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]

Disquiet Junto Project 0164: Junto Hay Fat Choy
The Assignment: Create music that emerges from the sound of fireworks.

- The fireworks field recording was made by me on July 4th, 2014. Sitting in our backyard with family, the fireworks were going of around us - 360 degrees. You can't see many, but the sounds and echoes are great.
- Since the Chinese invented fireworks I tried to give the piece an asian feel, and kept the crickets throughout.
- The fireworks track was at level for five seconds and then was slowly faded out.
- I used Iris to capture the crickets from the field recording and kept that playing through the piece.
- I focused on the rhythm of the three main fireworks blasts. For me it came out to be in 9/8 time.
- The pounding percussive sound which matched the fireworks rhythm was done with Reaktor5 Player.
- Alchemy was used for the pad part which also followed the percussive beats, but was played up a fourth, and also used for the sequenced part.
- Put it all together with Renoise.
- Ultrachannel on all of the tracks and the master.
- Ambience was used on the percussive track and Valhalla Shimmer was used on the pads.

More on this 164th Disquiet Junto project — “Create music that emerges from the sound of fireworks” — at:
http://disquiet.com/2015/02/19/disquiet0164-juntofireworks/

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 Carl Guderian, used via Creative Commons license:
https://flic.kr/p/dGNiDc

Fireworks And Crickets [disquiet0164-juntofireworks]

     In Synecdoche, there are eight basic sound events, five synthesized pitches, and three percussion samples. Two tempos increase at different rates, creating the form. As the tempo increases, out of the range where we perceive rhythm, each note is heard less as a distinct event and as more of a single sound with a shifting timbre. Synecdoche explores the limits of human rhythmic perception.
     The piece uses self-similarity as found in nature—an object constructed entirely by repeated application of a single procedure. Self-similarity is reflected through the use of tempo changes. The listener may hear the faster tempo as a different event, but directly relates to the tempo in beginning of the piece.

artwork by Kazimir Malevich

Synecdoche

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

Synecdoche

Tate Carson

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