condition: (as determined by the fortieth junto project) create a unique performance as a third part to accompany kenneth kirschner (piano) and tawnya popoff’s (viola) duet “june 5, 2012 – iii.” you cannot change the existing audio. the finished work should have a duration between two and eleven minutes.
process: after listening to the track one time through, an improvisation for acoustic guitar was recorded in response on open reel tape in one pass with no overdubs, with the intention to at first follow then lead.
condition: (as determined by the twenty-ninth junto project) make a field recording of source material that involves running water to act as a foundation for a sound work providing both rhythmic and melodic material. add elements and treatments to the foundation recording, with the intention of highlighting the water’s internal sense of rhythm and melody, while keeping the original recording recognizable. duration should be between 2 and 4 minutes.
process: melodic content was produced from a field recording of a river as the only source material using a resonant filter and reel to reel tape loops. the recording documents the gradual removal of elements allowing different elements to surface.
i have always been interested in building up atmospheric drones and have lately become obsessed with the traditional japanese instrument known as a shō. the free reed instrument is powered by breath and uses metal reeds tuned with wax attached to the bottom of 15 bamboo pipes (17 pipes total). the instrument traditionally serves the purpose of ‘freezing’ a melody into a kind of floating cloud for other instruments to occupy.
this audio work attempts to approximate some of the tonal qualities of the shō using a harmonium transitioning between the traditional chords ‘ge’ and ‘otsu.’ once an atmosphere of floating tones was created, improvised violin and acoustic guitar were interwoven using a stereo tape feedback loop and a closed tape loop.