 ‘Nexus’ is an electro-acoustic work derived entirely from three sound sources; flute, conga, and cymbals. The title means “a connection or series of connections” and refers to the pieces that are strung together to create gradual change. This concept is then juxtaposed against moments of immediate and dramatic change.

Nexus

My first indepth venture into computer music.

Sanctuary

This piano solo is derived from the single three-note motive E-F-D played by the right hand in the opening of the piece. 

Performed by Dr. Jonathan Bowman

Artifact

This is a piece for piano and live electronics. The primary goal in composing this was simplicity. The piano part and the live processing, performed on a MIDI controller, are simple enough that even a non-pianist is able to perform both parts simulatneously. The result is a piece of electroacoustic music that is accessible to any listener and performer.

Equilibrium

Circular Logic was created entirely from recordings of audio feedback. As the feedback was recorded, it was manipulated and processed using plugins and a MIDI controller. These recordings were then used as source material to create a dynamic and intense fixed media work.

I have plans to mix this for four channels.

Circular Logic

Caverns, for trumpet and live electronics, explores a series of environments in which sound can be transformed. The trumpet solo is intentionally muted and left out of the mix, as its purpose is to reveal each composite environment and provide melodic character to be enhanced by these spaces. The piece requires only one musician, performing on both the trumpet and computer. Caverns is realized using Ableton Live 9 Lite.

Caverns

Keys, Strings, Clothespins for solo piano makes use of inside the piano techniques and strings prepared with clothespins, along with on the keys playing. This piece features unique pentatonic harmonies and a wide range of piano timbres. It is at times expansive and atmospheric and other times intensely rhythmic and aggressive.

Keys, Strings, Clothespins

Monuments is my first full scale large ensemble composition. The piece is largely inspired by sound mass music, as it lacks any real melody throughout. Instead, the piece is driven forward through thematic harmonic progressions and rhythmic motives. It follows three separate forms all layered together; one governing the harmonic language for the pitched instruments, another for the rhythmic material, and the third form for the timbres used in the ensemble. Overall, this makes for a unique and fun wind ensemble piece.

Monuments

This is the first movement of a recent orchestra composition titled Trilogy. Performance by the Roosevelt CCPA Symphony Orchestra.

Trilogy (Movement I: Aggressive)

This is a stereo mix of the original four channel composition.

Critical Tension, a nearly fourteen minute four channel fixed media electroacoustic work, began in concept as a dynamic narrative, both musical and psychological. Though there is no complete break in sound for duration of the piece, I think of it as three successive movements. The overarching concept for the first “movement” is relentless intensity. This is achieved through ceaseless pulsing, active spatial counterpoint, dissonant microtonal sonorities, and generally wide frequency range and loud dynamic. The intent is to overwhelm the listener with the intensity of the music and continue to build upon this un-resolving tension until it is almost unbearable. Finally, after a loud and percussive impact, the music begins to come to rest on a single drone. Overtone singing and gentle wavelike cadences add to this texture and create a very slowly expanding meditative middle section to the piece. After a few minutes of meditation, the dissonance and tension of microtonal counter-drones and sharper timbres begin to work their way very subtly into the soundscape. As these elements overwhelm the texture, pulsing rhythms and percussive impacts join as well. The goal is to not only build tension, but to clearly allude to the first section of the piece. This creates the anticipation of a recapitulation of the opening section in all its intensity, but the listener is instead surprised by a powerfully harmonious sound world. While this third section is a synthesis of musical concepts from the first two sections, it is also a representation of the resolution that the first section was driving toward.

Credit to performers for recording sound samples:
Alex Glenfield - overtone singing
Joe DeAngelo - violin
Jordan Jenkins - double bass

Mitch Weakley

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