Browse Items (868 total)

• walkside, lost

  walkside, lost
  by Jason Thorpe Buchanan
  Text by Darcie Dennigan

  Commissioned by Gaudeamus Muziekweek for Slagwerk Den Haag.
  World Premiere: Utrecht, Netherlands – September 13, 2015

• Warmth for Fixed Media and Video

  Justly-tuned guitar harmonic samples composed with rhythmic ratios and pleasant squares.

• Weav-Weav-Weaving for harp and interactive electronics

  Three movement work for harp, electronics, and motion sensor inspired by the poetry of Edna St. Vincent Millay

• what i am not

• Where Water Meets Memory

• White Canvas

  I woke up one morning after a performance in Connecticut, and I realized that everything I had recently composed was following a similar pattern and, to some degree, was actually just the same piece slightly reimagined. White Canvas was a compositional exercise in which I challenged identify each of these characteristics, and then intentionally do the opposite.

• White Turbulence

  When I first started thinking about this piece, I thought it might be interesting to have water as a unifying theme. I recorded many sounds involving water with microphones and hydrophones and processed them using phase vocoding, convolving, and extreme equalization. As I started putting the piece together, I thought it might be playful to incorporate some obvious quadraphonic effects (the convolved airplane at the beginning) in addition to the more subtle spatialization techniques I used such as continuously varying phase relationships. Other sounds include waves lapping against the shore, an old toilet tank slowly filling with water, a brass ball spinning very fast in a stainless steel bowl with a small amount of water, etc. There is a mix of recognizable (although processed) sounds and sounds processed beyond recognition. While working on this piece I recalled the difficulty of layering complex sounds which were spatially oriented with other complex sounds of another spatial orientation. The space tends to become confused or to simply collapse when layering the sounds. This piece is therefore reminiscent of many of my early quadraphonic pieces (1973-1985) which are more episodic rather than thickly layered.

• White/Waves

• Wind Chimes Clatter through the Mist and Fog

• Wind in Spring

  (SCORE AND ELECTRONICS AVAILABLE BY REQUEST – jacob.sudol@gmail.com)

  stereo and surround versions available

  – Recording Carla Rees (alto flute) and Jacob David Sudol (electronics); Recorded February 2011 at the University of California, San Diego

  * * * * *

  Program Note

  Wind in Spring (2010-2011) is the third in a series of works for different instruments and electronics. All of these works use the same electronic techniques and explore nearly identical structural progressions. The first two pieces – “…wash yourself of yourself” (2009-2010) for piano and electronics and From Silence, I Rise (2010) for zheng and electronics – use open notations that allow the performer great flexibility in realizing the material. Wind in Spring, on the other hand, is notated with far more attention to specific details.

  Wind in Spring was composed for flutist Carla Rees and the rarescale duo. It was premiered and recorded by Carla Rees, with the composer on electronics, in February 2011 at the University of California, San Diego

  –Jacob David Sudol
  March 2011
  La Jolla, CA