I will discuss these instruments eventually. 

Something Permissable

DRONE 2 8KBPS 22050

Here is a short sound clip of one of the microtonal ocarinas I've been working on. I wanted to demonstrate some of the unique abilities of the instruments. I plan on making some short tracks for each on in the ensemble I built. There are currently 18 members in the family ranging from F2 up to F#10 

HiSoprano Ocarina Solo 1

Tenor Ocarina Solo 2

My microtonal ocarina piece "Birds" as part of the Valley Chamber Ensembles' event, "Night Music". 

BIRDS

My microtonal ocarina piece "Insects" as part of the Valley Chamber Ensembles' event, "Night Music". Played on instruments I constructed. 

INSECTS

I set up buzzing membranes on a couple of my ocarinas as an experiment to see the effect it would have on their timbre. Here I simply play the natural scale for the instrument first with then without the membrane to allow for comparison. 

Ocarina Buzz Demo

This is part of a series of long multi tracked drones I am working on. This one was produced on a contralto clarinet.

Drone Sample: Set one

Mozart Symphony No. 25 in G minor, reduced from orchestra into one track, reduced to an 8KBPS mp3, reduced to a single track midi sequence for Disklavier. This is the Midi sequence file that the disklavier piano will play from.

Player Piano Roll 2: SN25GM

The sample audio for a sculpture I am working on.

Nest Audio Sample

Forest|Urban|Other                                                                                                          Wesley Hicks, 2018

For 8 or more people.
For a duration that is longer then 5 minutes, choice at 12 minutes, try for less then an hour.

This piece requires musical instruments from the Earth Orchestra. The following instruments need to be presented as options but no one instrument in specific is required-
Cobblestones, Gravel, and Leaves
River rocks 
Microtonal ocarinas (birds, crickets, electronic noises) 
Voice and distorted voice
A large and small scratch board
Instruments that sound like various animals (a screeching bird, a big cat, and a cow)
Wind instruments (ones that sound like wind)
Instruments that sound like arcade noise, dial up, air compressor, and screeching

Introduction-
These instruments are to be introduced to the players, allowing them to hear various sounds the instruments make. The players are to then select instruments they want to play on (no experience is needed, each instrument is easy to learn how to play and a vocabulary of sounds can be developed in under 5 minutes.) Each player spends about 5 minutes playing on the instruments, learning how it works and deciding the kinds of sounds they would like to make. 

Building the Score-
This piece is broken up into 3 landscapes- Forest, Urban, and Other. There is a transition in between each where sounds will slowly change between the two adjacent landscapes. These landscapes determine the types of instruments that are active. Each player selects when they want to play their instrument depending on how well the instruments sounds fits into the three acoustic landscapes. Choices of how and when to play are also made by the players in context to one another. This makes the performance a kind of interaction or theater between the instruments being played. Players are acting as the animals, forces, and objects they represent. For example when one is playing a bird certain sounds will cause them to quite down for a short period and reemerge with sound and certain other sounds will cause them to increase activity.  A type of action and response, behavior, attitude, timing, and context can be built intuitively between players. As these things are being decided, write out a score deciding when each instrument is used. This activity should be done as a group. Parts can be titled based off of sounds that the instrument is reminiscent of (like birds, crickets, wind, screeching, air compressor, industrial sounds, ect.) Instruments that make a variety of sounds can be used for more then one part. Setting up the score in a way that is easily visible such as a whiteboard is helpful. Once the score is set, the piece is ready to perform. 

Performance-
This piece can be performed in several ways. The performance can include both the Introduction and Building the Score, or it can be just the performance based off the score. The performance can also be unrehearsed with all activities as one continuous performance. If the performance in rehearsed beforehand, please do not include a performative version of the Introduction and Building the Score segments. If the score can be shown in an easily visible way please include it in the performance for the audience to see.

Recorded as part of the Spring 2018 Experimental Music Workshop at CalArts. Ensemble members for 2018 included- Michael Pisaro-Liu, Lilac Atassi, Brandon Chang, Michael DeMaio, M Denney, Jasna Duran, Kevin Good, Wesley Hicks, Michael Janz, Greta Melcher, Cherlyn Hsing-Hsin Liu, John Pisaro, Cody Putman, Sivan Silver-Swartz, Mari Garrett, Julius Tedaldi, Jeremy Parel.
Not all ensemble members are present in the recording.

Forest|Urban|Other, First Recording

I am an artist and experimental musician. I will be posting my tangents of music that I think are interesting. They represent part of the musical creation but are not necessarily completed works. 

I am interested in creating cacophonous, dissident, and, glitchy music. I want there to be a broken down quality to it, where tempo, musical progression, and harmony are less structured and sometimes barely coherent in the work. I work with only physical musical instruments and only have digital sound present from manipulations of these sounds. I construct many of my own experimental instruments for this very purpose and am interested in digital like sound from a physical instrument.

Mete

Popular tracks