World Ensemble ES
Descripción del Proyecto:
proporcionar una iniciativa inclusiva para guitarristas clásicos durante el confinamiento a causa del COVID-19. La obra, parts, together, del compositor australiano Azariah Felton, estará acompañada por un video de animación que ofrecerá un mensaje de unión entre culturas dentro del lema #AloneTogether.​ Hemos creado esta iniciativa con la idea de que personas de todo el planeta conecten y se sientan conectadas durante el aislamiento. Si quieres participar, no dudes en contactarnos lo antes posible. Nos encararía contar contigo.
Si tienes alguna pregunta acerca del audio, o necesitas aprender a grabar, por favor ponte en contacto con Jack Ritter.
​
Estreno mundial
​
Instrucciones para la grabación:
1. No es necesario grabar con video - el audio estará acompañado de un corto de animación
2. Perfectamente Aceptable: realiza una grabación con tu teléfono o una grabadora Zoom o similar. Algunas aplicaciones que puedes usar son Voice Memos (disponible para IOS) o Voice Record Pro (disponible para Android/IOS). Utiliza un metrónomo con auriculares al tempo que indica el compositor durante la grabación. También puedes encontrar diferentes "click tracks" en la página web. Pon la grabadora o teléfono en una superficie estable a una distancia de aproximadamente medio metro.
3. Preferible: Graba utilizando un "click track" en un programa como Garage Band, Audacity, Adobe Audition, Pro Tools, Logic Pro X, etc. Obtén los mejores resultados con un micrófono y un conversor analógico-digital. Aunque no estés acostumbrado/a a trabajar con estos programas, puedes intentar utilizarlos para tu grabación, pero es posible que el tiempo que requiere aprender a utilizar un programa de edición de audio sea demasiado para este proyecto.
4. Afinación a 440.
5. Puedes tocar con la grabación de tu parte asignada así como con el conjunto de guitarras para tener una mejor perspectiva de la obra.
6. Es posible que sea más fácil y preciso tocar con el metrónomo a 180.
7. La sección del final, desde el compás 81, es un decrescendo gradual hasta el final, incluyendo la repetición.
8. Grabaciones con ruido de fondo, distorsionadas, o con alguna otra interrupción en el sonido no podrán ser utilizadas. Si por alguna razón no podemos utilizar la grabación, te contactaremos para explicar el problema y que puedas grabarlo de nuevo. Por favor, escucha la grabación antes de mandarla para asegurarte que todo es correcto.
9. Exporta el audio con la máxima calidad posible y mándalo a la dirección de correo electrónico twistedspruce [arroba] gmail [punto] com
10. Guarda el archivo de audio indicando tu nombre.
Partes: las partes se asignarán de forma aleatoria. Si quieres tocar una parte diferente de la que te ha tocado, por favor escríbenos a twistedspruce [arroba] gmail [punto] com y buscaremos una solución.
Azariah Felton: compositor australiano. En la actualidad está realizando un Máster de composición en CalArts (California) con una beca Fulbright. Sus estudios y su beca se vieron afectados, como las vidas de todos nosotros, por la pandemia de COVID-19. Su estilo de composición minimalista es especialmente adecuado para una iniciativa como esta, y ha trabajado de foma efectiva y rápida para crear la obra que encargamos.
http://www.azariahfelton.com​
Click Tracks:
120 - 2/3 del tempo
180 - a tempo
Practice Click Tracks
Recordings Submitted:
Adam Del Monte
Martha Masters
David Tanenbaum
Jim Bosse
Jiri Svoboda
Nathan Fischer
Vincent Lindsey-Clark
Colin McAllister
Matthew Cochran
Paul Cesarczyk
Ammar Bahar
Sergei Matokhin
Igor Devlikamov
Elena Isakova
Hazriq Zulkepli
Joel Brown
Craig Lake
Benjamin Gateno
Alex Potapov
Kopytina Veronika
Joanne Castellani
Dale Kavanagh
Brad DeRoche
Nicholas Ciraldo
Natalia Lipnitskaya
Marga Abejo-Momper
Leandro Martin Ong
Florian Larousse
Aaron Aguila
Iqui Vinculado
Jonathan Paget
Corey Harvin
Shabyl Ajmal
Stanley Yates
An Tran
Eli Schille-Hudson
Ivor Fojas
Russ Callison
Robert Trent
Tom Torrisi
Robert Parker
Andrea Cannon
Marija Temo
Jay Kacherski
Abbey Bradstreet
John Kossler
Thomas Aquino
Melissa Fitzgerald
Mattew Slotkin
Steven Thachuk
Petar Kodzas
Kevin Vigil
Ken Meyer
Daniel Bolshoy
Dave Veslocki
Robert Miller
Mesut Özgen
Christopher Mallett
Isabella Fincher
Benjamin Altman
Matthew Ardizzone
Lynn McGrath
Jon Gillin
Stuart Fox
Adam Kossler
Jonathan Leathwood
Derek Keller
Alex Komodore
Chinnawat Themkumkwun
Paulo Inda
Sven Rainey
Ricardo Hernández Reyes
Carlo Guillermo Frierens
YunZhe Lin
Besides his career as a composer, Absil was also a recognized pedagogue. He taught the next generation of Belgian composers. His most interesting student for my research is Richard de Guide. Guide wrote Absil’s biography, which was published during the composer’s lifetime. This biography is the most comprehensive work about his life, and I will use it to contextualize Absil’s collaborative piano works. Guide researched not only Absil’s life to publish his biography, but also his compositions, and it is likely that a relevant portion of Guide’s research is still to be published.[1] Part of my own research will consist on uncovering Guide’s unpublished material and exploring how it can enlighten the conception and interpretation of Absil’s collaborative piano compositions.
[1]. Centre belge de documentation musicale, Music in Belgium: Contemporary Belgian Composers (Brussels: A. Manteau, 1964), 53.
parts, together (full score)
parts, together (full score mp3 audio)
parts, together (guitar 1)
parts, together (guitar 2)
parts, together (guitar 3)
parts, together (guitar 4)
parts, together (guitar 5)
parts, together (guitar 6)
parts, together (guitar 7)
parts, together (bass guitar)
parts, together (guitar 1 mp3 audio)
parts, together (guitar 2 mp3 audio)
parts, together (guitar 3 mp3 audio)
parts, together (guitar 4 mp3 audio)
parts, together (guitar 5 mp3 audio)
parts, together (guitar 6 mp3 audio)
parts, together (guitar 7 mp3 audio)
parts, together (bass guitar mp3 audio)
RECORDING INSTRUCTIONS:
-
We do not require video – the audio will be accompanied by animation.
-
Perfectly Satisfactory: record into your smartphone or Zoom using Voice Memos (IOS), or another third-party app such as Voice Record Pro (available for android/IOS). You will need to play along with a metronome to the composers suggested tempo. A metronome can be run through earbuds direct from your metronome or laptop. Keep your phone a safe distance (2 feet) from your instrument resting on a table or stable surface.
-
Preferable: record to a click track using a DAW such as GarageBand, Audacity, Adobe Audition, Pro Tools, Logic Pro X, etc. This would be best if you have mics and an A/D converter. If you are not familiar with any these software applications you may try to use them, but it’s not required, and possibly more of a learning curve than is necessary for this project.
-
Tuning A=440
-
You may submit only the moments in which you play, so there's no obligation to count long periods of rest.
-
Normalize -.06
-
Play along with the recording of your part (below) and play along with the master score to get a feel for the work, we are looking for a dynamic and rhythmic performance.
-
Using headphones, play along with the click track recording below when you record.
-
Recordings with clips, background noise, and/or distortion cannot be used. If for some reason we find the audio you provide us is unstable we will explain the issue and offer you the chance to record again. Please proof to your recording carefully before submitting it.
-
Save and Name your audio file: save as your name, your part number, and if you recorded the audio in three groups, name the section, ex. JSmith_Part3_Section_1_of_3
-
Submission Deadline: rolling deadline - mid summer.
-
Export your audio at the highest quality possible and send to twistedsprucemusic [at] gmail [dot] com. We prefer .wav files, but mp3 files are acceptable.
​
Parts: parts will be been randomly assigned. If you wish to play a different part than the one you were offered please submit your request to twistedsprucemusic [at] gmail [dot] com and we’ll accommodate you.
​
This is an inclusive performance project and anyone who wishes to participate will be accommodated.
​
​
​
"Please note that this audio is a MIDI demo and the final version of A Falling Loop will include additional electro-acoustic sounds alongside the classical guitar. Each component--the classical guitar and electro-acoustic sounds--are part of one large, interactive loop. Looking forward to hearing all of the recordings!" - Miles Friday
Record your part and select one or more prompt
PROMPT 1
Play 10-30 seconds of the first piece you ever learned on your instrument. Please clearly state the title and author of this piece (if possible).
​
PROMPT 2
Play a sound, pitch, or other noise that you find particularly resonant on your instrument specifically (for example, playing a G4 on my guitar makes the guitar strap peg rattle). Please clearly state the sound, pitch, or other noise that is unique to your guitar.
​
PROMPT 3
Play measures 54-66 (the last 12 measures) of A Falling Loop repeatedly for 1-2 minutes while slowly increasing the tempo. Once you reach maximum speed stop abruptly.