Gordon's Progress

Posted: 3/15/2007 9:39:38 AM
GordonC

From: Croxley Green, Hertfordshire, UK

Joined: 10/5/2005

This is a bit embarrassing, but kind of funny. It relates to a private email, so I won't be naming my correspondent, but it was relating to Hands Off.

Rewind to my jam with Charlie et al last year. We played two modern pieces - Grainger's Free Music No. 1 and a piece I could not recall the name of. The crumpled photocopy of a hand written transcription of the graphical score is still in my possession, and I could not see a name on it anywhere. It consisted of numerous fragments of music, mostly written on staves, some with notes, some with squiggles, one with numbers. And one very cryptic notation in the centre of the sheet, two concentric circles with eight evenly spaced radial two-headed arrows between them and letters scattered around the empty spaces. Well, I tried to play all the fragments - even the incomprehensible one.

Fast forward to the present. My correspondent mentions Glissandi by Jorge Campos and gives a brief description of the score. It rings a bell. I flatten out my score, photograph it, tweak it in photoshop and email it back with the question - Is this it?

Then I settle down to study the score a bit and see if it makes more sense a year or so later. Particularly the weird circle thing. After staring at it for a couple of minutes I suddenly wondered if the letters spelled anything. They certainly did! They spelled [i]glissandi[/i] and [i] Jorge Campos[/i].

I had been trying to play the title.

Posted: 3/15/2007 12:17:42 PM
Charlie D

From: England

Joined: 2/28/2005

Heheh. No. I hadn't worked out what it was either.
Posted: 3/15/2007 3:50:43 PM
DiggyDog

From: Jax, FL

Joined: 2/14/2005

Nice work, Gordon,

How did the title sound?
Posted: 3/15/2007 5:05:54 PM
GordonC

From: Croxley Green, Hertfordshire, UK

Joined: 10/5/2005

Titular.
Posted: 3/23/2007 10:56:15 AM
GordonC

From: Croxley Green, Hertfordshire, UK

Joined: 10/5/2005

Just time to dash off a few quick notes.

Wednesday, CD from the Sonic Weekender arrived. Listened to it [i]several[/i] times. Woo! Woo-hoo! Woo-diddley-oo-hoo! Woo-diddley-diddley-oo-oo-oo-oo-diddley-oooooooh!

I like it.

Veil Nebula - the track based on my Medusa Plait idea without the plait and with random percussion - sends shivers up and down like a shivery thing. So does all the album to some extent, but that in particular. I'll post when it appears on iTunes.

Yesterday - performed at Laura's school to her classmates and teacher. Went very well. One thing I learned - if I'm going to do Void Ship I can't hold back. I played it a bit timidly on account of the audience age (5/6) and I felt it wasn't very satisfactory. Other pieces - very happy with - My House Resounds, Hadal Zone, In The Potting Shed. Laura reports her classmates liked it all very much.

This morning. Woke up with a distinct memory of a passage from Amerika by Franz Kafka. Apparently (according to Wikipedia) this was Kafka's favourite passage and he read it out loud with gusto. Can't currently find the book to reproduce the paragraph in question, so this is the gist as I recall from about 30 years ago...

Karl wanders across a field towards The Nature Theatre of Oklahoma. From a distance he sees a mad array of angels on golden pedestals of various heights, all blowing trumpets in a blaring cacophony of music.

Sounds like a job for lots of delay and a very steady vibrato free hand. Had a little try of it and the first hard aspect is resisting the temptation to build the noise up too quickly. This is where my volume pedal comes in useful - set it to quietest then every ten seconds or so just increase the volume a tiny bit - that sets the maximum volume I can get from the theremin, and use the volume antenna to shape the note envelopes - slow attack, fast delay - without worrying about getting too loud too soon.

Anyroad, gotta love those piercing acid-edged notes. They makes me think of the tooting horns of ill-tempered drivers in a busy metropolis.

I won't be trying to find the book to correct my memory of the passage - Kafka wrote Amerika based solely on travel brochures and without accurate research - I feel it respectful to do similarly.
Posted: 3/23/2007 1:00:56 PM
GordonC

From: Croxley Green, Hertfordshire, UK

Joined: 10/5/2005

Continuing with Amerika.

Just read DiggyDog's posting (http://www.thereminworld.com/forum.asp?cmd=p&T=2468&F=1) on the Mr Resistor thread.

[i]...we just let go and start making noise with our instruments without regard to key, rythym, etc. Eventually, it sort of falls into place and something musical actually develops.[/i]

Great! I want exactly the opposite. Start off fairly musical gradually leading into slow descent into the maelstrom. So... as well as slowly ramping the volume, I can gradually alter the voice of the etherwave with the waveform and brightness knobs from soft (max waveform, min brightness) to harsh (min waveform, max brightness) and I can kick in the PS-5 part way through to add a second note a nasty semitone away from the note played. Also start with long, slow notes, picking up the tempo slowly to rapid-fire staccato then suddenly end with one long, long, blackboard-scrapingly painful howl and then kill the delays dead.
Posted: 3/23/2007 3:01:59 PM
DiggyDog

From: Jax, FL

Joined: 2/14/2005

Gordon, that is fun also.

I have been in bands that go that route and it can be very satisfying.

I always wanted to do a gig where we start out with one person singing a capalla and then add an acoustic guitar for a couple of songs. Then bass, drums electronic instruments etc and get less and less coherent until there is total mayhem.

Check out Naked City.

http://www.omnology.com/zorn03.html

They go from music to utter chaos and back without missing a beat.

NOt exactly what you;re getting at but interesting noentheless.
Posted: 3/23/2007 6:25:00 PM
GordonC

From: Croxley Green, Hertfordshire, UK

Joined: 10/5/2005

Yes indeed. An interesting couple of pages. He puts the rapid switching down to Stravinsky.

And clearly a clever guy. IMDb notes that "On September 19, 2006 he received a $500,000 no-strings-attached grant from the MacArthur foundation (the so-called "Genius Grant")".

Which is nice.

Posted: 3/28/2007 10:47:05 AM
GordonC

From: Croxley Green, Hertfordshire, UK

Joined: 10/5/2005

Bit off topic, but gotta mention, 'cos I just love drones, and for the longest time I didn't know what those incredible Indian drones were called. Now I do.

They're called Shruti Boxes. Here's a picture (http://www.worldmusicalinstruments.com/Uploaded/shrs.jpg) of one. Here's some info (http://raganet.com/RagaNet/Issues/3/srutibox.html) about them, and here are some amazing samples (http://www.karnatik.com/shrutibox.shtml) of them.
Posted: 3/28/2007 11:20:11 AM
Alexander

From: Bristol, United Kingdom

Joined: 12/30/2006

I love Shruti boxes. You can buy them from Bina Music in London and Jas Musicals in Southhall. Both companies also supply a range of fantastic Harmoniums. Bina will custom build you one, but in my opinion Jas are better (I've never seen a Bina Harmonium that wasn't broken). You can even buy electronic Shruti boxes and other electric versions of Indian instruments.

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