I encountered the title of this piece while reading a book on alchemy and mysticism. The book points out that alchemists were always ready to bring out twelve ideas, one of which reads: “The below is as the above, and the above as the below, to perfect the wonders of the One.” I find this phrase to be quite inspiring in the context of writing a piece of solo music, because the concept of “below” and “above” can map onto instrumental registers quite nicely while being represented on one instrument.
	The below is as the above, And the above as the below progresses mainly in a linear fashion, in which it starts hanging softly high above, in a narrow intervallic span, then goes lower and lower, louder and louder, while the intervallic span expands wider and wider.
	This piece is written for and dedicated to Ashley Walters, whose talent and support made this piece possible.

The below is as the above, And the above as the below

inter-spatia (2020/22)
Catherine Lamb

performed on March 18th, 2022 at Nykirken, Bergen, Borealis Festival

Microtub (Robin Hayward, Martin Taxt, and Peder Simonsen), Rage Thormbones (Mattie Barbier and Weston Olencki), with MO Abbott and Henrik Nørstebø

tuba trio + trombone quartet

recorded by Weston Olencki

inter-spatia (with Microtub and Rage Thormbones)

#9 of new works in collaboration with Sarah Saviet and Joseph Houston, created during Fall 2022

piano harmonically aligned with the open violin tuning

this is a piece that culminated after 9 studies, realized by Sarah and Joe

recording is taken from the live concert recording, December 2nd, 2022, KM28, Berlin

violin/piano study #9 for Sarah and Joe (by Catherine Lamb)

live recording of the premiere at REDCAT in Walt Disney Concert Hall, April 30, 2010

performed by the New Century Players as an interlude to the US premiere of Gerard Grísey's Les Espaces Acoustiques

conducted by Drake Peterson

the difference between one and two

The Bach Choir of Holy Trinity sings the ethereal setting of the text "I know that my Redeemer lives" by Johann Michael Bach on Easter Day, 2017 for Paschal Vespers. Donald Meineke, director

Ich weiß, daß mein Erlöser lebt

(BE)NEATH (2016)

recorded live at Huddersfield University 8th March 2018

Cassandra Miller - voice, composition
Silvia Tarozzi - violin, composition

So Close, for voice, violin and tape by Cassandra Miller, Silvia Tarozzi

Live recording from a concert at La Pedrera, Barcelona, Sept 2018

KENT OLOFSSON: Il Sogno di Tartini, for violin and electronics
Violin: Sara Cubarsi
Sound projection/electronics: Violeta Cubarsi

Il Sogno di Tartini (for violin & electronics)by KENT OLOFSSON

DOWNLOAD THE FREE APP: https://show.co/21pQFyq

on bandcamp:
https://isaacschankler.bandcamp.com/track/the-moonlight-sonata-but-the-bass-is-a-bar-late-and-the-melody-is-a-bar-early

sheet music:
https://www.dropbox.com/s/22sq0p19lundped/moonlate12102018.pdf?dl=0

Download

The Moonlight Sonata but the bass is a bar late and the melody is a bar early

Electronic Music in 37-limit Just Intonation (3.5.7.11.13.23.37)

created in SuperCollider 3.9.3
April-December, 2020

dedicated to Marcus Pal

large scale modulation down a fourth ("I-V")
3:4  -->  6:8:9  -->  8:11:12

the difference between one and two

septimalcomma

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