Name: Two Weevils by EVEN MORE MAOIST THAN CORNELIUS CARDEW
Duration: 5 min 16 s
Description: Two unedited takes of improvisation on the BugBrand Postcard Weevil panned left and right. EQ, delay, reverb, and limiting ITB.

Tenney suggested that For Ann (rising) be "regenerated" using the golden ratio (phi - 1.618...) for the minor sixth between partials, this is a version I recently did in PD using that ratio. For the 1992 CD, we used a ratio of 1.6.

http://en.wikipedia.org/wiki/For_Ann_(rising)

James Tenney - For Ann (rising) - golden ratio version

NLC Stooges Triple Jerk Chaos circuit in Bugbramd format.  Jerk Chaos is my favorite type of chaos  audio.

Clint Sprott is a Jerk

A self-propelled patch with the Tiptop/Buchla system.

Tiptop Texture

Two unedited takes of improvisation on the BugBrand Postcard Weevil panned left and right. EQ, delay, reverb, and limiting ITB.

Two Weevils

Chelou is a French slang word meaning strange, bizarre, or shady. This composition seeks to
explore the different “shades” and interactions between different harmonic sound colors in order to produce a strange and disorienting feeling.  This includes the technique of introducing pitches based on the harmonic series’ of other harmonics, leading to a surreal and complex form of counterpoint. Chelou is composed in 43 limit just intonation, a tuning system where the notes played exist outside of the 12 equally tuned keys of a piano.

Chelou

A piece in 89 limit just intonation, with a subsonic 10hz fundamental.

Not Ready for Prime Time (87 and 89)

250302 Mobiles - Gaston [Nonlinear] Dynamics

shaku krell improv

World Premiere, 7.17.25
Jennifer Gersten, violin
Hannah A. Barnes, electronics
Scholes Street Studio, Brooklyn

“Caminante, no hay caminos, hay que caminar.”
—anonymous inscription on a Spanish monastery
“In my beginning is my end.... In my end is my beginning. —T.S. Eliot, “East Coker”
The paths one takes are rarely, if ever, clear and straightforward. clouded winding paths reflects upon the above mantra, which has guided me for several years, as well upon as the circumstances surrounding the composition of the piece and the physical recovery of both myself (before the composition) and my collaborator, Jennifer Gersten. After an injury necessitated a drastic change in how Jennifer played the violin (taking up an improvisation practice with the violin on her lap), creating uncertainty around performance possibilities, I was eager to continue this collaborative project, finding a connection between her situation and my own years of chronic scoliosis-related back pain as a young woman.
Before intensive physical therapy, which led to significant and lasting positive change, I had to adapt and limit certain activities for years as a teenager and young adult. In clouded winding paths, I took an adaptive approach to violin writing, which led to certain discoveries in our collaboration that I would not have found otherwise—wispy harmonic sounds that come from inserting a knitting needle between the strings; or different approaches to overpressure or molto sul tasto bowing that are only possible with the violin positioned horizontally; and so on. As Jennifer was able to return to playing in the “traditional” position, in the finished piece, these adaptive materials are present in the electronics, which augment or contrast with what takes place in the live violin. This adaptive playing also influenced materials and development in the “traditional” position, which is modulated by the filtering and delays within the live electronics.
At the heart of the piece is a complex network of material and textural relationships, which includes polyphony between the solo violin and its fixed electronic counterpart. Materials and structures that are created and used in rigorous manners (including a thirteen-note microtonal tone row) come into contact with messy, unpredictable materials and processes. While some of these paths were determined at the outset, many were illuminated along the compositional process and could not have been anticipated at the origin of the journey.
clouded winding paths, which pays homage to Luigi Nono, was composed for and is dedicated to Jennifer Gersten. It is a cousin to my piece for electric guitar, Negative Capability (2020).
— HAB

Poster/thumbnail design by Jennifer Gersten.
All fixed media recordings by Jennifer Gersten.

clouded winding paths (2025, world premiere)

"Selenetrope" is a short study on bow nuance and timbral shading. Composed over three days during the 2025 Darmstadt Summer Courses in close collaboration with violinist Karl Jõrgi, the miniature explores fragile, unstable materials at the threshold of sounding. I want to express my gratitude to Karl for his fantastic collaboration and sensitive playing, and to mentors Rebecca Saunders and Sarah Saviet for both creating the environment for this collaboration as well as providing guidance on detail and notation.
-- HAB

*Headphones recommended; any background noise is part of the Darmstadt Experience.

31 July 2025
Darmstadt, Hesse, Germany
Karl Jõgi, violin

Selenetrope (2025, world premiere)

Clicker & I'm Gibber

for sketches and sundries that don't warrant commercial releases

Two Weevils

EVEN MORE MAOIST THAN CORNELIUS CARDEW

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