8² (ibrasotope 2008 version)

Domestic recording of piano piece with the composer playing. Mixed by Rafael Sarpa
score: https://www.dropbox.com/s/8fh9e03pdxfttgp/curtos%20circuitos%20I.pdf?dl=0

Curtos Circuitos I (2001) for solo piano

https://seminalrecords.bandcamp.com/album/oco

excerpt of oco 1, by j.-p. caron and marcos campello. part of "oco", second release by seminal records.

excerto de oco 1, de caron e campello. parte de "oco", segundo álbum lançado pela seminal records.

J.-P. Caron & Marcos Campello - Oco 1 (excerpt)

Third part of Preto sobre Preto, our debut album released at Toc Label. http://www.toclabel.com/2013/07/toc009-notyesus-preto-sobre-preto.html

Hum (for a body)

Suprematismo: Hypericone

B-alúria

Piece composed for, and recorded in, Mario del Nunzio´s cd "Vertebra". 
Score: https://www.dropbox.com/s/9y29ps6oxm6vxnf/V%C3%A9rtebra.pdf?dl=0 

“... ele dizia, tocar na flauta da própria vértebra e falava também em coração e em ícones nele guardados guardo no meu coração este ícone que não sei do que é e esta vértebra que sustenta esse tempo esses momentos e esses sons que aqui se enunciam como este texto no qual não percebo o que está sendo dito...”

Vertebra is composed for one musician playing two guitars, amplifiers (two or multiples of two), two e-bows, mp3 players (or any other portable playback equipment), effects and volume pedals.
	Almost every sound in the piece is controlled by the guitarist, without any kind of automation or pre-recorded sources. The only exceptions are the use of long moments of feedback created by the amplifiers correlated with the guitars, and the use of the recorded voice on the mp3 players.
	Amongst the conscious musical references are Earth, -notyesus>, Stockhausen, Alvin Lucier, and at least two other works by the composer: Poslúdio (“Postlude”), for prepared piano and electric guitar; and Moldura (“Frame”) for four electric guitars. The relationship between these references is structural, but also affective. Vertebra is an assemblage of affects presented as memory.

The musical devices that are exhibited in Vertebra compose, thus, with the player herself, a total musical body.

	THIS PIECE SHOULD BE PLAYED LOUD.

Vértebra, for electric guitars (one performer) (2011)

https://henriqueiwao.bandcamp.com/album/trios-e-quartetos

two free improvisations by the trio, recorded in 2011 at the lamparina studio, são paulo. part of the album "trios e quartetos" by duo henrique iwao-mário del nunzio. mixing by del nunzio.

duas improvisações livres pelo trio, gravadas em 2011 no estúdio lamparina, em são paulo. parte do album "trios e quartetos", pelo duo henrique iwao-mário del nunzio. mixagem por mário del nunzio.

Trio 1, nos. 6 & 7

-notyesus> - Hum (for a body)

Icon, for orchestra 



score:

- Saturate a given sound space.


comments to the score

1. We understand by sound space any interval delimited by a frequency x and another frequency higher or lower than x. 

The sound space in question must first be selected taking into consideration the extensions of the instruments that comprise the orchestra.

2. The order "saturate" should be understood as an attempt to occupy all frequencies closed between preset limits (high and low).

To facilitate the implementation of this order, the instruments used in the orchestra should be able to play microtones.

2.1. The musicians should listen to the texture that is sounding, seeking to fill empty spaces, that is, spaces which are not already occupied by a sound.

The frequencies proposed by the instruments must be sustained for longer or shorter periods of time, after which one can exchange one’s sound, always obeying the logic stated above.

3. The order proposed in the score is impossible.

The musical space comprised within a frequential interval can always be further divided, resulting in the existence of new empty spaces:
The space cannot be saturated.

From the point of view of the performing musician, the work must be an experience of this impossibility. From the point of view of the listener, it is a long cluster with internal timbral exchanges.


The work should last long enough.


J.-P. Caron
2006/2009


.........................................

2012 version:
Claudio Cabral- guitar
Magno Caliman- guitar
Marcos Campello- guitar
J.-P. Caron- amplified viola and voice
Paulo Dantas- tenor saxofone
Rafael Fortes- tenor saxofone
Henrique Iwao- electronics
Rafael Sarpa- voice
Carlos Eduardo Soares- guitar
Felipe Pacheco Ventura- amplified violin
Felipe Zenicola- bass guitar


Mixed by Felipe Zenicola and J.-P. Caron

Ícone (2012 version)

Live at Plano B, August 2007. 

An edit of this track was published in the compilation: http://chicodub.bandcamp.com/album/hy-brazil-vol-5-new-experimental-music-from-brazil-2014

-notyesus> + Henrique Iwao live improvisation

Seminal Records é um selo autônomo sem fins lucrativos dedicado a música experimental.

independent non-profit brazilian label dedicated to experimental music.

J.-P. Caron & Marcos Campello - Oco 1 (excerpt)

Seminal Records

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