for The Luna Ensemble
Water study no. 1 (indeterminate version)
This piece is the study of the rhythm, pitches and harmonies of drops of water that fall into a porcelain bowl. It was my first attempt to analyze musical parameters in field recordings. Previous versions of the piece were direct transcriptions and orchestrations of the field recording. This version is a contrapuntal and electronic exploration of each of the textures created by the drops of water, which are repeated and multiplied while varying densities, tempi and timbre.
Water study no. 2 (indeterminate version)
The origin of this piece is the field recording of a stream descending to the Tonatiahua pond, Mexico, in June 12, 2011, 1:27 pm. The process of writing this piece implied listening for the rhythmic and pitch patterns of the stream, which were transcribed from the recording and eventually used as the basis for the melodic and textural materials of the music. These materials are presented as monody (a single melodic line), as melody and accompaniment, and as polyphony (two or more independent melodic lines). The juxtaposition of these techniques is a metaphor of the ear shifting its attention among different sounds of the water. A goal of this piece is to incorporate the parameters of nature into musical vocabulary, which requires from the composer, the performers and the listeners a thorough attention to sounds that are not conventionally understood as “musical”. This version of the piece, which features the field recording itself with filters and other electronic transformations; electric guitar, clarinet, xylophone and non-pitched percussion.
Performers: Rachel Condry, clarinet; Jakob Pek, electric guitar; Christopher Luna-Mega, piano; Nava Dunkelman, percussion 1; Jennifer Wilsey, percussion 2; Jeanie Aprille Tang, electronics 1; Aaron Oppenheim, electronics 2.
Water Study 1 (indeterminate version)
Water study 2 (indeterminate version)