You Coo Coo You Coo Coo
for ensemble and tape
You Coo Coo You Coo Coo is a composition for nine musicians based on two samples of Robert Ashley's The Bank (Victimless Crime) from his television opera Perfect Lives. The samples are transformed through cuts and displacements to create a completely different music out of them. An ensemble plays side-by-side with the tape, acting as a simulation of this process.
All samples were used with the permission of Mimi Johnson on behalf of Lovely Music Ltd.
Comissioned by Ensemble Musikfabrik for the Adventure concert series.
Switch Me Switch You
for two saxophones, live electronics and lights
Switch Me Switch You is a piece for saxophone duo, live amplification and lights. While the piece is a duo, it is really a quartet as two speakers act as characters or an extension of the performers with their own qualities and behaviours. The piece is played completely in the dark, allowing the lights to reveal the four characters during the performance.
The piece explores the possibilities of quantized amplification to provide exact rhythms and abrupt changes of sound, taking advantage of the fast switching that is possible by means digital media. There is no live processing other than radical amplification.
Comissioned by Limina Festival at Mozarteum Salzburg.
Preset Chain is a piece for organ, composed especially for a Sinua system organ that allows the storage and sequencing of presets. There are a total of 46 register presets, which are sequenced as the organist advances through the score. The piece explores repetition by means of loops of similar length.
Comissioned by Orgelmixturen Festival at Kunst-Station St. Peter Köln.
for ARP 2500
Cross Talk is a piece composed specially for the ARP 2500 modular synthesizer. It takes advantage of the matrix routing system it has to create (un)desired signals that feedback against each other. The piece aims to unfold the controlled chaotic behaviour that this historic synthesizer has.
Comissioned by Strom : Klänge exhibition at the Gesellschaft für Kunst und Gestaltung Bonn.
Back and Forth
for MIDI-piano and modular synthesizer
Back and Forth is a piece about movement and synchronization. The Disklavier is synced with a modular synthesizer through the same MIDI communication protocol that they share, becoming a very powerful sound force throughout the development of the piece. Various MIDI generation processes that are impossible for musicians to play were systematically applied to the piano and synthesizer.
Comissioned by Conlon Collective at Muziekhuis Utrecht.
for percussion and modular synthesizer
Barcodes is a piece for percussion and modular synthesizer that explores how musical instruments can be used as controllers to modulate parameters in real-time, adding a new layer to the performativity of live electroacoustic improvisation, trying to unveil the different layers that a piece can unfold through its own performance.
It Takes Two to Tango
for MIDI-piano, piano and video
It takes two to tango is a common idiomatic expression which suggests something in which more than one person or other entity are paired in an inextricably-related and active manner, occasionally with negative connotations. The meaning of this expression has been extended to include any situation in which the two partners are by definition understood to be essential.
You can sail in a ship by yourself
Take a nap or a nip by yourself
You can get into debt on your own
There are lots of things that you can do alone
But it takes two to tango
for percussion and modular synthesizer
Reunificar is a piece for amplified snare drum, two percussion pads and modular synthesizer, which explores free improvisation as an exploratory framework for sample processing, amplification and the use of new interfaces. Each musical gesture has a relationship with the different modulation parameters of the synthesizer, creating a constant search for sounds and relations through the performer's gestures. In this way, the synthesizer acts as a second player, proposing sonic possibilities as the performance unfolds in a dialogue between the percussionist and the synthesizer.
Comissioned by Musikfonds NEUSTART KULTUR.
for MIDI piano
Four studies for Disklavier in which intervals, rhythms, synthesis and dynamics are explored through the mechanical possibilities offered by the precise and systematic automation of the MIDI-piano. The studies are connected through a story in which SHPR-25725, an entity trapped inside the piano, describes his miserable day to day at work.
Vértice de una Espiral
for percussion quartet and live electronics
Percussion quartet where amplification plays a fundamental role in the musical narrative of the piece. Through the use of microphones, each percussionist explores the different zones of a hi-hat cymbal through an automated amplification process controlled by a Max/MSP patch. There is a continuous dialogue between the acoustic and digital media, mixing and separating both sound layers as the piece progresses.
Comissioned by Ensemble Musikfabrik.
Desunir la Convergencia
for e-viola, e-violoncello and modular synthesizer
The work explores the points of similarity and contrast between both instruments and its constant contradiction through the real-time processing done by the modular synthesizer.
for alto saxophone, tenor saxophone and live electronics
Multifuerza is a composition about anxiety. With the use of electronics, it highlights the most intimate sounds of the instrumentalists: the air that runs through their instruments and percussive hits that they play on the body of their saxophones. On the other hand, it amplifies brutal and scratchy sounds, product of the desperation of being in a state of anxiety. The work executes a relationship between sound, body and hearing in a dialogue between two subjects trying to deal with their oppressions.
for ensemble and electronics
The work involves the exploration of several amplitude changes by an algorithm that controls the dynamics of a directed improvisation of a free-jazz ensemble. Every channel represents one of the musicians in the ensemble. Several volume automations are created digitally, resulting in a series of envelopes of different shapes and durations. A new sense of rhythm arises in these fragments, which are possible only through systematic automation and digital modulation, blurring the line between acoustic and digital media.
for snare and live electronics
Defragmentar works with the analysis of sound parameters to amplify and modify the sound of the snare in real-time. Through the use of audio descriptors, the drum is analyzed by two microphones and a hall-effect sensor to trigger sounds from a library of 4632 samples of gamelan, rocks, glasses and short, resonant sounds, thus giving a new sound to the sonic possibilities of the drum, balancing a timbral similarity between the drum and the samples played. The result in a symbiosis between the acoustic and electronic worlds.
Comissioned by Ministerio de las Culturas, las Artes y el Patrimonio de Chile.
for drum set and live electronics
The work analyze the signals of five microphones around a drum set, which are used to process and synthesize real-time electronics in a stereo system. The structure of the work has a progressive directionality, adding different elements of the instrument as the work progresses.
for drum set and live electronics
The work analyze the signals of six microphones around a drum set, which are used to process and synthesize real-time electronics in an eight-channel system. The structure of the work has a progressive directionality, adding different elements of the instrument as the work progresses.