Mixed Friends 44

Program Notes:

Hunger of Insects in Dry Places is a phrase from Williams S. Burroughs’ pivotal 20th century magnum opus, Naked Lunch (1959).   This part of the novel describes a drug addict hungrily shooting-up, only to break the needle inside the skin:

“But her hideous galvanized need (hunger of insects in dry places) has broken the dropper off deep in the flesh of her ravaged thigh (looking rather like a poster on soil erosion).  But what does she care?  She does not even bother to remove the splintered glass, looking down at her bloody haunch with the cold blank eyes of a meat trader.” -Burroughs, Naked Lunch, pg. 10

Burroughs’ use of language, raw and honest but poetic, speaks to me in more ways than one.  My take for chamber orchestra is a harsh, percussive, and repetitive journey through Naked Lunch with insect-like oscillations.  I also wanted the piece to sound as if the author himself wrote it: an invasive aural assault, flexing between repetitive figures, low, moaning drones, and cut-up phrases.  Even Burroughs’ own voice, monotone and ominous, is like like voice of some musical grim reaper. 

BW 2018

Hunger of Insects in Dry Places, op. 14 (2017/18) for chamber orchestra

Three-part fugue written for strings in the key of F minor. This fugue is presented here with slight changes/additions in articulation, dynamics and some of its melodies, in order to better adapt it to the composer's musical intentions.

06/04/2018

Fugue in Fm M.M. 12 (remastered 2018)

[IN.pression) #10

Demo Tracks fps 913

From Train Windows

This track was created for the Naviar Haiku group.
232 week haiku
naviarlab.tumblr.com/
NI Maschine
sound sample from  https://freesound.org/people/jaegrover/sounds/240549/

2018-06-14

Indian summer dragonfly shadows seldom brush the window (Naviarhaiku 232)

Fifth in a series of early collaborative tracks by my brother Chris @third_eye_cue and me. Artwork by Chris.

SPECIAL GUEST!  Jason Ganz https://soundcloud.com/neurotransmit-1/tracks on bongos

Equipment used:

•	Roland VS880 Digital Studio Workstation 
•	Alesis QS8 Digital Master Controller Synthesizer
•	Roland MC-909 Sampling Groovebox
•	Korg MS2000 Analog Modeling Synthesizer
•	Roland MC-505 Groovebox
•	Roland GAIA Analog Modeling Synthesizer

IMPROVISE I

Wilder:  Journey of a Tree Frog (improv jam 2014)

Negative Space

Юли  (original here:  https://soundcloud.com/evelina-miteva/july)

Какво е бог, какво са боговете.
Сянка, потеглила по пътя.
Повей, откъснал се от клоните.
Хляб, изпечен рано сутрин,
И вишната, която бавно се налива,
Докато минавам, на път към фурната,
Докато минавам – лека като повея,
Невидима за лятото, издължена сянка, 
докато минавам в божието утро.
***
July

What is god, what are the gods.
A shadow, going down the way.
A breeze, torn off the branches.
Bread, baked early in the morning,
And that sour cherry, slowly ripening,
As I am passing, on my way to the bakery,
As I am passing - light as breeze,
Invisible to the summer, a tall shadow,
as I am passing through God's morning.

Miteva In July  (collaboration Evelina Miteva and Jeff WIedenfeld)

... *vor pie' war nicht's als_ Die Iiefen Fragen Eier Fahren ~

Orch256 - Fast Life

Where I Wanna Grow.          2017

music by @besrk
vocals, lyrics, vocal melody by @janine levinson

It’s been long long time   
As I sleep like a hungry seed
Holding the hillside
In the dirt of a fantasy

But this isn’t my time
As I wait for the sky to weep
And dream of the sunshine
For a ray to tumble down on me

I never told you how 
And now I think it will be forever
The light is so far away
From the places that I want to grow

This isn’t my real life
It’s a ghost of a conversation
I think of the ways I’ll vine
In my green and wet imagination

No this isn’t my time
Just a joke of anachronism
Outside of my reach 
I'm a prisoner of my own vision

I never told you how 
And now I think it will be forever
The light is so far away, oh
From the places that I want to grow

Where I Wanna Grow

Boson Spin - Ambient Bite 300

Improvisation III

Indian summer:
dragonfly shadows seldom
brush the window.

Poem by Masaoka Shiki https://terebess.hu/english/haiku/shiki.html
Picture by Gabriele Diwald https://unsplash.com/@gabrielediwald

clicK-herE

halF dragonflY [naviarhaiku232]

An all-interval 12-tone row (serialism!) gets repeated over and over (minimalism!), but the tones are gradually revealed as 4th harmonics of implicit fundamentals (spectralism!) that get randomly (aleatoricism!) replaced, in each clarinet's part, by other harmonics.  The result is not midway between tonality and atonality, but rather, paradoxically fully committed to both logics at all times.  The harmonic cloud around the row gradually obscures its structure, and something happens at the midway point that may only seem obvious to the listener who gets to the end and goes back to the beginning.  This imparts a certain approximate symmetry (formalism!).  

The affect of the effect reminds the composer of butterfly flight, and the title refers, casually, to some recent research concerning how that all actually works.   The hidden crucial moment might suggest a "butterfly effect," but chaos theory is not literally implicated in the piece.

The practical score will call for three players even though effectively the work sounds as a mere duet.

Butterfly Waggle Vortex Rings, for clarinets

Made for Naviar Records' 232nd Haiku Challenge

http://www.naviarrecords.com/2018/06/13/naviarhaiku232-indian-summer/

After the frost [Naviarhaiku232]

Boson Spin - Ossmilor

Submission for Disquiet Junto Project 0337: Through Composted
(Create a piece of music that is through-composed, but built entirely from samples.) For more information, see: https://disquiet.com/0337

Having written a through-composed folk song for February Album Writing Month 2011, I sampled my demo from YouTube ( https://www.youtube.com/watch?v=My_7VH9PRw4 )and used this as the backbone for my assembled tragedy.

Prince Of Thorough Compost [disquiet0337]

The heart of this piece is based on the following observation: if one player divides the measure into 7 pulses and accents every five notes, while the other player divides the same measure into 10 pulses and accents every seven notes, the accented notes will slowly phase in a 49:50 ratio.  Since 5 + 7 = 12, one player gets a pentatonic scale while the other gets a diatonic scale, and the pitches then get passed back and forth as the piece progresses.

Primetime for two marimbas (1975)

Boson Spin - Reploto

Morning Glory

Curly Compositions from a German Composer.

Mixed Friends 44

Robert Knote