Recorded live at the Park Church Co-op, January 8th, 2017, with Lykos:
Kristin Leitterman, oboe/English horn (http://www.kristinleitterman.com/)
Mara Mayer, clarinet/bass clarinet (http://maramayermusic.com/)
Marilu Donovan, harp (http://www.mariludonovan.com/)
Maya Bennardo, violin (http://andplayduo.com/about/)

The causes of separation. The manners in which we fell. The directions we each took afterward. The Ways We Each Tumbled From The Precipice explores the concept of coming together versus moving apart. The instruments generally revolve around a central pitch point, sometimes reaching it and sometimes moving away from it, or reaching it, but not simultaneously. Rhythmically, the instruments sometimes progress through sections of phasing, beginning together, moving away from each other, and reuniting at a later point. The way the instruments interact also changes, with the ensemble often working in unity, then breaking into pairings that eventually dissolve and shift. The microtones (pitches closer to each other than found in the Western chromatic scale) can be initially somewhat jarring, but after one becomes accustomed to them, can be quite beguiling.

Full score:
http://hwarg.com/content/score/h_kenty-the_ways_we_each_tumbled_from_the_precipice_full_score.pdf

Many thanks go to Nathan, Jasno, and Nick at the Park Church Co-op for their help in organizing and engineering the concert (http://www.parkchurchcoop.org/).

Lykos photo by Christina Vantzou (http://www.christinavantzou.com/).

The Ways We Each Tumbled From The Precipice (Live, with Lykos)

Live performance March 2016 in Brooklyn, NY

Points On A Compass for Bass Trombone and Piano

Settle Down

You talking smack about my hair?

FOLLOW KEFFIE
https://soundcloud.com/kayfaraday

Voltron (Collab With kfaraday)

Slowly Disappear

Live interview w/ Rob Cosgrove about F-PLUS on WUSB Stony Brook (90.1fm)'s Experimental Radio, March 11, 2019. Ft. music by Howie Kenty, Roger Zare, and Liza Sobel.

F-PLUS Interview on WUSB Stony Brook

Post-tonal piano piece based on the octatonic scale

Performance by Julian Jenson on 11/02/2019 @ Florida State University.

Still Life in Four Movements (2019) for piano: III. Intermezzo | Julian Jenson

“Kamelle-on” (카멜레온) is the word for "chameleon" in Korean. Written for and premiered by Gamin Kang, saenghwang, for the International Computer Music Conference (ICMC) in Daegu, Korea (August 7, 2018), presented at the School for Music and Theater in Hamburg, Germany in a specially devised fixed media format, optimized for the unveiling of the Hochschule’s new $2 million Meyer sound system: 142 loudspeakers and 50 microphones; January 17, 2020.

Recording by Joel Gordon, Watertown, MA (recording on November 13, 2018; mastering on December 31, 2019, for performance at the School for Music and Theater, Hamburg, on January 17, 2020).

Kamelle-On for saenghwang and live electronics

Voices: Ann Heppermann and Jason Cady
Words, Music, Modular Synth: Jason Cady

The Princess and the Zombies

june 19 world end trap beat

Everything All At Once

Howie Kenty, AKA Hwarg, is a Brooklyn-based composer of electro-acoustic prog-rock clockwork artsoundmusic, sometimes using visual and theatrical elements. Throughout all of his creations runs the idea that the experience of a piece is more than just listening to the music; he strives for a wholeness of vision and an awareness of environment that attempts to fully draw the audience into his works.
