On Friday, January 22, 2016 the wulf in downtown Los Angeles presented a diverse concert of electronic music by four groups of artists. A standing-room only crowd turned out for an evening of intense sounds created by computer algorithm, spectral analysis and traditional percussion. The room was filled with all kinds of amplifiers, speakers, mixers, patch panels and miles of cable. The four sets made for a varied program that challenged both the mind and the ear.
First up was PDRM, by John Krausbauer and David Kendall. According to the program notes this piece is “…constructed from a ‘just’ tuned, three-string electric guitar with real-time and algorithmic delay and spatialization processing.” Four large speakers were placed on the four corners of the completely darkened performance space that also included active strobe lights. PDRM began with a warm, droney sound from the bowed guitar, accompanied by a substantial bass line in the electronics, providing a solid foundation. The sound filled the room and the consistent texture immersed the audience in a congenial sonic wash. As the piece progressed the volume seemed to gradually increase and the tempo quickened slightly as well. PDRM is very powerful experience that takes control of the senses – there were occasional bass tones that were felt as well as heard. The complete darkness and compelling sounds command the listener’s attention; Krausbauer and Kendall might consider adding an aromatic component to their performances to further extend this sensual dimension. The steady drone and flickering of the strobes give PDRM a distinctly primordial feeling – as if the audience is gathered around some ancient communal bonfire, meditating together in a deep trance.
Next up was an improvisation by percussionist Ted Byrnes with William Hutson on accompanying electronics, and this marked their debut as a duo. Hutson operated an old school reel-to-reel tape machine fed with a ten foot loop of tape that stretched across the room and produced a steady stream of metallic clattering and crashes as well as what sounded like a barrel of broken glass shards being rolled across the floor. To this chaos Byrnes added his athletically active drumming with a variety of mallets and brushes on a standard drum kit along with a number of found objects. The rhythmic drumming formed a kind of counterpoint to the crashing tumult from the tape and this became an anchor for the ear. The piece took on an epic character as it progressed: the heroic drummer in combat with the forces of anarchy. This contrast was so effective that the listener often found himself rooting for the drumming to prevail. Byrnes was a constant blur of motion and activity, yet the continuous outpouring of the electronics added a helpful consistency to the texture, filling in for those times when Ted changed drum sticks or reached down to add a new object to his kit. There were quiet stretches, as when brushes were used on the drum heads, but overall the intensity and drama that emerged from this mix of electronics and drumming proved to be a winning combination. The addition of fierce electronics to the animated style of Ted Byrnes was inspired, achieving a new level of energy and excitement for this duo.
Cameron Shafii, the San Franciso-based composer was next, presenting a solo sound piece, part of a collaboration with Joe Gilmore that according to the program notes, “…transforms brass and string instruments by spectral analysis.” This began with a loud drum clap followed by exotic electronic tones that added a vaguely alien feel. The steady electronics were accompanied by a drumming rhythm, producing a sense of anxiety and mystery. The volume seemed to rise as the piece progressed and the drumming became more concentrated and powerful – at times the beats were felt as blows to the chest. The electronic sounds morphed into purer tones and a series of loud rumbles, like distant thunder could be heard. At one point the mood lightened and there were some lovely harmonies. The total darkness and the relentlessly increasing power soon restored the feeling of menace, however, and at times the sound overwhelmed the senses and verged on the painful. Cameron Shafii and Joe Gilmore have crafted a daunting listening experience that operates at the harrowing edges of human perception.
The last piece in the program was VRS, a project from Ellen Phan of Los Angeles who presented “…a new piece exploring modalities of experimental sound.” This piece deftly unpacked an eclectic variety of sounds – a loud buzzing, gongs, bells and the crash of smashing china. The pitches accelerated and became higher and more cutting even as the texture attained a sort of frenetic consistency. Voices were heard in an unintelligible scat singing and the electronic sounds assumed a bouncy, arcade-like feel. As the piece progressed a powerfully percussive hammering dominated, and this soon morphed into a nicely rhythmic groove. VRS is full of fast-changing textures that made for a refreshing wash of bright colors and energetic surfaces that agreeably filled the performance space and the listener’s ear.
Update on the wulf: The building has now been sold and the wulf is seeking new accommodations, although no schedule has been announced. Fund raising for the expected moving expenses has been successful and donations are still being accepted – see www.thewulf.org for details.
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Pianist Jenny Q. Chaiis a versatile artist. Her repertoire includes works by contemporary Europeans such as Phillipe Manoury and Marco Stroppa (her dissertation topic), and she recently recorded an excellent portrait CD on Naxos of music by Nils Vigeland. She also performs standard repertoire, such as Robert Schumann and Claude Debussy.
On January 10, in a program entitled Where is Chopin? (subtitled “Steampunk Piano 2″), Chai creates a juxtaposition of Carnaval by Schumann with brand new pieces that feature artificial intelligence, performing the music of Jaroslaw Kapuscinski, a Stanford University-based composer who uses the AI program Antescofo. It supplies a live visual component that responds to the particular nuances and inflections of a given performance. Doubtless Chai will give the program plenty to think about.
On Saturday, November 21, 2015 People Inside Electronics presented the contemporary vocal chamber ensemble Accordant Commons in a concert at the Neighborhood Church in Pasadena. A Saturday night crowd of new music enthusiasts gathered to hear an evening of vocal music combined with electronics.
The first piece presented, “those remaining words in nuance”, by Chen-Hui Jen featured soprano Stephanie Aston who began with a soft sustained pitch, accompanied by electronics fed through speakers on the stage. More pure tones and vocalizing followed and this gave a vivid sense of multiple voices – Ms. Aston sang along in harmony and this was quite effective. “those remaining words in nuance” is based on two fragments of text in two different languages -Mandarin Chinese and English – with deconstructed phenomes from each used as vocalise materials The electronic sounds were derived from voice and synthesis of voices.
As the piece progressed, the electronics produced cooler, remote-sounding tones and the blending with the solo voice added a familiar human element. That the overall feeling was one of a curious strangeness, but free of anxiety. Ms. Aston skillfully found her pitches quite accurately and sang with careful attention to the often wide dynamic changes. Towards the end the electronics emitted a series of chirps and whistles that could have been whales calling and this produced a warm, natural feeling that drifted off to a whisper at the finish. The sense of ensemble in “those remaining words in nuance” is most impressive and provides a new benchmark in the artful combination of electronics and the human voice.
Improvisation was next and this featured the three voices of Accordant Commons: Stephanie Aston, Odeya Nini and Argenta Walther. This began with whistling and breathy sounds and was answered with low moans from the electronics. As the piece progressed soft, sustained tones from the singers mixed with tweets and calls in the electronics, building in volume. A series of falling pitches followed that morphed into thunder and a sharp shriek into the microphone faded into a low roar. There was an exotic and isolated feel to this, as if we were hearing the sounds of some foreign fauna in a remote canyon or valley. By the finish, more breathy sounds and low sighs drifted off into a thunderous background while squeaks and squeals added to the echoing ambiance. Improvisation takes us on a journey to a unique, primal landscape crafted from voice and sound.
At 7 PM on Monday, December 7, the Armory will debut a newly commissioned performance series that combines the talents of pianist Igor Levit and artist Marina Abramović. In Goldberg, which runs from December 7-19, Levit and Abramović collaborate to transform J.S. Bach’s legendary Goldberg Variations in a presentation that challenges traditional notions of audience engagement, intimacy, and transcendence.
As the Armory’s publicist describes, “Igor Levit will perform all 30 of the variations on a platform as it slowly moves into the center of the audience and rotates throughout the piece’s progression. Employing elements of the Abramović Method, the work invites a deep and personal engagement with the music.”
Concertgoers will separated from their cellphones and sit in silence for 30 minutes prior to the beginning of the performance, using sound-cancelling headphones to further disengage from city life and facilitate a profound connection to Levit’s performance.
The performances will take place in Wade Thompson Drill hall. More information regarding dates, times, and tickets for the seven performances of Goldberg is available here, on the Armory’s website.
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Dean Rosenthal is an east-coast composer, lecturer, and current co-editor of the wonderful online The Open Space contemporary music magazine. About a year ago, his friend Richard Skidmore suggested that Dean take his 2012 piece Stones/Water/Time/Breath and make a “pocketcard” from it. As the piece is verbal notation and so open to performers of all stripes, it seemed a nice thing to share with others as a kind of hand out. The card shows interpreters how to perform the piece at the water with stones, in a group or on their own.
Dean applied for a local grant and with the help of the Martha’s Vineyard Cultural Council created the cards and a site to go with them, and is encouraging anyone who performs it to document, register and share that performance at the site. With enough participation, it could be a lovely repository of a varied but collective meditation. So check out the site, download the score, and make what you will. Now you can be a stoner down by the lake, stream, river or ocean, and still do something productive!
On Friday September 11, 2015, the Curve Line Space Gallery in Eagle Rock was the venue for a concert titled Collaborations 1.1 featuring the works of Gerhard Stäbler and Kunsu Shim as performed by members of the Southland Ensemble. Stäbler and Shim, German experimental composers, are on a three-city tour of the US, sponsored in part by the Federal Foreign Office of Germany and the Goethe Institute. Seven pieces composed between 1986 and 2007 were presented, ranging from conceptual works to those with graphical scores and standard notation. The warm evening and exquisite acrylic paintings by Sue Tuemmler complimented the amiable atmosphere present in the audience and the gallery.
The first piece was by Kunsu Shim In Zwei Teilen – I, and this was performed by violin, viola, cello and recorder. The first notes were barely audible – a light, high arco sound from the cello followed by about a minute of silence. A short chord from the strings and recorder was heard and then another long, soft tone from the cello. The combination of quiet sounds and long silences worked to focus the listening and the result was a sense of keen anticipation. More hushed tones from the cello followed and with a pleasantly dissonant final chord from the strings and recorder, the piece concluded.
Hart Auf Hart by Gerhard Stäbler was next and this had several performers scattered around the floor with portable radios and a graphical score consisting of bar codes overlaid by a grid of numbered coordinates. A series of numbers and letters were called out – much like a bingo game – the performers consulted their scores, and some began tuning their radios. The tuning proceeded fairly rapidly, and short bursts of voices and music were heard as well as loud static. The voices coming from the radios were fragmentary and did not add any sort of narrative. For some performers the score indicated silence, and the radio was turned off. The piece continued in this way, coordinates were called out at intervals and radio sounds were heard coming from different corners of the performance space. All of this produced an interesting texture, if not any definite form. The changing patterns and locations of the sounds produced an intriguing sense of space and movement for the stationary listener. Towards the end of the piece, the performers gathered around an open microphone and all of the radio sounds were now projected from a single speaker, flattening the previous sensations of distance and location. With a burst of loud sounds and static the piece suddenly ended.
The third piece on the program was Gerhard Stäbler’s ]and on the eyes black sheep of night[ for piccolo, clarinet and violin. This was a conventionally notated piece that began with a dissonant tutti chord and gave off a feeling of remote loneliness. The piccolo played two alternating high notes and the others joined in similarly in their registers. The effect was like listening to a clockwork oscillating back and forth with a sort of familiar regularity. The coloring became more intense, adding a bit of anxiety. A sudden and almost painfully loud dissonant chord in the violin and piccolo disrupted the calm and captured everyone’s attention. There was a brief return to the more gentle feeling, but ]and on the eyes black sheep of night[ ended on a second tense chord as if to underline the journey from the comfortable to the anxious.
Luftrand, by Kunsu Shim, followed and this was for violin, viola and cello. Soft, muffled tones – almost a whisper – were heard, followed by silence. The players began each passage together and the quiet chords had a mysterious and secretive feel. Everything was soft and tentative, with never a strong bowing action or loud note. The players exhibited good ensemble and a soft touch to produce the delicate sounds that felt like a series of quiet sighs. Midway through, the string tension on each instrument was reduced and this produced a new sound – less purely musical perhaps, but more evocative. The now-lower notes seemed to be enveloped in a thick fog that greatly added to the mystery. Luftrand with its subtle, muted tones invites a deeper and more rewarding concentration from the listener.
Saturday, July 25, 2015 at Boston Court, People Inside Electronics presented Man on a Wire, a concert of new music featuring pianist Aron Kallay. A capacity crowd filled the Branson performance space to hear eight pieces incorporating electronics, piano, keyboards and acoustic instruments.
The first piece was Four Roses (1997) by Annie Gosfield and this was written for cello and de-tuned keyboard. Aron Kallay played the electronic keyboard and Maggie Parkins, cello. According to the program notes “Three of the cello strings are tuned conventionally, and the ‘A’ string is tuned 80 cents flat (just short of a semitone). This scordatura creates microtonal intervals between the open ‘A’ string and the normally tuned strings. The keyboards use prepared piano and piano samples, tuned to a scale that is 32 notes per octave.” This opened with stark, scratchy sounds from the cello that soon coalesced into a pleasing pizzicato groove while the keyboard added short, metallic notes that provided a good contrast. This order was then reversed, with long, sustained tones coming from the cello while the keyboard fashioned a melody from riffs of 8th notes that worked nicely against the smooth background. The cello then embarked on a slow, dreamy solo and when the keyboard entered again there was an added sense of tension that persisted through a brief revisiting of the opening theme. A sudden ending concluded the piece. Four Roses ably incorporates unconventional tuning into an engagingly listenable piece that was artfully performed.
Get Rich Quick (2009) by Ian Dicke followed. This piece is for piano and fixed media and was performed during the May, 2014 People Inside Electronics concert in Santa Monica. A new video by Katherine Guillen was commissioned for this latest performance. Get Rich Quick was written shortly after the 2008 market crash and is a playful look at the fragility of our financial system. It begins with sounds of the frenetic bidding of a trading floor and the ringing sound of a coin spinning. A loud, scary piano crash follows, and a chilling melody is heard while a shower of falling coins is seen in the video. The dark melody builds in volume and tension as fragments from 1960’s-era commercials are seen extolling the virtues of consumer debt and stock market speculation. Phrases like “Debt is part of American life!” and “Investing is easy!” are heard while visions of conspicuous consumption are seen. Images of charts and currency tables are especially vivid in parts of this new video, with movement and bright colors that dazzle the eye. The music becomes increasingly ominous as the video narration turns suddenly righteous – “Pay those bills!”, “There’s no free lunch!”, and finally “Get out of Debt.” The video concludes with more falling coins and a music box melody of Teddy Bear’s Picnic. Get Rich Quick has lost none of its relevance and the playing of Aron Kallay perfectly fit both the video and the musical message.
The next piece was The Alchemy of Everyday Things (2015) by Jason Heath and this was for piano, violin and live electronics. Originally written specifically for the Villa Aurora performance space with five channels of audio, this Boston Court version was realized in stereo. Aron Kallay was at the piano and Shalini Vijayan played violin. The piece began with a lovely sustained tone from the amplified violin that was unusually deep and rich. The piano entered, but in an unexpected way. Aron Kallay was seen to be drawing a length of fishing line – or perhaps some thin wire – across one of the lower piano strings. The sound this produced was both exotic and profound, like some ancient Asian stringed instrument. When combined with the violin, the result was calm, soothing and meditative – a wash of warm tones without need of rhythm. A high, soaring violin line added a brightness and color and this was joined by several piano notes, struck now from the keyboard, breaking the spell. The violin became more active and piano chords added a new energy and movement to this middle section. At length the sounds of water lapping at a lake shore and a soft whispering were heard, adding an element of mystery. The violin played a soft solo of low, sustained tones and soon the piano joined with more notes bowed with the wire line, returning to the serenity of the opening. The Alchemy of Everyday Things is a beautifully transcendent piece that draws a surprising elegance from very simple sounds. The playing in this performance was equal to the task, delivering a delicate, introspective quality that precisely matched the music.
The 69th annual Ojai Music Festival featured the West Coast premiere of Sila: The Breath of the World by John Luther Adams, staged outdoors in Libby Park as a free community event. Performers from ICE, red fish blue fish and Cal Arts – some 80 musicians in all – were placed in selected positions in the center of the park and the audience was invited to move around and among them as the piece progressed.
Sila is an Inuit concept for the spirit that animates the world and marks the second outdoor piece by John Luther Adams at Libby Park. Inuksuit was performed here in 2012 under similar circumstances and was judged a great success. Sila is perhaps a more ambitious piece in that there are more players and a more diverse orchestration. Inuksuit is a dynamic percussion piece that was spread out over the entire park. Sila has strings, horns, woodwinds and voices organized into sections, all ringed by percussion stations. Sila probably occupied a bit less than half the area of the Inuksuit installation.
Sila is also a more delicate piece – its subject matter is intangible and highly spiritual. In a recent article by Tim Greiving the composer was quoted: “My image of the piece is really quite simple, It comes up, very slowly, out of the earth, out of these very low sounds — of bass drums and double basses and bassoons and tubas. And over the course of an hour or so, it just gradually rises up through this series of harmonic clouds and goes out and rises, and blows away in the wind.”
Sila opens with a great roll of the bass drums accompanied by sustained tones from the low brass. There is a primal, elemental feel to this that increased as the bass clarinet and oboe entered. The entrance of each section of instruments, in turn, contributed more sustained tones that gradually rose and fell in volume. The early parts of Sila were heard in the lower registers, but the sounds gradually rose in pitch over the course of the one hour performance. The musicians and singers slowly rotated as they played, adding a swirling effect to the texture.
Microtones were notated in the score and the musicians were equipped with a cell phone app that helped to monitor the pitches and provide stopwatch time to mark the entrances of the various sections. There was no formal beat, but rather a series of long tones – always entering and fading – and producing a constantly changing color and texture to the sound. At times the ensemble sounded like a great sigh.
The crowd pressed in among the musicians and depending where one stood, there was a markedly different character to the listening experience. Standing near the woodwinds or voices, for example, one heard a lighter, ethereal sound while standing near the brass or percussion evoked a feeling of expansiveness and grandeur. Given its more diverse instrumentation, Sila is a much more position-sensitive experience than the percussion-driven Inuksuit.
About midway into the piece there were high trills on some of the xylophones while others were bowed and this produced a lovely mystical wash on top of the sustained pitches coming from the instruments. The soprano voices were also very effective when within earshot. The press of listeners as they moved among the players had a somewhat damping effect on the sound – especially among the higher woodwinds, strings and voices. The audience was quietly attentive and fully engaged for the entire hour. The piece gradually wound down in volume and in the final moments all that could be heard was the rushing sound of air coming from the instruments and voices. John Luther Adams was in attendance and acknowledged the sustained applause that followed.
This performance of Sila was well matched to the Ojai Festival which, after all, is built on the idea of music outdoors. Much credit goes to the 80 musicians who had to bring off a subtle piece in the park setting and contend with microtones, stopwatches and the distractions of having their audience moving among them. The performance was successful, in part, because it involves the audience in a way that can’t be duplicated in the concert hall. Sila – and the other outdoor pieces by John Luther Adams – have added an important new dimension to the presentation of new music.
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The Dog Star 11 series of new music concerts continued on Sunday, May 31, 2015 at The Wild Beast performance space on the campus of Cal Arts. Reinier van Houdt, coming all the way from the Netherlands, was on hand to perform Green Hour, Grey Future (2014/15) by Michael Pisaro. An attentive audience sat quietly in the sun-splashed Wild Beast as the 73 minute-long work for solo piano and electronics gracefully unfolded.
The title of this piece comes from a poem by Susan Howe titled “Articulation of Sound Forms in Time.” The third section of that poem, “Taking the Forest” contains these lines:
Eve of origin Embla the eve soft origin vat and covert
Green hour avert grey future Summer summon out-of-bound shelter
The line “Green hour avert grey future” suggested to the composer a long, gradual transition from the vibrant green of the living present to the “grey” uncertainty of a distant future. Michael Pisaro writes: “So my idea was to take this hour for the piano and have it tilt ever so gradually from green to grey in its own particular fog-like way.”
The piece proceeds in a series of seven minute units that gradually increase in density, although in an artfully indirect manner that includes tone sequences, harmony, melody and loudness. The death of Mark Trayle, a close friend of the composer, also added a solemn dimension to the concept of transition in this work. Green Hour, Grey Future is dedicated to Reinier van Houdt and written in memory of Mark Trayle.
The piece opens with a single sustained piano note in the lower register. There is a pause, and the same note repeats twice more, followed by a longer pause. The note repeats twice again but this time with a bit less space between. After a somewhat shorter pause, the same note was repeated three times and a soft electronic matching tone was heard from the speakers. The electronic tone was sustained and smooth, although binaural beating could be heard at times – and the piano was silent. A long stretch of silence then concluded the sequence.
The opening sections proceeded in this way, with the opening piano note or notes rising in pitch and the matching electronic tones typically increasing somewhat in volume. Soon three or more notes and were played consecutively, followed by the electronic humming and another long pause of silence. The feeling was peaceful and calm, but anticipatory – like waiting for a distant signal. The slowly unfolding patterns in these early sections worked to focus the attention of the listener, and each new sequence seemed to add another piece to an emerging picture.
Very gradually the piece increased in complexity – a chord might be heard, or there were two or more consonant electronic pitches sounding together. The number of notes from the piano increased to something like a series of short phrases and finally becoming a steady stream. The piano and electronic tones now overlapped while the tempo – although never rushed – became incrementally faster. The piano notes, now played in the middle register, began to weave around the electronic humming in the background to produce a wonderfully warm mix of melody and sustained tones.
At this point a low percussive pinging sound was heard from the speakers turning the mood noticeably darker. The piano melody also took on a disconcerting feel as the louder, percussive electronics contended for attention in the foreground. This gloominess, however, gave way as pitches in the piano and electronics rose briefly to more optimistic levels. Bell-like tones from the speakers and a light tinkling sound added a mystical feel.
Before the warmer feel could fully establish itself, however, a solitary low starting note from the piano and a sustained low humming in the electronics recalled the beginning of the piece, now with a touch of menace. The piano sequences seemed to meander and drift while a low, rough rumble from the electronics overwhelmed the texture at times. This combination continued along for several minutes with the electronics clearly predominating. In the latter sections of the piece the piano continued its quiet, uncertain melody while the sounds of running water, birds, rain drops and the roar of an overhead jet were heard from the speakers. The piano notes finally slowed, and the piece came to a close.
In the course of 70 minutes, Green Hour, Grey Future carefully unfurls its beguilingly slow transition from spare simplicity in the opening, through a warm optimism in the middle sections and into the fog of an indeterminate future at the close. The electronics and piano were nicely matched in this performance, with the colors and moods most vivid in the middle sections. Reinier van Houdt, whose cool temperament and formidable powers of concentration combine so well, played this piece to perfection. A look at the score afterwords showed the sequences of notes on the staff marked with the timing in minutes, and Reinier used a stopwatch at the keyboard to mark his way through the piece.
Reinier van Houdt was planning to stay in California for a few more days so that a recording of this piece could be made. Watch for Green Hour, Grey Future – it will be worth a listen.
The Dog Star concert series, sponsored by Cal Arts, is a Los Angeles cultural landmark that features new music in a number of venues around town over the course of some 18 days. On Saturday, May 23, 2015 the Happy Valley Band arrived from Santa Cruz to present a Dog Star concert at the Wulf along with the group Desert Magic. A standing-room crowd packed into the smallish venue for an evening of original rounds and a high-powered experimental transcription of “the Great American Songbook heard through the ear of a machine.”
Desert Magic opened and presented several pieces from their upcoming CD A Round The Sun. Alex Wand, Steven Van Betten and Logan Hone played variously guitar, percussion, saxophone and all sang vocals. All of their music is in the form of a round and draws small vignettes about everyday topics and events. Some of the lyrics heard included “blood moon selfie”, “I was born under the desert sun”, “howl at the moonlight” and “the battery in the camera died and I saw a real sunset”. There was even a a piece whose patter was built around “Dog Star” and this drew some knowing laughs from the audience. The blend of guitar and vocals had a pleasant, folk-like feel and the round form produces an engaging texture. A variety of simple percussion elements brought out the beat, and added to a pleasing groove. The singing was often in harmony and perhaps Desert Magic could have wished for better acoustics, but the audience was generally charmed by this performance. Desert Magic is releasing the music from their CD on the solstices and equinoxes of the year 2015.
The Happy Valley Band followed, comprised of piano, two violins, electric guitar, two saxophones, electric bass and drum kit – various combinations of these instruments were employed for the different pieces performed at this concert. According to the program notes “ the ensemble plays transcriptions of popular music classics, made through a process of machine listening and sound analysis.” This is a massive oversimplification – the processing of a classic pop tune involves three major stages: audio separation, pitch plus rhythm analysis and symbolic notation generation. According to David Kant’s website the process proceeds as follows: “ First, the original audio recordings are separated into individual instruments using signal processing tools. The separated instruments are then translated into raw note on and off data through pitch and amplitude analysis. Finally, the raw note data is transcribed to music notation.” The end result is a computational rendering of what the machine has perceived within the recorded music, and this is translated into a musical score and performed for humans to hear. An excellent technical summary of the entire process appears here.
The first piece played by the Happy Valley Band was It’s a Man’s World by James Brown and is a good example of how all the processing actually sounds. It began with a frantic series of runs by the two violins, with loud entrances quickly following by the drums, bass, guitar and saxophone. The notes from the players come in sheets as an overwhelmingly complex texture, but at the same time the voice of James Brown was heard singing the familiar tune – a kind of cantus firmus that anchored the listener against the whirlwind of rapid variations. The rhythms of each instrument sounded independent – the players followed their scores using the pulse from the sung lyrics and not from a formal beat, but this only added to the originality of the sound. Not surprisingly, the pitches and harmonies always felt connected to the familiar tune, being derived from the same materials.
The drums, bass and electric guitar, especially, pushed the volume up to hard rock levels and this nicely complimented the source material. The organic complexity in the playing was reminiscent of the music of Brian Fernyhough and the use of pop classics as a starting point provided a reassuring measure of accessibility. The volume and high energy level brought a sense of spectacle that quickly captured the attention of the audience. The sheet music for each piece ran to dozens of pages, and these were tossed off the stands by the musicians and fell to the floor in great white heaps.
A number of pieces were played including You Make Me Feel Like A Natural Woman by Aretha Franklin, Suspicious Minds (We’re Caught In a Trap) – the Elvis standard, Ring of Fire by Johnny Cash and several others. The soulful music always worked well and Suspicious Minds was surprisingly powerful, especially the chorus where the saxophones produced an outburst worthy of Coltrane in his late free jazz period. The music seemed to come in waves, washing out over the audience in great surges like some primal force.
The Happy Valley Band has created a very appealing mix from the most unlikely elements – highly complex music played at rock band decibels and fashioned from the pop classics of the past.
The Happy Valley Band is:
Alexander Dupuis (guitar),
Conrad Harris (violin)
Pauline Kim Harris (violin)
Beau Sievers (drums)
Andrew Smith (piano)
Mustafa Walker (bass)
David Kant (saxophone and arrangement)