- Clement Reid
- Nicole Truesdell
- Calvin Senter
- Mark Wilson
Friday, November 3, 2017, 8 pm
Chapel Performance Space
4649 Sunnyside Ave N, 4th Floor
$5–15 suggested donation
Transit Maps, fixed media with projection
The series of pieces are called Transit Maps Basically I’m collecting transit maps from around the world and converting them into some form or another of parameters for the music, mostly form and instrumentation.
The two pieces presented on the salon will be “San Francisco BART” and “Copenhagen S-Train”.
Diler, for strings
One of my favorite ways to produce variation in live performance is through orchestrated failure: providing the musicians with a clearly-defined objective, and then making it as difficult as possible to reach that objective. The music that I personally want to hear lies in the struggle to find, even if the objective is never met. Diler is the latest in my exploration of this concept. A group of violinists and violists is fed a series of wide-ranging pitches through headphones. Each chooses a single string on their instrument and is tasked with matching the reference-pitches, as they hear them, using only that string. Thus all are chasing the same goal, but the odds that they will get there the same way (or at all) are stacked against them. In the process, however, a wide array of chords can be generated. The result is different every time.
Sonata for Piano
This is a piece for piano consisting of a recently written “Expression of 2nds and 4ths” followed by Bagatelles 4 & 5. As with my earlier Bagatelles, this is a somewhat tonal work relying on nonstandard harmonic techniques to establish and maintain a tonal coherency.
Theater Piece #2
I’ve been putting a group of solo pieces for a program together, and the feeling of this piece is of a long journey, as shown in the first movement, “Narration”, where a particular note series seems to define a road or path. The general sound of the instrument seemed to suggest characterizations, especially in mvt. IV. “Side Shows”, which has a circus-like environment. The piece has been performed on Tacoma New Music and on a concert, At the Western Front, a US-Canada composer exchange program.
Ghosting Doubles (second sighting)
Earlier this year—having been dutifully plodding along, working out yet another overly ornate concept for yet another solo piano piece—I was brought up short by Amy Denio’s lovely solo accordion melody “Ghosting”. I immediately knew I wanted to work with it somehow. Amy graciously gave her permission (thank you thank you thank you!) so I ditched the overly ornate and wrote three separate pairs of not-quite-one-to-one counterpoints. Doubles, in the baroque sense: not so much variations as transformative screens or filters. Of those three I will present one: “Ghosting Doubles (second sighting)”.
“Reforming the Recognizable” and “Still Here, Anew” are the final two movements of Eden Untamed, a piece dedicated to a fellow composer’s rumination on what it means to be and act as a composer. A short melodic idea of his was the basis of all the harmonic and motivic development to challenge myself to slowly exert as much control as possible over the piece. The third movement is the final condensation of the idea into a single point. The fourth movement is the amalgamation of the structure of the first three movements balanced with a release of, what can vaguely be called, the oppression of caprice.
The first two movements, “Themes Amuck” and “Pieces of the Puzzle”, can be found at: https://soundcloud.com/jessiharvey_composer.
Guitar Sonata in D minor
The inspiration for this work in-progress was waking up one Sunday morning in 2016 hearing what the tune “Restoration” from William Walker’s compilation Southern Harmony might sound like if performed by the great Texas Gospel blues slide guitarist Blind Willie Johnson. Movements 3 and 4 together form a traditional sonata form. However, drawing some inspiration from Hepokoski & Darcy’s concept of “rotation” (and some from cumulative form in the work of Charles Ives) I present “Restoration” as the basis for a ragtime theme in the sonata exposition (theme 2) that becomes the set of variations on “Restoration” as a slide guitar homage to Johnson in the recapitulation (aka movement 4), which can also be performed as a stand-alone movement. The third theme/coda material is derived from the subject of a fugue that will be the first movement.
Morning Stroll, a mostly tonal almost-rondo for saxophone quartet
There is an emphasis on quartal intervals and harmonies, some indeterminate and/or poly-tonality, etc., but common practice has not been left very far behind. All in all, it’s pretty typical of my music.
It’s not really programmatic, but you can picture someone with a very short attention span going for a walk—being distracted by anything and everything seen on the walk.
The work will be performed by the Emerald City Saxophone Quartet: Barbara Hubers-Drake, soprano; Molly Pond, alto; Harold Rosenkrans, tenor; Jim Glass, baritone
A computer generated version of this piece, along with other pieces of mine, are on Soundcloud.
Guitar Sonata in A major
In 2015 I composed a set of guitar duets I called the Zombie Sonata Rags, where I transformed my favorite themes from the guitar sonatas of Carulli, Diabelli, Giuliani, Matiegka and Sor into the core of rags. Naturally if sonata themes can be transformed into ragtime why shouldn’t ragtime translate into sonata forms? So I’ve been exploring how ragtime can be explored in terms of the developmental procedures and syntax of sonata forms. My recently finished Guitar Sonata in A major is a tribute to the great ragtime composer Scott Joplin.
new music for marimba + electronics
The piece has at this point evolved to include some percussion elements as well as marimba. The electronics used are sourced largely from vocal samples that are then chopped, pitched and stretched. It is percussive in nature, emphasizing a back and forth hocket-like relationship between the marimba and the electronics, with each part filling in gaps and creating pointillistic gestures that run throughout. Extended techniques on the marimba imitate and compliment the electronic sounds.
I’ll be presenting ad;sr, a work originally for string quartet that was algorithmically generated and captured as a static score. I’ve recreated the score as a “vectorscore”, intended to be a full realization of the work—a generated score for any ensemble and any number of instruments.
vectorscores is a series of new works to be viewed and performed via a lightweight website. The works are algorithmically generated so that each score and performance is unique and customized while still being shaped by the composition’s parameters.