a few days of catch up

I was in the studio with Patti Van Tassel twice this last week, and working with Andris Balins on our time lag piece in the studio one day. So, even though there hasn’t been much physical practice, I have had a pretty productive and creative week!

I have been feeling a twinge of pain in my right wrist from inflammation this week, so I have been taking it easy by just doing AT work, improvising, sight-reading with 2-mallets on marimba, playing drumset, doing simple pad work… and, to prepare for upcoming gigs, I’m doing a lot listening, score study, visualizing and practicing in my head. I haven’t done any four-mallet work, but I have been looking through the music and visualizing Surface Drifts quite a bit

 

7 Replies to “a few days of catch up”

    1. Yeah, it was really fun! We ended up taking aspects from both the first and second takes, transferring to 7 tracks…note, not 8 tracks ;-). Some were at full speed, others at half, one at double, and at least one or two backwards at different speeds. We are going to get together next week to perform the mix at the board. I wish you were going to be there… your ear is amazing!!

        1. I will send you the timelag mix… I think it needs a second attempt. The first one was all me at the board, and when I listened to it side-by-side with your mix of the feedback piece, it was very clear that the quality of the mix was far inferior. Andris and I are, hopefully, going to find a time to do this again in the next few weeks.

          1. Hey Brett,

            Several things..

            I just sent you Timelag mix #2. Let me know what you think. I am thinking that feedback piece will be on A side and timelag will be on B side, so listen in that order too.

            I am thinking about pressing these two pieces together on a single LP, then doing the other two sabbatical pieces on another single LP next fall (rather than doing the double LP with all four pieces). 1. because the other two are just not going to be ready any time soon, and 2. it seems that these two pieces fit together really well, without the others.

            And, I woke up this morning (Andris and I did this mix yesterday) thinking that single LP should be titled ‘unsounding/resounding’. If I need to explain the reasons for that title to you, then I think I am way off base with the idea. So, let me know. Another possibility is to title the A side feedback piece ‘unsound’ or ‘unsounding’ and the B side timelag piece ‘resound’ or ‘resounding’.

            The reason I am thinking about all this right now is that I am going to apply for faculty development funds to press the album.. that application is due in five days…. of course, I just decided that I wanted to do this yesterday. Anyway…

            My other thought yesterday was, could I try to get a label to pick this up? If so, what label would want something like this? Do you know of any places I should look at specifically? I have more ideas for the other pieces, the ones not yet done, that are more obviously “percussion” music, but for this stuff, I am unsure.

          2. FROM BRETT (via email): Mix #2 sounds really wonderful. This almost sounds like something completely different from what I remember. I think one of my reasons for thinking that has to do with how steeped in it we all were while it was happening. By listening this way, with a lot of time, and with the feedback first… it sounds right to me. I think they both complement each other quite well. Even though they could be put so far away from each other, I think they work really well right next to each other. Not in a yin/yang way but more of an apple/orange, or blue/red way… part of the same family, spectrum, continuum… whatever.

            I agree re: pressing this separately. This sounds like a great idea. Not only do these pieces go well together, they were done at practically the same time. So, we have that whole “slice of time” thing on our side. We were all same place and same head space. So for me, that’s what really makes them go well together and really does separate them from the future pieces you have on your list.

            unsounding/resounding OR unsound/resound are both excellent. For you, what is the difference between both? For me, the -ing gives it a feeling of present time… in the act of it happening. Without the -ing it feels a bit more like a formulated statement… something that was developed in an experiment, tested, and then reported/recorded. So, I guess in typing that I’ve pushed my partiality towards the later.

            Labels? Damn good question. I could do some looking. Perhaps just grab stuff off my shelf and look. Could also ask Adam (from black), in fact we are chatting tonight. Wonder why you are thinking label? For exposure? Distribution? Seems like those things (and maybe others) are what labels are for. I’m sure there are folks that would be into this… though, not so sure it would be the percussion community. I don’t even know what the academic electroacoustic community would think. I’ve submitted a lot over the past few years and seem to get denied all the time. I think that community like to see itself jerk off. I’ve had a few conversations with Cort and Chris about this. Though, of course, I could write up a bunch of stuff about how the feedback piece is connected to Stockhausen and Tudor, and embellish on that to entice people. Obviously they were the inspiration… but I think the results stray from Stockhausen quite a bit. Tudor… for sure. Maybe could try to play to people into that world a bit more.

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