Full pieces

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In Alaskan Wilderness, God Treads On You

An electronic piece (pending mastering) aiming to capture the emotional soundscape surrounding the Apollo 11 moon landing in 1969. Anxiety, adrenaline, wonder, bliss. The title, "Waxing Crescent", emphasizes NASA's choice to land in the first quarter of the lunar cycle to maximize visibility for observation on descent to the lunar surface.

Waxing Crescent

Deadlock I

This is a song for a new project I'm working on, It's the first one I've finished so far, but there will be more soon :)

-AvapXia
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Newgrounds: avapxia.newgrounds.com
Soundcloud: https://soundcloud.com/avapxia
bandcamp: avapxiamusic.bandcamp.com/releases
Patreon: www.patreon.com/AvapXia
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Thanks for listening!

XVIII - The Moon

RAW
for chamber ensemble and audience

Allison Damon, trumpet
Derek Easterday, tenor sax
Andrew Tjandra, cello
Rachael Fasano, hammered dulcimer and percussion
Eric Peterson, percussion

"all night, all day" live recording by New Keys (Regina Schaffer, Kate Campbell, Anne Rainwater, Anthony Porter) at the San Francisco Center for New Music, 10/8/15

all night, all day

ABOUT RUBY FULTON

I write music which invites listeners to explore non-musical ideas through sound. My musical portfolio includes explorations of mental illness, Buddhism, philosophy, psychedelic research, addiction, and chess strategy; and profiles of iconic popular figures like the artist Jean-Michel Basquiat and musicians Syd Barrett and Whitney Houston. I have collaborated on interdisciplinary projects with thinkers and makers in the sciences and literary, movement and visual arts. 

I'm a multi-instrumentalist, performing on and writing for violin, trumpet, and keys. Much of my work falls into the category of concert music, written for ensembles ranging from duos and trios to full orchestras, choirs, and wind ensembles. I also write music that I perform myself, using loops and samples to become a one-person orchestra. Whatever musical genre or instruments I choose, my music reflects the rhythms and pulses of daily life, and the world around me. My music has been performed by the Boulder Philharmonic, the Cabrillo Festival Orchestra, the American Composers Orchestra, the Holland Symfonia, Volti, and Newspeak; and programmed on the Bang on a Can Marathon, the Guadeamus New Music Festival, and the SONiC Festival. 

I teach composition and music theory at the University of Idaho Lionel Hampton School of Music. I hold a doctorate from the Peabody Conservatory of Music, with additional degrees from the San Francisco Conservatory of Music and Boston University. 

WEBSITE: www.rubyfulton.com

ROAD RANGER COWBOY
Live recording by Cabrillo Festival Orchestra, Vladimir Kulenovic, conductor

Road Ranger Cowboy is an imaginary take on the larger-than-life perspective of a cowboy whom I encountered in real life at a truck stop in Waterloo, Iowa. He was a thin, elderly man with long white hair, dressed from head to toe in ornate western cowboy clothing, complete with a ten-gallon hat and a shining set of spurs. Since we were in a fairly urban area, just off a busy interstate, with no horses in sight, I wondered why he might be wearing such a costume, and I invented the narcissistic character of the Road Ranger Cowboy. I researched
the effect which severe narcissism has on the processes in the brain, and learned that the narcissistic mind blocks out the majority of sensory input, filtering out everything except the information which bolsters their fantastical self-image. My piece begins with a simple country western tune, which represents a "normal" view of life. Gradually, the music is pulled apart and distorted, as only a few pitches are selected by the cowboy's narcissistic
system. Although the tune is in A Major, the cowboy's filter eventually plucks out
the notes of a B-Flat Major scale, just in time for a grandiose version of the tune, which is reality as seen through the cowboy's perspective. The piece ends with a solo flute, representing the loneliness of this dystopian American hero.

Road Ranger Cowboy

Over the course of a decade, Michael Gordon has collaborated with the world-renowned Kronos Quartet on a series of provocative works that have sought to stretch, bend and otherwise reshape the boundaries of modern classical music. Clouded Yellow assembles these works for the first time, perfectly encapsulating the breadth and complexity of this long-standing creative partnership. 

Clouded Yellow features four pieces: the title track (composed in 2010), Exalted (2010), The Sad Park (2006) and Potassium (2000). The title of the first refers to the clouded yellow butterfly, which is known in England for its mass migrations; the word “clouded” is also meant to describe the blurred harmonies and melodies of the piece. 

Potassium is for amplified string quartet and electronics, with a fuzz box used throughout to lend a mysterious distortion to the sound. The Sad Park is accompanied by recordings of children ages 3 to 4 and their responses to the tragic events of 9/11. Exalted, which also features the Young People’s Chorus of New York City conducted by Francisco Núñez, sets the opening of the Jewish Kaddish in Aramaic, connecting the choral voices of mourning to those of the children in The Sad Park.

Clouded Yellow

Michael Gordon & Kronos Quartet – Clouded Yellow

Philippa Thompson, spoons
Mellissa Hughes, soprano
Taylor Levine, ukulele

Road Ranger Cowboy

rubyfulton

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