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Multis 1.0 (2006)
Recorder / Flûte à bec
Un tactus rythmique avec des multiphoniques.
A rhythmic tactus with multiphonics. (First revision)
Recorded at CCMIX on 12 juin 2006. Played by Solène RIOT. / Joué par Solène RIOT.
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Celeste HUTCHINS and Solène RIOT
Avec une flûte à bec, des programmes, et des échantillons sonores.
Recorder (non-transverse flute) and home-brew sampling software.
Recorded at CCMIX on 12 juin 2006.
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Élégie (2006)
Cornetto and Computer / Cornet à bouquin et ordinateur
Cette pièce a un caractère mélancolique. Les notes sont instables, basculent de l’équilibre au deséquilibre, comme la vie vers la mort. C’est à la mémoire des proches qui m’ont quittés.
A piece with unstable notes. They glissando from equilibrium to precarity as life slides into death. This is a remembrance of my deceased mother and foremothers.
Recorded at CCMIX on 12 juin 2006. Played by Solène RIOT and I. / Joué par Solène RIOT et moi.
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Meditations pour les Femmes
2005 – 2006
La poésie est par Jean SIRIUS 1981. La traduction est d’Isabelle JULIENNE 2006. La voix est celle de Solène RIOT.
The French version of Meditations for Women.
Performed at la Barbare, 11 Mars 2006
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Faux-bourdon Bleu
2006
An artifact-laden brassage where samples from french radio news are expanded and then compressed, creating a drone texture. The samples used include the France Bleu theme, the RFI news theme and some chanting from a protest.
De la synthèse granulaire avec beaucoup d’artéfacts. Il y a des enregistrements de France Bleu, RFI et une manifestation.
Performed at la Barbare, 11 Mars 2006
Podcast: Play in new window | Download (8.4MB)
Train Filter (2005)
This piece uses GrainPIC to control filters over a sample of Broadway mid-morning traffic in NYC. Each filter is described by a cloud, which sets a resonant high pass filter and a resonant low pass filter, creating a resonant bandpass filter. The 1/q of each filter moves towards 1 as the cloud is played. The pitches of the filters move towards pitches in the Bohlen-Piece scale. The envelopes on each moment of filtering obscure the traffic sounds, so instead a train sound is evident.
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Composed in 2001 using Macintosh Virtual Memory with an AIFF header added, a Jomox AirBase drum machine and a Midiverb. This used to be a 40 minute composition, which I broke into two parts due to limitations on file size imposed by Mp3.com. I released this as an album in 2001 or 2002, but it failed to sell well. To try to get people to listen to it, I renamed the files to “unreleased britney spears,” and logged on to Napster, where I would hang around in the chat rooms encouraging people to download them. In those days, we called that sort of behavior “guerilla marketing.” Now, it’s more commonly referred to as “being an asshole.”
The first 8 minutes were always the best, so here they are.
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Scribble
2005
This piece is done with the first alpha of GrainPIC, which you can find out more about here.
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Pro Manko de Edzino
2003
This piece was written in my first semester at Wesleyan University for a concert of short works called “Five Minute Wonders.” This recording is from that concert. The performer is Neely Bruce.
This piece was written while I was missing my (then) wife, who was studying in Paris, France while I was studying on the East Coast of the US.
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Rain Clouds
2005
I’m writing a SuperCollider program based on Xenakis’ description of granular synthesis in Formalized Music. My program has a graphical interface very similar to UPIC. The working title for this program is GrainPIC. This piece is generated by a prototype of this program and is a proof-of-concept. Xenakis envisioned cloud synthesis with only sine wave grains, so the prototype only supports sine grains, however, I expect to change this shortly.
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