Three types of things populate this area: MIDI melodies that I plan on turning into compositions; computer music projects that failed to be great; xenharmonic doodles. You can tell which one each is by its corresponding picture.

Sketches (unfinished ideas)

David M. Gordon's 2021 "Fabular Arcana," for retuned piano and orchestra, performed live by Paul Sánchez and the South Dakota Symphony Orchestra under the direction of Delta David Gier. The four movements, which are performed without pause, are:

I. Hexefriri's Grand Parallactic Clockwork
II. The Coal-Bog Giantesses (starting at 8:15)
III. Concerning the Great Bøyg's Various Reconstructions of Solveig's Song from the Degraded Memories of Malevolent Woodland Spirits (starting at 18:23)
IV. Insecta ex Machina (starting at 30:36)

For further details, go to www.davidmgordon.com.

Fabular Arcana

"Barack Hussein Obama at Selma: The Bridge of Transformation” is the fourth movement from Wadada Leo Smith’s Sapphire Symphony – The Presidents and Their Vision for America. Sapphire Symphony No. 4 is the fourth in his 4-CD box set The Chicago Symphonies featuring Smith's Great Lakes Quartet.

This track features Wadada Leo Smith’s Great Lakes Quartet:
Wadada Leo Smith - trumpet
Jonathon Haffner - alto and soprano saxophones
John Lindberg - double bass
Jack DeJohnette - drums


The Chicago Symphonies represents another magnificent four-disc collection of extended compositions by composer, musician, artist and educator Smith leading his Great Lakes Quartet in a celebration of Chicago and the rich contributions of the Midwestern artistic, musical and political culture to the United States of America. The first three symphonies, “Gold,” “Diamond” and “Pearl” are performed by Smith with three other contemporary masters of creative music, saxophonist/flutist Henry Threadgill, bassist John Lindberg and drummer Jack DeJohnette. The fourth, “Sapphire Symphony – The Presidents and Their Vision for America,” features saxophonist Jonathon Haffner with Smith, Lindberg and DeJohnette.

“The idea of a symphony composed for a sextet was first presented by composer/ performer Don Cherry in his classic recording Symphony For Improvisers in 1966,” says Smith. “I have broadened this idea to include the social, political and psychological dynamic into the creative space. My Chicago Symphonies are intended to illustrate and preserve the powerfully unique cultural contribution that the Midwesterners made in helping to shape the American society.”

THE CHICAGO SYMPHONIES

Wadada Leo Smith - Movement 4: Barack Hussein Obama at Selma: the Bridge of Transformation

I used MIDI piano synth to have files of some of my better melodic personal compositions. The names are based off what I think the pieces sound like. These were not inspired by significant events, but are simply great melodies that I thought up. 

MIDI To Linger

MIDI Spirit Of Apology

MIDI Prime Fib

MIDI Feeling Of Falling

The compositions on this CD span the fifty years of my career (?) as a composer, from the early 1970s to the present. -David B. Doty

Doty - Eight and Seven Is (In'it_)

Doty - Incidents Out of Context

Doty - Parthenion

しか (v1)

Discover:  https://soundcloud.com/kapyo |  https://soundcloud.com/artikko | https://soundcloud.com/destinuna | https://discord.gg/FAAmuza

what's better in life than creating new friendships? it allows you to share these moments where we'd otherwise be along for. our moments on this plane can be ethereal if we so intend to do ; so why not escape into the world of pasionaria?


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kapyo x artikko - pasionaria

This work used a drone and long pauses, as well as the voice, to achieve an eerie and otherworldly effect. The drone continually morphs over one chord, but transitions between timbres. I wanted the piece to sound like it was too confusing to understand, but with hints of intelligibility. I also used Max MSP's vocoder capabilities to create the robotic effect in the voice. I also manipulated several sounds using granular synthesis and ring modulation, as well as convolution. The lyrics (which I wrote) are:

'Darkness drips with pallid sheen, and it makes its way to earth, whose halo hung with light cannot handle hubris.'
'Time passes, future and past, what writings ever shall last?
Ideas rock to and fro, never revealed or shown.'

Meant to sound very lofty, inaccessible, and even contradictory by confusion.

Invisible Machines

I wanted to see if I could make 7-limit harmony sound pleasant as a harpsichord solo. Also, this is technically in 11-limit, but I only include 11-limit intervals as decorations on cadential chords, not in the main texture (a reason I justify calling it 7-limit). Other than the tuning, this synthesized harpsichord differs from a real one in several ways:
(1) There's some sawtooth wave added in there for emphasis.
(2) It is sensitive to velocity changes.

Please comment!

Etude for Fantasy Harpsichord (7-limit JI)

OM 52 GATES AND VARIATIONS LP OUT NOW

Open Mouth
http://openmouthrecords.blogspot.com

US distro
http://www.forcedexposure.com/Catalog/meginsky-jake-gates-and-variations-lp/OM.052LP.html

EU
http://www.metamkine.com/?monnouveaute=1



Jake Meginsky
Gates and Variations
Open Mouth LP
OM52

Gates and Variations rounds out a loose trilogy of records by Jake Meginsky for Open Mouth. Not an intended trilogy on Jakes part but it has become one to my mind. It has come to be how I listen to them and experience them, all informing each other, echoing and challenging each other and growing into each others space and light like a garden of plants that would never actually coexist anywhere in reality. Jake is always tirelessly reaching for something new yet I'd avoid using the word progression here. It instead feels to me like the last piece of a puzzle, or of a world created by some Jack Kirby demigod. Something has been completed and now all the pieces are interchangeable. The first can go last. The middle can be first. The whole thing becoming a universe looping in on itself with a multitude of entry points and not a lot of exits. These are dense environments where sections can move from microscopic to macroscopic, day to night and back again,  so effortlessly that its hard to tell if its intended or if something imperceptible within  you shifted the locus of yr perception. But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown. Theres a sense of danger here like warning transmissions, concussive roiling rhythms and jagged disturbances. Yet also clear straight lines giving way to enveloping curve and staggering beauty. Supplant the beginning with the end with the beginning 

Bill Nace
Philadelphia, PA
September 2017

Gates and Variations OM 52 LP - Third Gate _ Track 4 Side A

Anne-F Jacques, Ryoko Akama, Takamitsu Ohta
The Magic City
C42 (XIX-I)

Release date: April 2019
www.hasanaeditions.org

The Magic City

XIX-I - Anne-F Jacques, Ryoko Akama, Takamitsu Ohta - Chris in the magic city (excerpt)

Excerpt from the B-side of the 'Albatross' cassette, to be released in September.

Etude for Fantasy Harpsichord (7-limit JI)

Stephen Weigel

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