electronic

I made you a mixtape

Commissioned by the Aeolus String Quartet
Composed by Steven Snowden

From the Aeolus Quartet's 2012 album *Many-Sided Music*
Digital release date: March 06, 2012


Program Notes:
Appalachian Polaroids was initially inspired by the controversial portrait photography of Shelby Lee Adams (b. 1950). Though sometimes criticized for perpetuating the hillbilly stereotype of rural Appalachia, I feel that his photographs often illuminate the quiet resilience of these remote mountain communities. As a native of the Ozark Mountain countryside, I have always felt a strong connection with my neighbors to the East. In Appalachian Polaroids, I chose to create my own musical portrait of the unique mix of hardship and joy that comes with living an isolated rural life. 

This piece begins with a 1976 field recording of Sheila Kay Adams (no relation to Shelby Lee) singing the popular folk song Black is the Color in Asheville, North Carolina. The quartet quietly enters as an integrated component of the recording, playing with the wood of their bows to create a slightly noisy effect, similar to the tape hiss present in the old equipment used to record Sheila's stunning voice. Their sound gradually becomes more brilliant until the group finally emerges with crowing figures reminiscent of Appalachian fiddle playing. However, they also carry with them remnants of Sheila's own unique singing style. These attributes, (which include sliding/scooping to and from certain pitches and a subtle yodeling effect at the ends of phrases) expand as the piece progresses and eventually exert their influence on large-scale aspects of melody, rhythm and even form.


Appalachian Polaroids

Sugar Rush

For solo percussion (tea kettle and 6 metal mixing bowels) and electronics.

A Watched Pot - for teakettle, mixing bowls and electronics (excerpt)

Recorded by the Bel Cuore Quartet for their 2017 album Splashing The Canvas
Composed by Steven Snowden

Splashing The Canvas

Speed Studies

Speed Studies - Bel Cuore Sax Quartet

Commissioned by Matthew Miracle and premiered Oct. 27, 2011

For more info about this piece, got to:
http://www.stevensnowden.com/portfolio/shovelhead-2/

Program Notes:
The Shovelhead was a notoriously cantankerous, but much beloved V-twin motorcycle engine manufactured from 1966 to 1984 by the Harley Davidson Motor Company. The name was derived from the way in which the engines rocker boxes resemble the inverted heads of coal shovels. Though prone to oil leaks, hard-starting and over heating, this engine defined the unique Harley sound that many love (or hate) today. Thanks to my friend, Amber Alarcón and my Harley, Fricka for providing all of the source material upon which this piece is based.

Shovelhead - for Bass Clarinet and Interactive Electronics

Recorded by Invoke for their "American Postcards" project.

Tent Revival

Part of a four movement work for solo percussion and electronics titled "Long Distance".  All samples (excepts for the marimba) come from recordings of pay phones in the 1970's.  

Brooklyn, NY - 1975 - Marimba and electronics (demo)

Remix 
Stems from Bent Knee's Shiny Eyed Babies
Courtney Swain - Vocals
Gavin Wallace Ailsworth - Drums

Oh my daughters, oh my sons

Part of a four movement work for solo percussion and electronics titled "Long Distance".  All samples (excepts for the vibes) come from recordings of pay phones in the 1970's.  

Atlanta, GA - 1972 - Vibes and electronics (demo)

Schuyler Slack - Cello
Recorded on Oct 7, 2019 
In Your Ear Studios - Richmond, VA

Find out more about this piece here:
http://www.stevensnowden.com/portfolio/this-mortal-frame/

This Mortal Frame: Mvt. 2 - The Crossing at Aquia Creek

Steam Man of the Prairies was a dime store science fiction novel written by Edward S. Ellis in 1868 and is widely considered to be the earliest depiction of a humanoid robot in popular culture. Despite Ellis’s rather clumsy writing style and overtly racist depictions of Irish immigrants and Native Americans, this novel provides an interesting perspective on the excitement surrounding innovations in steam technology and exploration of the Western United States in the late 1800’s.
 
Just as the Steam Man represented the attainment of superhuman capabilities through the use of technology, this piece utilizes electronics to expand the sonic palate of the piano and clarinet. By limiting electronically produced sounds to only recordings of extended piano techniques (bowed, plucked, muted, and scraped) my goal was to create a sonic bridge between the timbres of the clarinet and piano in an attempt to create the illusion of a single super-instrument. As a means to take this sonic cohesion one step further, amplification of the electronic sounds in this piece forgoes a typical loudspeaker setup in favor small vibration speakers attached to the soundboard of the piano. This method allows the strings of the piano to vibrate sympathetically with the electronics and takes advantage of the instrument’s natural acoustic resonance.

Special thanks to the Escola Superior de Música, Artes e Espectáculo in Porto, Portugal for allowing me to record most of the piano extended techniques used in this piece on one of their concert grand pianos.

Steam Man of the Prairies (demo)

Composer, tinkerer, found sound enthusiast.
<a href="http://stevensnowden.com"></a>