Track made in collaboration with Paulo Vivacqua for the Festival Novas Frequencias, 2020. It is part of his project on "prescribed music", where he invited different artists to play the drawings/doctor prescriptions/scores.

Piano and nylon

Berlin/Rio de Janeiro, November 26th, 2020.

Musica Prescrita: Corpo Clave (with Paulo Vivacqua)

Projēkt Chamber Voices
Amy Henderson. conductor
Recorded Live in St. John's NL on October 30th, 2021

Thirsty Hearts for soprano solo and SATB chamber choir was commissioned by Projēkt Chamber Voices as part of a commissioning project for works relating to our new concept of breath in a post-COVID world. The text for this piece, written by the composer, examines how our relationships have changed and the new dangers of letting someone in. The score was written to work with a remote choir during the safety protocols of covid. The video score and the soloist anchor the choir while recording remotely. The score is set in shades of blue watercolour to reflect the water imagery in the text. The choir explores restricted and muted breath sounds.

Text:
my breath catches
yearning to crash into you
blur our shoreline, liquid surrender

your breath shimmers
with dangerous allure
we damn ourselves apart, parched separation

our breath grasps
against the current
condensation now precious, sweetest vapour

thirsty hearts mouth songs of hope

Thirsty Hearts (2020) - SATB choir

This is the intro track from my debut album 'A Good Land, An Excellent Land' released last year. The piece was written as a graphic score for harmonics on Cello, Violin & Double-bass, accompanied by bowed guitar & electric bass. It was ironically the last track recorded on the album & a really special moment when all the parts were first heard together, extending beyond my expectation for the opener. If you buy the CD you also get the seamless design by which this runs directly into track two & the last track runs back into this when on looped playback. It could well be my favourite moment of the albums conception. Cover photo is by Oscar May at Union Chapel.
To buy the album go here :- http://tinyleaves.bandcamp.com/


Beginning

Karidi’s audio documentation of a performance score for six voices, named 'That Riff Ensemble', puts a magnifying glass on backing vocalists and the work that is required by them on stage, by detaching them from the lead singer and the solos. In terms of music composition, by shifting the importance, by repeating vocal phrases as mere chants, there is an original take on the musical elements that are there to bridge, to support, to enhance and embellish. By having people perform these parts as loops, the musical objects turn into subjects, thus an interesting reclaiming of the human voice and body occurs, as well as a space reclaiming in reference to club culture history.
The musical genre references draw elements from soul, hip hop and dance music and touch upon the phenomenon of the pop hit which forms a song vocabulary deeply rooted in collective consciousness. Traced by memory these songs are in turn realized through the medium of performance within which Yorgia usually operates. The performance is realized with the use of visual and audio cues and with minimal rehearsals. The performers are untrained singers who react rather than use special vocal skills to perform this piece while being in a vulnerable yet empowered position that acapella singing holds. The repetitive phrases, ταυτο-phonic or polyphonic at parts, create an immersive, hyper-focused reception of songs like: Corona's 'This is the rhythm of the night', 'Tajabone' by Ismael Lo, 'Ready or not' by the Fugees, 'Breathe' by The Prodigy, 'Shoop' by Salt-N-Pepa et al.
In the course of the performance a space emerges where one can re-listen / re-learn songs one has always known, exploring a fresh look at sharing and perceiving music. That singing is thus unfinished, yet good enough. Complete and autonomous, the inexperienced yet liberated rendition of these riffs suggests that it is not in technique rather than in good humor and unison that this core of completion can be sought out.
That Riff Ensemble Audio, Audio transcription of a Performance Score, duration: 24 mins, Yorgia Karidi, 2022
Voices heard: Nonika, Danae Stefanou, Ioannis Kotsonis, Filippos Diamantopoulos, Mike Zambaras, Smaro Papaevangelou, Konstantinos Skopas, Yorgia Karidi & Ste Atzemi. Initially performed by Sofia Zafeiriou, Sofia Mamazi, Filippos Diamantopoulos, Mike Zambaras and Nick Gr.
Yorgia Karidi (Athens, Greece) is a visual artist, musician and performer, whose works / ‘live sets’ focus on listening, vocal qualities and media / genre modulations. She works with painting, sculpture, video, performance, sound and verbal scores. She has worked extensively with the human voice in performance with the desire to understand the historical, political and cultural context of the existence of a femininity in the world.
In her recent works such as the performance ‘I Love that Song’ at Hyle and the podcast ‘Are Song Lyrics Poems?’ launched in the 62nd Thessaloniki International Film Festival 2021, the artist refers to how we perceive folk and pop music culture and literary lyricism, constructing a dictionary of rizom connections between memory, desire, consciousness, in order to offer this affect as a basis for transformation.
Yorgia has also curated live radio shows and collaborative projects such as  the YouTube project 'The See Channel': https://www.youtube.com/watch?v=tGuAXJbwtng&list=PL4NNqaDRm6F98AtVa6xJnegbCM8gnjIg-
Yorgia Karidi's work as part of the  POLYPHONIZE/ Noise to meet you project presented on Nicosia's E.KA.TE. the Cyprus Chamber of Fine Arts(November 10 -14th 2022). Curating: Ilina Chervonnaya & Katerina Neofytidou. The work also premiered simultaneously on the 63rd Thessaloniki Film Festival's Podcast Department under the title Shoop! and broadcasted live on the radio show Κυτταρίνη και άλλες ουσίες on lemoniradio.com with a discussion between Yorgia Karidi and the host Eleni Kosti on 14/11/22, UTC+2.

𝙏𝙝𝙖𝙩 𝙍𝙞𝙛𝙛 𝙀𝙣𝙨𝙚𝙢𝙗𝙡𝙚, About a performance score by Yorgia Karidi

Finding north by Roger Harmar had its world premiere in Brighton on June 14th for a New Music Brighton's concert of graphic scores and played by Bela Emerson cello and Adam Bushell Vibrsphone and percussion. 


The composition invites performers to navigate the space
between place and sound. The emphasis is on *movement*
through a mythic landscape using the score as a map.


The performers map a route through the score interpreting each
element as they go. They can move in a linear fashion from left to
right or can explore other grid squares before moving on.

This a recording of that performance, recorded, mixed and mastered by Roger Harmar and many thanks to Bela and Adam for performing it so well.

Finding north

for solo violin, recorded voice and improvising ensemble

Gemma Bass - Violin
Gary Farr - Trumpet
Anton Hunter - Guitar
Tullis Rennie - Live Electronics
Graham South - Trumpet

Vonnegut Collective recorded live in concert at Peel Hall, Salford on 28th Sept 2015, as part of BBC Philharmonic 'Chamber Music Mondays' series.

- - -
Work on this piece began by asking Gemma to describe her favourite moments in Shadowed Pieces by John Casken. Her chosen moments are ‘sampled’ in five short movements. 

The violinist is asked to improvise around the selected music cells. Meanwhile the improvising ensemble ‘shadow’ the violin - following the shapes and contours of a graphic score resembling shadows.

My thanks go to the Vonnegut Collective for asking me to work with them, to Gemma for her efforts in developing the piece, and to John for allowing us to respond to his beautiful music.

Shadows Of Casken (III)

nonce doing Cardew live in Providence, at Brown Hall 11/11/11

Cornelius Cardew - Octet '61 (for Jasper Johns)" diamanda, derek, chris and aaron

3rd March 2017 - Protestant Church, Antwerp #anneysermans #iriseysermans #64-feet

Loc-études (#3), sonogram by Ann Eysermans — performed by Inne Eysermans (radio/TV/tape/FX/mixer)

An emotive and eclectic mixture of throat, vocal and flute exertions create the panicked scape of 'Frequency Fables' (2018). The 9-page graphic score is highly gestural, following a similar style to those of the mid-twentieth century. This recording - made in my home bathroom with nothing more than a pair of headphones and my iPhone microphone, was one rendition of it; page turns, huffing, puffing and all. The emotional reception between my eyes, the instrument, the score and the air around me allowed for me to express a turbulent textural exploration of the flute's grungier side.

Sean Quinn's Album

Frequency Fables - For Vocalising Flautist

Aya is derived from Andikra, a western African Culture of symbolism and hieroglyphics.  Aya means resourcefulness and endurance, which is portrayed through the bass flute solo.  

Laura Cioffi on bass flute.

Written by Matt London, and performed live at The Silver Pencils concert at St Alfege Church, Greenwich on the 22nd of February 2020.

Photo Credit: Rachel Murphy

Aya - Matt London

Composer, sound artist. ,guitarist. bass player, graphic designer, photographer

Tiny Leaves is the music of Joel Nathaniel Pike. He has developed his sound as a solo artist alongside years of writing and performing in bands. He describes his music as being rooted in narrative, but is often surprised at the undefinable end result. His music has a delicate, cinematic quality that brings a quiet hope.

I’m a pianist, improviser, performer and soundartist, keen on body, gender and transdisciplinarities. I experiment objects inside  and outside the piano and explore corporealities via eutony. I’m interested in weaving sonic relations in space, installations, expanded sonic bodies, free improvisation, dance, voice. I’m part of Sonora – músicas e feminismos network, NuSom – Research Centre on Sonology of University of São Paulo and Orquestra Errante – free improvisation group.
Sou pianista, improvisadora, performer e artista sonora, atraída por corpo, gênero e transdisciplinaridades. Experimento objetos dentro e fora do piano e exploro corporalidades via eutonia. Interesso-me por tecer relações sonoras no espaço, instalações, corpos sonoros expandidos, improvisação livre, dança e feminismo. Sou parte da rede Sonora – músicas e feminismos, do NuSom – Núcleo de Pesquisas em Sonologia da Universidade de São Paulo e da Orquestra Errante, grupo de improvisação livre.

For more info, check out www.seanquinncomposer.com

Happier wearing headphones. Likes a biscuit.

Composer, Improvisor, Educator, sound designer.

Bmus Memorial '20
Mmus UBC '22

Currently based in Vancouver, BC.

Popular tracks tagged #graphicscore