in Compositions
May 2006.
Explores the inner potentional of percussion instruments using live electronics as a medium to expand and fragment the acoustic sounds.
Interaction with computer-generated sound is important: the second of the three pieces is an improvisation allowing freedom for an impromtu two-way dialogue between acoustic and electronically processed sounds.
Historical compositional practices informed the construction of the pieces: Piece One was composed using serial techniques to separate both musical parts; and Piece Two uses rhythmic phasing, reminiscent of techniques used by Xenakis, to move focus between the two performers. Piece Three explores the historical grouping of cymbals and bass drum, but they are played by the performers in a very different way.
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