It seems that I am carrying my recorder with me everywhere these days. This is yet another environmental experiment...guitars,space,dissonance,deep ambience. 
I have been able to collect a good bit of environmental content while on the road lately. This is an early release of this track. 

Harvest

I wrote a thesis based on this piece: http://pqdtopen.proquest.com/pqdtopen/doc/1547170252.html?FMT=ABS

Unda Erosum

DD-214

In a quiet mood while awaiting a [potential] winter storm. Took bits of "silence" from rizzi, otolythe, and analoc. Stretched, reversed, and amplified. The sound of midnight turned up to 11.
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Source tracks:
https://soundcloud.com/rizzi/disquiet0160-oneminutepastmidnightfield-report
https://soundcloud.com/otolythe/onepastmidnight
https://soundcloud.com/analoc/sofa-disquiet0160-oneminutepastmidnight
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More on this 163rd Disquiet Junto project — “Create a new late-night ambience with sounds from a handful of pre-existing field recordings” — at:

http://disquiet.com/2015/02/12/disquiet0163-layeringminutes/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Matthias Ripp, used via Creative Commons license:

https://flic.kr/p/qoxehn

Amplified Silence [disquiet0163-layeringminutes]

Recursion is the process of repeating something in a self-similar way. That is, repeating a thing in a way that’s exactly or approximately similar to a part of itself.  The whole has the same shape as one or more of the parts. In this case of this piece, the “thing” is an amount of musical time. Recursion is presented to the musicians using a graphic score. It shows a seven note melody plotted onto a series of circles, one large one, two half the size of the first inside the large one, and down smaller and smaller. The musicians are to take this image and interpret it by playing the notes a many different speeds which are all related to each other in a self-similar way. It is meant only to be a starting point for an improvisation and not a formal structure for the entire piece.

Recursion

Create Harmony.
Live Inside It.
Wander Within It.
Find Enjoyment As You Can.
It Cannot Last.

Create Harmony was performed on November 20th, 2015 in the Littlefield Concert Hall at Mills College.

TM Duplantis: Direction, Piano
Curt Brown: Electronics
Tate Carson: Bass
David Cummings: Melodica
Ingibjörg Friðriksdóttir: Voice
Sam Genovese: Voice
Zachary Mariano: Trombone
Honor Monaco: Violin
Fletcher Pratt: Guitar
Raphael Radna: Piano
Tom Weeks: Saxophone

Create Harmony

6 - 13 - 16 - 005

JACK Quartet.

Few sounds I have found to be as fascinating as those of the bearded seals from the Chukchi sea in the Arctic Ocean. My first encounter with them happened a few years back, when my friend and collaborator Aaron Oppenheim shared an audio file included in the Summer issue of the 1969 Zoologica journal of the New York Zoological Society, which featured bearded seal recordings by Ray, Watkins and Burns. When I began thinking of material to write a piece for the JACK Quartet, I thought that the sounds of the bearded seals would be ideal material for strings –the constant glissandi and the high resolution microtonal nuances characteristic of seal songs can be performed by no other acoustic instruments as idiomatically. All the music performed by the string quartet derives from transcriptions of several bearded seal songs, which were generously provided to me by Joshua Jones, researcher at the Scripps Whale Acoustic Lab, University of California, San Diego. Variations of the transcriptions (mainly in pitch and duration) were based on statistics of the bearded seal repertoire from 2008-2009, included in the Jones et al. article: Ringed, Bearded, and Ribbon Seal Vocalizations North of Barrow, Alaska: Seasonal Presence and Relationship with Sea Ice. The electronics for this piece consist of a hydrophone recording of sea ice from the Chukchi sea, also a contribution of the Scripps Whale Acoustic Lab.  


Under The Sea Ice (fragments)

Piece for piano, percussions, accordion and Harfang Sampler (Musical application created by myself and based on Supercollider), with realtime 4 channel spatialization.


Paysages Imaginaires

Mills College 2015
Honor Monaco - violin
Tate Carson - upright bass
Raphael Radna - piano

Recursion

Tate Carson

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