifer Lynch, ficou cravado na minha memória por muitos anos, incomodando, ganhando novos significados, perdendo a "aura bizarra" e ganhando força enquanto provocação emocional e criativa. 
Pensei em reconstruir Helena, desencaixotá-la, com a consciência de que as fraturas  não se apagam, que os fragmentos reconectados nunca poderão ser como o integral antes intocado, mas que esses cacos colados podem ser re-significados, ganhar potência e se transformar em alguma coisa coesa, integral, íntegra, ainda que seja o resultado de muitos fragmentos reunidos de maneira incômoda.

Eu preparei todas as teclas do piano: a região grave com parafusos, roelas, pregos, borracha, pedaços de madeira, chocalhos. A região médio-grave foi preparada com tape, bolinhas de gude e correntes. Na região médio-aguda eu usei E-Bow, às vezes apoiando um slide de guitarra para produzir glissandos, às vezes apoiando uma bolinha de plástico para produzir vibrações mais contrastantes. A região aguda foi preparada com diferentes tipos de abafadores: feltro, pano, papel, borracha e espuma. 
Depois de preparar o piano, eu toquei e gravei inúmeros sons, que foram utilizados na composição desta peça. 
Todos os sons de "Unboxing Helena" são gerados a partir do piano preparado. 
Esta peça é dedicada a Helena, minha mãe.
______________________________________________________________________

In this piece I worked with the idea of deconstructing the deconstructed to build a new ”integral” form. 
“Boxing Helena”, a movie directed by Jennifer Lynch, was stuck in my memory for many years, bothering, gaining new meanings, losing its “bizarre aura” and getting stronger as a emotional and creative provocation.

I thought about rebuilding Helena, unboxing her, being aware that the fractures would never be erased and the reconnected fragments would never be considered as an untouched whole. However, these glued shards could be re-signified, could gain potential and become something cohesive, with integrity, even being a result of many fragments, united in an uncomfortable way. 

I’ve prepared every key of the piano: the lower strings were prepared with screw and nuts, bolts, rubber, wood, shakers. The mid-low strings were prepared with tape, marbles and chains. In mid-high strings I used an E-Bow, sometimes with a guitar slide or with a plastic sphere to produce contrasting vibration. The highest strings were prepared with different kinds of dampers:  felt, cloth, paper, rubber, foam.
After preparing the piano I played it and recorded several sounds that generated the concrete material for the composition of this piece.
Every sound used in “Unboxing Helena” is generated by the prepared piano. 
This piece is dedicated to my mom, Helena.

Unboxing Helena

Live performance at Conrad Prebys Music Center, University of California San Diego. 
April 2018
Renga Ensemble, conducted by Steven Schick

Glottogony

Emptying the body - by Fernanda Aoki Navarro
for amplified violoncello
Performed by Derek Stein
Live recording of the concert at UC San Diego, Nov. 30, 2012
Part of the project Gnarwhallaby 4x4.

video of another performance: https://www.youtube.com/watch?v=d-bzVqVA-Pg
______________________________________________________________________________________

Emptying the body is a reflex of my research about the manipulation of time and the relationship between movement, physicality, abstract and concrete gestures.  The idea of giving the cello the power of reaction and decision (instead of being solely the object manipulated by the performer) was in my mind, and many of the performer’s activity is a response to the cello’s reaction. The idea of emptying the body was, somehow, related to the struggle of trying to find something inside or beyond the body, that could not be observed by its exterior, by its completeness, but only by cutting it, analyzing the fragments, emptying its content and trying to rebuild it departing from this experience.

Emptying the body

The title Autumn Rhythm comes from Pollock's canvas of the same title. 
Music by Fernanda Navarro & Bernardo Barros. 

Autumn Rhythm

Consolo na Praia - by Fernanda Aoki Navarro

flute: Cassia Carrascosa
clarinet: Luís Afonso Montanha
piano: Lidia Bazarian
percussion:Carlos Tarcha
violin: Eliane Tokeshi
violoncello: Fabio Presgrave
conductor: Roberto Victorio 

[English version below]

Vamos, não chores... 
A infância está perdida. 
A mocidade está perdida. 
Mas a vida não se perdeu. 
 
O primeiro amor passou. 
O segundo amor passou. 
O terceiro amor passou. 
Mas o coração continua. 
 
Perdeste o melhor amigo. 
Não tentaste qualquer viagem. 
Não possuis casa, navio, terra. 
Mas tens um cão. 
Algumas palavras duras, 
em voz mansa, te golpearam. 
Nunca, nunca cicatrizam. 
Mas, e o humour? 
 
A injustiça não se resolve. 
À sombra do mundo errado 
murmuraste um protesto tímido. 
Mas outros virão. 
 
Tudo somado, devias 
precipitar-te  -  de vez  -  nas águas. 
Estás nu na areia, no vento... 
Dorme, meu filho.

(Carlos Drummond de Andrade)

[English version]

Consolation on the beach

Oh, don’t cry... 
The childhood is lost. 
The youth is lost. 
But life is not lost yet.

The first love has gone. 
The second love has gone. 
The third love has gone. 
But the heart continues.

You lost your best friend. 
You try no traveling. 
You don‘t have a house, a ship, or a land. 
But you have a dog.

Some hard words 
In mild voice, beat you 
Never, never healed 
But, and l‘humour?

The injustice can‘t be resolved.
In the shadow of the wrong world 
You murmured a shy protest.
But others will come.

All together, you should 
precipitate - once and for all - into the sea. 
You are naked, on the sand, in the wind... 
Rest, my son.

________________________________________________________________________

Cassia Carrascosa(flute), Luís Afonso Montanha (clarinet), Eliane Tokeshi (violin), Fabio Presgrave (cello), Lidia Bazarian (piano), Carlos Tarcha (percussion), Roberto Victorio (conductor). 

Consolo na Praia

Fernanda Navarro is a composer, who works with acoustic and electroacoustic music, performance art and installation. For more info, please visit: www.fernandanavarro.net

Fernanda_Navarro

Popular tracks