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| Feathers by Simon Tarr |
It's taken a lot
of composing/thinking/video editing/soldering/rewiring, but Simon and I are
just about ready for Zankel this week! It’s such a treat to work on such a wild
piece, one that we never would have been able to bring to life under the
constraints of a typical orchestra schedule—but at the same time, all those
possibilities create *lots* of things that can go wrong, and plenty of
brilliant ideas crash and burn for want of an adapter plug. So we’re checking
our I’s and crossing our t’s so that we can hopefully spend all of the time in
rehearsal experimenting with cool sounds rather than trying to get X device to
power on!
These ciruit-bent
instruments are a real kick in part because of their utter unpredictability,
but that same quality flies in the face of orchestra standards. For the next
workshop, we need to be conscious of the inevitable challenges this will create
as well as bringing out the happy accidents that will make the piece sound very
different than a traditional, rigidly-controlled composition.
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| Dan Visconti |
Our first
priority of this last workshop is to verify that our setup works, after which time Simon will
continue to focus on the video and make sure that it is getting enough audio
input to make for enough motion (his video is reacting to audio input). The
musical side of Glitchscape is not difficult, but as a large amount of the
piece involves reacting and improvisatory elements it will require a slow
“working through” every couple bars. It is important to work through the piece
slowly as much of the interest will come from how we work out different events,
so a slow trip through the entire piece is a must. After this has been worked
out, we can focus on running the piece continuously.
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