Scale of the Day: E Flat Mixolydian mapped to the Square-root-of-2

Audio of the E Flat Mixolydian mapped to the Square-root-of-2 Scale.

See also:
E Flat Mixolydian mapped to the Square-root-of-2 Scale notated.
E Flat Mixolydian mapped to the Square-root-of-2 Scale interval analysis.

Scale of the Day: F Sharp Mixolydian augmented 4 mapped to the Square-root-of-2

The intervallic content of the F Sharp Mixolydian augmented 4 mapped to the Square-root-of-2 Scale. The augmented alteration adds a quality of Lydian "lightness" to the harmonic sound of this scale.

HurdAudio Rotation: Be Time, Be Bread, Be Bugs

Chris Mosley Trio: The Miraculous Aspect of Time. 2006. Red Button Records: RBR-101.

Chris Mosley: guitar, fretless guitar, 36-tone guitar
Damian Erskine: electric bass
Drew Shoals: drums

The Miraculous Aspect of Time documents three creative sides of Chris Mosley, each represented by the guitar employed for a given track. The short "Interlude I" and "Interlude II" pieces are solo guitar works featuring the 36-tone guitar and the sophisticated harmonic ear of Chris Mosley. I could drink in a full-length CD of music like this and the brevity of these pieces leaves me speculating what sounds might come if Mosley stretched out within this harmonic framework. The straight guitar trio compositions make up the bulk of this collection and the level of polish, compositional chops and the outstanding rhythm section of Erskine and Shoals make this one well worth repeated spins. Bridging the musical territory between the 36-tone solo pieces and the straight trio music are the two tracks for trio featuring the fretless guitar. Here we find a glimpse of Mosley's harmonic sensibilities combined with the formal development and group interplay that make this Portland, Oregon guitarist one to watch.

Myra Melford/Be Bread: The Image of Your Body. 2006. Cryptogramophone: CG 131.

Myra Melford: piano, harmonium
Brandon Ross: electric guitar, banjo, voice
Cuong Vu: trumpet
Stomu Takeishi: electric bass, acoustic bass guitar, electronics
Elliot Humberto Kavee: drums

The Be Bread performances of the familiar Melford compositions of "Equal Grace" and "Yellow Are Crowds of Flowers, ii" provides a glimpse into the possibilities of the ever expanding Myra Melford oeuvre. The elastic electric bass sound of Stomu Takeishi reprises the natural chemistry with Melford's piano and harmonium playing found on previous collaborations while the addition of Elliot Humberto Kavee's light touch on the drums fills out an outstanding rhythm section. Brandon Ross and Cuong Vu take turns filling out the quartet sound from track to track as each leaves a strong impression with their respective individualized sound. The soaring textures of Vu's trumpet playing in particular carve out an interesting space that weaves effortlessly through the ensemble sound.

Katt Hernandez/Evan Lipson: Hisswig. 2007. Limited run mini-disc.

Katt Hernandez: violin, voice
Evan Lipson: bass

A twenty minute dose of two compelling improvisers I've had the pleasure of seeing multiple times over the past year. The interplay between the high and low registers of violin and bass is is complimented by the similarity of approach toward free improvisation shared by these performers. The rough edges of this sound are suggestive of a microscopic universe inhabited by the insects found on the cover. The third track in particular features a patient, deliberate unfolding of ideas that underscores the expansive, rich sonic textures.

Scale of the Day: A Pythagorean mapped to the Square-root-of-2

The A Pythagorean Mixolydian mapped to the Square-root-of-2 Scale.

Sculpting the Noise

Bill Nace/Chiara Giovando/Keir Neuringer/ Audrey Chen @ The Red Room, Baltimore, MD
January 5, 2008

Set One
Bill Nace: guitar - solo, then duo with
Chiara Giovando: electronics, voice

Set Two
Keir Neuringer: electronics, alto saxophone - solo, then duo with
Audrey Chen: cello, voice, electronics

With an extensive language of extended technique for molding a healthy electric signal (bordering on loud) Bill Nace brings a brute physicality to guitar playing that sculpts a sound that draws upon the physics of strings, amplification and relentlessly creative methods for attacking the instrument. His actions on the instrument in his lap alter his media substantially. Giving rise to the notion of sound creation as sculpture, with hammer and chisel ever present to chip away at the rough edges of the sonic slab. The ever changing soundscape was strange and engaging. The addition of Chiara Giovando to form a duo improvisation added yet more slabs of material.



Keir Neuringer has an ear for molding electronics in real time. Though I felt his performance begin to meander past missed opportunities before turning toward his solo alto saxophone playing - which is fascinating. In a brief solo performance he deftly applied a percussive approach to rapid-fire timbral changes built upon short gestalts. The addition of the always engaging Audrey Chen made for a compelling coda of sculpted sound masses.

Scale of the Day: E Flat Mixolydian augmented 4

Audio sample of the E Flat Mixolydian augmented 4 Scale.

Also:
E Flat Mixolydian augmented 4 Scale notation.
E Flat Mixolydian augmented 4 Scale interval analysis.

HurdAudio Rotation: Bootstrapping, Freaking and Running a Fever

Elliott Sharp/Bootstrappers: GI=GO. 1992. Atonal Records: ACD 3014.

Elliott Sharp: guitar, bass clarinet, processing
Jan Kotik: drums, percussion
Thom Kotik: prepared bass

This one is an old friend to these ears from way back. With Elliott Sharp's guitar sound front and center before a rock trio GI=GO plumbs a sonic territory close to my own sensibilities that is enhanced by the steady rhythm section of Kotik and Kotik. The computerese geeky titles of "Optimize My Hard Disk, Baby," "8-bit Living" and "Command Z" haven't aged as well as the sounds behind the names. Which highlights the pitfalls of attaching titles to instrumental works. But this quality is so consistent across this disc that the heart and mind simply accept it and enjoy the ride.

Dave Douglas: Freak In. 2003. RCA/Bluebird: 09026-64008-2.

Dave Douglas: trumpet, keyboards, voice
Jamie Saft: keyboards, loops, programming
Marc Ribot: electric guitar
Karsh Kale: tabla, drums
Joey Baron: drums
Romero Lubambo: acoustic guitar
Brad Jones: ampeg baby bass, acoustic bass
Ikue Mori: electronic percussion
Seamus Blake: saxophone
Chris Speed: saxophone, clarinet
Craig Taborn: fender rhodes
Michael Sarin: drums

Freak In is like a party hosted by Dave Douglas where he's invited all his cool downtown improvising friends to seriously rock the house. The sonic contributions of Craig Taborn and Jamie Saft leave a big impression on this sound. Douglas' final release on a major label is a precursor to the Keystone projects that would follow and after living with this music for a few years it has become a highly regarded disc in the HurdAudio library. My current addiction to seeking out new CDs is fueled by the experience of putting something like Freak In on for the first time.

Matthias Kaul: Fever - Five Songs from a Percussionist. 2002. Nurnichtnur: LC 05245.

Matthias Kaul: percussion, voice

Listen, this is for You (2000)
Amadeu Antonio Kiowa (2000)
Bachmann (1991)
Fever (1999)
Listen, this is for You (II) (2001)

The unusual packaging of Fever is a reflection of the other-worldly sounds contained within. Packaged within its own canvas pocket made from one of a thousand panels cut from an acrylic paint and Chinese ink work called Silence, the limited run of Fever is contained within a unique block that reinforces its own uniqueness. Unbuttoning the pocket to release the music immerses the ears in the focused sonic universe of Matthias Kaul's creations. Whether self-limited to the sounds of a glass harp or employing a vast battery of unusual percussion instruments Kaul displays a sharp ear for sonic design that allows each of these compositions to unfold as fully formed works of austere beauty.