composed by Martin Arnold (1995)
performed by:
Natalie Michaud: soprano recorder
Alain Trudel: sackbut
Geneviève Soly: positive organ

Mole Meander

for speaker, bells, and organ

Robert Keene, speaker
Henry Danaher, organist

The Bell Choir of The Church of Christ at Dartmouth College

recorded in Hanover, New Hampshire
March 17, 2022

meditation: psalm 23

...for shō and unfiltered saw tooth waves. Presented during Skaiv, 7/4 - 2022, at Benhuset in Stockholm, Sweden.

Mattias Hållsten, shō and electronics.

Solo #1 (2022)

https://caterpillarrec.bandcamp.com/album/transparent-forms?fbclid=IwAR2MDtUAVEyTzpVchoR3fwAMPJ5VHkhc6Qsdyf_xPuVaN_SZn_5DltuNFw0

Transparent Forms - Nick Ashwood - Cat 010 

Composed in 2022 for Microfest, an annual microtonal festival hosted by Kraig Grady and Michael H Dixon. 

Transparent Forms is Nick’s first group composition following on from his 2020 solo piece Unfolding/Overlay, (Inexhaustible Editions 027). Amanda Stewart wrote in the liner notes to that: “Enfolded in the shifting tones, our ears are at the edge of themselves.” With this new work, he continues this interrogation into the edges of harmonicity and perception. Frequencies from bowed guitar, flute and clarinet burst away from any notion of a stable lattice to reshape our understandings of intervals and chords, and our listening is continually surprised and delighted by the 'tastes' and 'colours' that are revealed. 

The instruments dissolve into each other to create an unrecognisable timbral unity where melody emerges from harmonic clouds.
credits
released December 2, 2022 

Laura Altman - Clarinet 

Jim Denley - Flute 

Nick Ashwood - Acoustic Guitar 

Recording at Tempe jets by the group, Tuesday 14th June 2022 
Mixed by Jim Denley

Transparent Forms

An arrangement of one verse from 

'Song Composed in August' by the Scottish poet and lyricist
Robert Burns (1759 - 1796)

Voice and guitars, arrangement - Fredrik Rasten

Recorded April 20, 2022

Video:

https://youtu.be/D6oJYBopFT0

Song Composed in August (one verse) by Robert Burns

resonnant tree I & 2, for harpsichord solo

Wander Steps for two microtonals accordions played by the duo XAMP Fanny Vicens and Jean-Etienne Sotty (festival Messiaen au Pays de la Meije, commission 2018)

Wander Steps (2018)for two microtonals accordions

Concert Bratislava, 19 - 12 - 2019, ensemble Ricercata

Žiadba violin version Milan Paľa

taken from my record Strings out on Chemical Imbalance - on tape or download here:https://chemical-imbalance.bandcamp.com/album/nick-ashwood-strings-pt-i-xii-lp?fbclid=IwAR0IuMPu_GhqlJcfZ3mwsq1Jp8OciNNmKFBTD5zF2XMZ7tpg0tez68-ssno

Nick Ashwood; Acoustic guitar, singing bowls & voice. 

"Strings I - XII is a study of the bowed acoustic guitar. All pieces were solo improvisations with no overdubs. The pieces were all subject to the amazing bunker space in Alexandra Battery, Nipaluna/Hobart, Tasmania. The acoustic qualities and ambiance of the space were impeccable to the creation of these improvisations."

Strings I

https://inexhaustibleeditions.bandcamp.com/album/unfolding-overlay

Unfolding/Overlay (2019) (38:30)
Nick Ashwood: acoustic guitars
Composed and realized by Nick Ashwood
Recorded by Zarvan Kara at Reel To Reel Studios in Margate, Tasmania, Australia on 27/7/2019
Mixed and mastered by Jim Denley at Kaloola
Score graphics by Nick Ashwood
Liner notes by Amanda Stewart
Graphic design by László Szakács
Produced by László Juhász
Special thanks to Jim & Viv, Laura Altman, Amanda Stewart, Liam James, Fredrik Rasten, Cat Lamb, Clara de Asís & The Splinter Orchestra

Dedicated to Cor Fuhler (1964-2020)

Unfolding/Overlay

Mesmeric displacements, chordal transmutations, long tones, latent tonalities, austere, immersive, realigning the senses, clear yet unstable, ephemeral yet tangible. Listening to Nick Ashwood’s unfolding/overlay for the first time, I am struck by its restraint, its elegance, and the complexity that evolves from the most simple of elements and approaches: the tonalities generated by two, bowed, acoustic guitars.

This performance of the composition has been created ‘live to tape’ in two continuous, unedited recordings that unfold and overlay in relation to each other in real (recorded) time. This process is palpable in the listening experience, engendering an organic intimacy and vulnerability as the work develops. Using just intonation and a capo, Ashwood’s tones splinter, multiply, abstract and coalesce into a wash of colour exchanges. As the piece progresses, these washes continuously evolve into new fields of harmonicity, forming paradoxical points that unfold vertically and horizontally in space and time.

Ashwood usually works within extended guitar technique traditions (as developed by Keith Rowe and others since the 1960s). However, in unfolding/overlay, he has chosen to utilise bowing techniques to explore immersive fields which can be generated from minimal resources.

Enfolded in the shifting tones, our ears are at the edge of themselves. As I listen to the work again, and again, I hear it differently each time: new intricacies and multiplicities that I hadn’t fully absorbed emerge. The piece, itself, seems to expand one’s experience of the moment as an unstable and ultimately unknowable interplay. Amanda Stewart 2020

unfolding/overlay (Except)

composer, harpsichordist, synthesist, working on slow and justly tuned music. Born and lives in Paris, France.

resonnant tree I & 2, for harpsichord solo

Léo Dupleix

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