Blue Whale - electric guitar
On Sale
$15.00
$15.00
https://www.youtube.com/watch?v=-0GLBLg4qKM
The writing of Blue Whale was probably the longest it ever took me to complete a work. I kept writing and re-writing movements but was never successful at creating a cohesive flow. Over the course of 6 months, I experimented with instrumentation, technology and the overall vision of the piece. What was supposed to be a solo electric guitar piece transformed into a duo with my good friend Aaron Dolman on drumset. This is my first piece exploring the use of Max MSP and I’m so happy with how it all turned out. In II. Noise, I created a polyrhythmic delay to achieve a wash of sound throughout the arpeggiated figures. In III. Slow, I made a patch where I could manipulate the speed and pitch of pre-recorded harmonies in real time to create a sonic landscape bed to play over.
I tried to capture how I’ve been feeling throughout the covid pandemic and it was really great to get a chance to collaborate with other musicians in a time where we were all locked inside. In a sense, Blue Whale was the culmination of experiments in finding a way to create small worlds that bleed into one another distinguished by non-traditional means of texture and rhythm. After suffering from writer’s block for weeks, everything clicked after a late night Radiohead binge that inspired me to explore the extents of guitar and the evolution of the tradition and everything began to take shape.
The writing of Blue Whale was probably the longest it ever took me to complete a work. I kept writing and re-writing movements but was never successful at creating a cohesive flow. Over the course of 6 months, I experimented with instrumentation, technology and the overall vision of the piece. What was supposed to be a solo electric guitar piece transformed into a duo with my good friend Aaron Dolman on drumset. This is my first piece exploring the use of Max MSP and I’m so happy with how it all turned out. In II. Noise, I created a polyrhythmic delay to achieve a wash of sound throughout the arpeggiated figures. In III. Slow, I made a patch where I could manipulate the speed and pitch of pre-recorded harmonies in real time to create a sonic landscape bed to play over.
I tried to capture how I’ve been feeling throughout the covid pandemic and it was really great to get a chance to collaborate with other musicians in a time where we were all locked inside. In a sense, Blue Whale was the culmination of experiments in finding a way to create small worlds that bleed into one another distinguished by non-traditional means of texture and rhythm. After suffering from writer’s block for weeks, everything clicked after a late night Radiohead binge that inspired me to explore the extents of guitar and the evolution of the tradition and everything began to take shape.