“Grain” is performed with live flute routed through a Max Patch on a computer. 

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The patch simply contains a series of determined delays with specific feedback settings. The result is like a reverberation, though it behaves very differently. The Flutist serves as the original “grain” of sound. The delays are timed and shaped in such a way that the output mimics granular synthesis. The performer becomes a sound mass of endless flutes as the performer travels through the repeated shapes within this piece.

There are intentionally no rests throughout this piece. Breathing should be determined by the performer. It is also an expressive part of the performance. Every breath should be quick and audible. It  should sound deliberate and expressive. However, the dynamics of the piece should be reflected in the loudness of the breathing. For instance, a breath in measure 1 (p) should be soft and almost unheard. A breath in measure 29 should be brash and strikingly loud (ff). The motivation for this expression is out of my intention to have the performer be a noticeable force behind the ensuing sound mass. 

Pillars is very similar to Monomyth, differing in that it is performed over a concrete piece (download link above). Previous version of the concrete piece were proving to be to busy and convoluted to mesh well with the Kinect performance overlay. The solution was a thinner texture. Pillars employs important historical quotes relevant to the design of the piece.

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Important to the emotion and overall concept of the piece were the lower frequencies. In the provided performance, a performer used a MIDI controller to create rhythmic disruptions in nearly inaudible subtones (though octaves were provided for recording purposes, as well as for making the piece accessible to all listeners). 

​A better performance would involve a form of gestural control over the subtones, rather than a MIDI controller.

Percussion duet

See images for score details.

Download score below.