05/28/2021, at the end of a hike from Pantoll to Muir Woods and back. Quiet soundscape with various species of birds, at least one fly, and some hikers on another trail above us. Recorded with a Sony PCM-D100.

TCC Trail Near Muir Woods

An excerpt from a longer take, recorded during a hike on the Na'pali Coast Awa'awapuhi trail. I excised most anthropogenic sounds (a helicopter tour early on, some trail runners, me trudging back to retrieve the field recorder), leaving a remarkably "natural" soundscape in which you will hear various species of birds (including the conspicuous Kauai roosters), and the beginning of some rainfall.

210616 Awa'awapuhi Trail Clip

Just intonation guitar and synthetic bell loops with some granular processing. A bit sad perhaps?

Sad Loopscape

Fuzzin' out with the Animal Factory Amplification Baron Samedi.

Le Samedi matin avec le Baron

exploring this two-sided octafuzz in an extended, shapeless noodle of sorts. Starts and ends with the regular fuzz, octave mayhem in the middle. Amp reverb into Suhr RLIR, normalized, no processing/eq.

Odin Noodle

Noodle-fest with the Japanese Elf Sustainar Big Muff flavor. Lots of knob twiddling both on the pedal and the guitar.

Elf Noodle

Quick demo of the different response modes of the 292T

292t

until it blazes (2001)
for any plucked or keyboard instrument and dual delay

Eve Beglarian (b. 1958) is an Armenian-American composer based in New York City. In *until it blazes* she creates a rich tapestry of textures from great economy of means, as the entire melodic content of the piece consists of only six notes. A gradual additive process is combined with shifting accenting patterns, allowing the emergence of floating "super melodies" from the repetitive background. The exact form of the piece is left to the performer; in this recording, I attempted to create a sense of urgency, as the activity in the piece accelerates until a final ignition and rapid combustion. 

Purchase Vinyl Album

Eve Beglarian: until it blazes

another possibility (2004)
for solo electric guitar

In 1966, Morton Feldman composed *The Possibility of a New Work for Electric Guitar* for his friend and colleague Christian Wolff (b. 1934).  Wolff—who is not a guitarist by training—performed the piece a few times in concert and on various radio stations, until his guitar (and the only copy of the score, which resided in the case) was stolen from his car one night. Nearly forty years later, Wolff decided to compose an electric guitar piece of his own, drawing inspiration in part from what he remembered of the lost Feldman work. *another possibility* inhabits a familiar sound-world, one in which melodic fragments and musical ideas come freely in and out of focus. The last two pages of the score contain only rhythmic values and indications for open or fretted strings, leaving the actual notes to be played at the discretion of the performer. In a final historical twist, a recording of Wolff's 1966 performance of the Feldman piece was recently found in the KPFA archives in Berkeley, California; a critical edition—based on a transcription of the performance and on some of Feldman's sketches—is being prepared for publication by guitarist Seth Josel.

Christian Wolff: another possibility

hair of the thing that bit you (2011)
for guitar and looper

Anthony Porter (b.1981) is a composer, performer, and designer living in San Francisco. He wrote *hair of the thing that bit you* for amplified acoustic guitar and looper pedal, after a commission  by Matthew Holmes-Linder of San Francisco's Mobius Trio. Upon hearing the piece at the premiere, I couldn't help but imagine its electric potential, both in terms of timbre as well as allowing for a more seamless integration with a looping device. The music unfolds as four continuous movements, which are alternately free and loop-based; lyrical passages give way to energetic interlocking rhythms, guiding the listener through a transformative and emotive journey.


Anthony Porter: hair of the thing that bit you

Traversing harmonically-related harmonic series with the Instruo Scion.

Harmonic Prelude

Slurry improvisation exploring tonality, decay, and cleanup for the FacelessFx Ripken's Bat fuzz pedal (Ge, Mk1.5 spec).
All tonal changes come from guitar control knobs and playing dynamics.

Ripken's Bath

My entry for the #NYMS patchable challenge 0016, reimagining the music from the Mos Eisley Cantina.
Three shift registers running in parallel, two outputting gates, and one quantized CV for 31-limit just intonation scale (but with only four notes). Two melodic lines (high voice) in a tight canon (just a few clicks apart), accompanied by three-voice chords in utonal inversions of the melody (because alines OBVIOUSLY prefer rational tunings). 

All voices are actually generated by MI Tides, with the "root" fed to the two channels of the 4ms DLD in wet-only mode (to "decouple" them temporally from the chords); the three chord voices are mixed into a single LPG, with some timbral variation to imitate the alien's polymorphic instrumentation.

A randomly-triggered smeared drone acts as a kind of heterophonic accompaniment, sometimes noticed, sometimes not. It grabs and transposes single notes from the melodic line.

Utonal Spaceport Patchable-0016

a spontaneous study in 5-limit Just Intonation (Ptolemy's intense diatonic with the occasional twist), with a three-voice canon and pitch-shifted granular accompaniment, plus some gentle guitar meanderings.

Intense Canons

Comparing the general behavior/range of Beads and Arbhar granulating a recorded/frozen buffer (single OSC→LPG pitch). Mainly comparing behavior of synchronous/asynchronous density, shape, and reverb
See comments for demonstration specifics.

Beads Arbhar Comparison

Playing with Beads in "scorched cassette" mode, alternating time-stretch and granular processing of a wistful live guitar part.

Beads In Space

Classical, experimental (new music), and fingerstyle guitarist. I wear many hats and it's kind of confusing. www.giacomofiore.com

Giacomo Fiore

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