The Entire Schnittke Viola Concerto

Click for higher resolution.

Ligeti for Two Pianos

Piece from May 17th's "Bodies" concert at UCSD. Ian Power, Kathleen Gallagher, David Medine, and Bodies, performers.

Twenty Dollars

Ebay Art from about a year ago.

Vomit Sequence

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!!!!!!!!!!!!!!!!!!!!!!


!!!!!!!!!!!!!!!!!!!!!!


!!!!!!!!!!!!!!!!!!!!!!


!!!!!!!!!!!!!!!!!!!!!!


!!!!!!!!!!!!!!!!!!!!!!


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!!!!!!!!!!!!!!!!!!!!!!


!!!!!!!!!!!!!!!!!!!!!!


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!!!!!!!!!!!!!!!!!!!!!!


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Two Album Reviews I wrote for THE SCENE

Colby O'Donis - Self-Titled

Colby O’Donis is a sad story. Not in terms of life story; he’s 19 years old, has taken guitar lessons with Carlos Santana’s rhythm guitarist since he was 11, has had record deals since he was 10, and has worked with Platinum producers Full Force since he was nine. He is a sharply honed, polished talent that has made a name for himself at an early age. What makes O’Donis’s case a sad one is that evidently no one has shown him the other end of the records he’s produced, because he hasn’t figured out that it takes more than a sweet voice, an ear for beats, and rumored guitar skills to make an entertaining musician. This sad story is summed up nicely in this sad quote: “Performing and entertaining is what I live for,” says O’Donis. “I want to be able to show the fans that I’m a ‘real’ musician as well as a singer and dancer.” In addition to being totally offensive to every singer that’s ever lived, he demonstrates a clear lack of understanding that virtuosity on pretty much any instrument is not enough to make a pop star, especially in his genre; one must cultivate a character, a personality, and take some risks. This record does not.

What is even more exasperating than the 11 nearly identical bland songs, than the opportunistic repetition of his name on nearly half of them, than the proclamation on “Hustle Man” that he’s “been through the struggle” and “it’s a long way up”—what’s more exasperating is the precisely two fleeting moments of intrigue on the album. “Saved You Money” features an a capella breakdown with a great “raspberry” sound leading the way, and near the end of “Hustle Man” O’Donis takes his voice, which has been sweetly revolving around the same notes and timbres for the last hour, and catapults it through a cathartic, if auto-tuned melisma that lands in an octave normally heard only by dogs. Two moments of genuine risk and intrigue and possibility that go totally unexplored and unexploited on what is supposed to be a breakout album. The album is listenable, probably great for parties or clubs, and fine if you’re into the impression that even though life is good, there’s nothing particularly exciting about it, as O’Donis appears to be. The album is listenable, but inoffensive. Colby’s all Adonis, and no pop star.

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Britney Spears - Circus

Circus, Britney Spears' sixth studio album and fifth to debut at number one, is an album that carries a stark internal split in tone. Specifically, where 2007's Blackout used references to Britney's paparazzi life paired with great music to create the ultimate comeback album, there are three or four tracks on Circus that overdo these associations and pair them with music that is, at best, annoyingly catchy. The condescending tone on these three or four tracks overpowers what is otherwise a charming album from the superstar. Where Dr. Luke (“Circus”), Bloodshy & Avant (“Unusual You”), and Guy Sigsworth (“Out from Under”) have offered sensual, earnest, relatable songs, Max Martin (“If U Seek Amy”) and Danja (“Kill The Lights”) take Britney's 2007 defiance toward the media and smugly turn it against the most loyal of her fans. This might pass as deliciously juvenile if Britney were ten years younger, but at this point in her career it seems out of place, and aggressively so. Given the hype surrounding these songs in particular, I'm led to believe that Circus was created by people that think Britney's fans either don't care about musical and/or lyrical content, or aren't able to distinguish between different types of such content. Please prove them wrong.

Conversation with red fish blue fish

Last March I did a collective interview with four members of red fish blue fish, the percussion ensemble based here at UCSD. The publicity department never decided to publish it, and I was thinking about it the other day and thought I'd post it here. I talk with Jon Hepfer, Ross Karre, Matt Jenkins and Greg Stuart. I wrote this in March and am too lazy to change the intro, so some of the info there is out of date.

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UCSD's red fish blue fish, under the direction of Steven Schick, is a critically acclaimed percussion ensemble that this year will play concerts in venues from Washington, D.C. to Los Angeles to Taiwan. USCD's resultant percussion department ranks among the best in the world, and some of its members were kind enough to take time to answer some probing questions about the nature of the craft of percussion. Featured are Ph.D. students Ross Karre and Greg Stuart, and M.A. students Matthew Jenkins and Jon Hepfer.


When a composer writes for obscure instruments (or, conversely, everyday "household" instruments) in an ensemble context, the responsibility almost invariably falls to the percussionist to learn them and play them, when realistically many of these instruments can be played by people with little training in percussion or even music itself. How often and in what contexts do you think this delegation is appropriate? How much do these instruments act as a fresh outlet for creativity as opposed to weighing the percussion section down when they could be playing other instruments?

Ross Karre: It is entirely appropriate to delegate these sounds to percussionists if it is with percussion techniques that one expects these sounds to be produced. The ability to play standard percussion instruments is a learned expertise just like any other instrument. The only difference (and it's a big one) between percussionists and say, piano or guitar, is that with those instruments the interface is always standardized (white keys, black keys, six strings, etc.) and the variation of technique from each instrument within the keyboard or plucked string instrument family is slight compared to the difference in technique between timpani, vibes, and congas with hands. However, the extra percussion-specific technique of instrument versatility further enables percussionists to play found sounds because, in the end, percussionists rely on the interdependence of corporeal and aural sensations perhaps more than anybody. In other words, no matter what is to be hit, the objectives of each of the musical parameters (what, how loud, what timbre, etc.) can be individually calibrated based on context and what the composer asks more easily by percussionists because of their familiarity with such accommodations.

Jon Hepfer: Really, a percussionist's expertise needs to be more in using his ear and his artistic sensibility than his hands. After all, anyone can rustle leaves, pull a trigger or run their hands across a keyboard. Then again, anyone can drip paint onto a canvas, but wouldn't necessarily be Pollock. The percussionist's craft, in my opinion, corresponds more to their sense of reconciling the various art forms and being able to live in a world in which sound, time and vision cohere into something which is artistically compelling.

Greg Stuart: I find that what is properly called percussion playing, and here I refer largely to works in the post-Zyklus tradition, are actually the ones exerting an enormous "weight" on the practice. As with weather, very little actually happens in a "high-pressure" system, such as the one found in formal percussion training (despite the weather being dubbed “beautiful” as we all go about our day). Under this pressure we feel comfortable and know where we are, but we are also unable to be swept away by the noise produced in dynamic "low-pressure" systems. From my perspective, these low-pressure systems are created precisely by performance situations in which performers with little percussion or musical training can participate.


Percussionists have a reputation of being more rhythmically accurate than other instrumentalists. Why is that, and is it deserved?

Matthew Jenkins: A great many percussionists' musical foundation is founded in executing rhythms. In many circles percussionists are not taught to think melodically or harmonically like many other musicians, and as a result a significant portion of percussionists develop a natural ability to execute rhythms accurately and easily. It isn't an approach I embrace when I teach percussion. The percussion world would benefit greatly from a different approach to percussion pedagogy centered around a more versatile and musical approach to performance. This would certainly do something to change the stereotype.

Greg Stuart: I think that percussionists have this reputation because striking is the dominate mode of percussion playing. Striking (particularly in large, “readable” gestures) is visually compelling and is often equated with “intense” and/or “visceral” rhythmic experience. In part, this has to do with the overall directness of correspondence between striking as gesture and as perceived sound, but it is also has to due with the fact that instruments with shorter event durations, or envelopes, are generally, although not exclusively, favored in percussion setups. A shorter envelope is usually preferred because it makes the location of a sonic event more quantifiable, either in relation to a score or temporal-field of a piece, and thus allows for a determination of accuracy to be made. In general, I don't think that rhythmic accuracy is the province of any particular set of instrumentalists and therefore do not feel that this reputation is deserved, but I can see how percussion is viewed this way given its current practice.


What music for totally "un-pitched" percussion strikes (har!) you as the most interesting? What areas of percussion music without (at least specific) pitches do you think are yet to be explored in potentially interesting ways?

Ross Karre: Pitch is just a component of timbre. For example, I don't see the pitch material in pieces like Zyklus or King of Denmark as being different than the noises. I would dare to say that I don't really hear them that differently anymore, in terms of their visceral impact.

Jon Hepfer: I love pieces that have an inherent problem or issue at their core. For example, my favorite piece is Vinko Globokar's Toucher, which takes a text of Bertoldt Brecht's Life of Galileo, translates it into French, and then asks the percussionist to find seven instruments which mimic the 13 basic vowel sounds of the French language. The percussionist then recites the text to the play, which each French syllable corresponding with its instrumental counterpart. In this piece, Globokar uses a very simple premise to create an end result that is complex on many levels. The piece asks questions: How do music and speech correspond? Is it possible to find a musical language that can create drama without using tonality (as is the case of traditional musical drama)? And so on.

Ross Karre: A different argument along these lines (which does create a compositional problem with respect to keyboard instruments, orchestral noises and found noises) is that of context. Zyklus uses marimba, vibes, gongs, triangle, hi-hat, etc. However, we don't play the marimba like a Guatemalan Marimbist, the Vibes like Milt Jackson, the gongs like a Javanese Gamelan, the Triangle like a Janissary band, or the hi-hat like Gene Krupa. Instead, we shamelessly remove those instruments from their original contexts and (mis-)appropriate them, as if listeners could just forget these instruments' origins. The problem is that listeners don't forget. They might hear the hi-hat and think of the opening to Bush's "Everything Zen" or Nirvana's "Smells Like Teen Spirit". The vibraphone reminds them of The Postal Service and the marimba is that sound from American Beauty or Rugrats. Pitched and non-pitched percussion has a familiar timbre that is hard to remove from its context. The best example is the recent steel pan phenomenon in modern percussion. You can take steel pan out of Trinidad but you can't take the Trinidad out of Steel Pan. I find this problem to be much more complicated than pitch vs. noise.


It what senses are un-pitched sounds more or less dramatic, authoritative, or versatile than pitched sounds?

Ross Karre: They aren't.

Matthew Jenkins: Un-pitched sounds and noises have historically demarcated boundaries between specific or significant events in both musical and non-musical contexts. Exceptions to this would be a church bell or many alarm clocks. However, the sounds of a building falling, a train coming, a car crash, or a Babe Ruth home run are all noises with little or no pitch center.

Greg Stuart: I don't see the distinction here between "pitched" and "un-pitched" percussion music. It is perhaps Ionisation that is the first major demonstration of the nullity of this division. For example, in Ionisation an un-pitched instrument, the snare drum, becomes a pitch (or region of pitch) early in the work; conversely, pitched instruments like the glockenspiel or piano become noises in the sonic fabric near the end of the piece. Ionisation is a kind of plasma in which tone and noise, not to mention instrumental technique, slide fluidly in a field of increasing voltage between and beyond their respective poles of attraction. I think that this is possible because, as a body of instruments, percussion functions as a kind of remainder to the larger instrumental situation, constituting its void. As such, percussion music is largely a question of mixtures made from bits of this remainder. At their very best, these mixtures will be unforeseeable, appearing to come from out of nowhere, and will be inexpressible in the dominate language of the situation, in which tone and noise are effectively partitioned.


Why is there no "harp cartage fee" equivalent in the percussion world?

Ross Karre: There is. People get paid cartage all of the time in percussion. If they don't, it's usually because they forgot to ask for it or it's well beyond the financial limitations of the gig. I often don't ask, especially this early in my career, because I'm afraid the gig might get offended.

Greg Stuart: Percussionists do not play a single instrument. You could play one, or you could play fifty. The percussionist, instead of being linked to a single instrument the way a harpist is, is linked to a set of techniques. When you hire a percussionist, you are first and foremost hiring these set of techniques. And techniques, unlike a 5-octave marimba, set of chimes or a bass drum, do not require a truck, instrument cart and stage crew to move. It’s unfortunate that this is often overlooked because moving a giant setup can be an unbelievable pain.

Ross Karre: It may not bother me because it may end up that someone like me will get hired again over someone that charges cartage, especially if a series is low on cash. I guess this would be a good reason for unions or at least a standard percussion cartage fee. I'm not into that, though. Not right now anyway. Fairness, in this regard, is overrated.


What realms of percussion technology do you think will or should be developed and/or perfected in coming years?

Greg Stuart: As I work a lot with friction, I'd be very interested in working with someone in the development of a robotic, circular bow.

Matthew Jenkins: Motion capture/tracking, complex controllers, and robots! Score followers and pitch trackers could be useful too.

Ross Karre: None, as an industry. My biggest problem with percussion manufacture is the whole concept of a unified idea for technological progression. For example, I value the fact that each marimba manufacturer has a different resonator system, each vibraphone has a different pedal and motor, each snare drum has a different snare system. The problem comes when composers and educators expect standardization. If composers simply realize that they must cater their pieces to this lack of standardization, we will be much better off. The more standardized these manufacturers make our instruments, the more vaccinated they become; impervious to the creativity that once afflicted them all.


Using broad terms, what sort of percussion music allows you to best express yourself as a musician? Do you think this applies in any way to percussionists as a whole?

Matthew Jenkins: Personally, I love to collaborate with composers. Any composition or project in which the opportunity is there to work with the composer is something that allows me to best express myself. Additionally, I like music that allows me to make choices about structure and sound. Compositions like Thomas Meadowcroft's Plain Moving Landfill or Morton Feldman's King of Denmark are two contrasting examples.

Ross Karre: I love percussion music that poses problems that aren't universally solvable. This provides an outlet for a very personal expression of creativity. I like viewing the relationship between composer and percussionist as similar to the relationship between architect, engineer, and contractor/carpenter. The architect has a concept, the engineer revises the concept so it's safe yet still faithful to the architect's drawing, and the carpenter builds. Percussionists get to be both engineer and carpenter. Our "craft" can range from technique in the performance to creative instrument configurations. I love pieces that challenge that part of me.

Greg Stuart: Like Cage, I'm most interested in the music that I have not yet heard. More specifically, I'm most intrigued by pieces that involve non-virtuosic/technical approaches. Here I'm very interested in the use of friction though bowing and/or the direct contact of one object with another. In addition, I’m quite interested in “un-controlled” striking through the use of small grains (rice, seeds, sand, etc). With these and other kinds of techniques I'm finding that the more the basic “stroke” of percussion playing is diffused, the more shocking the results can become. Percussion is still intimately concerned with “contact” but here I think that the overall reduction in the size of physical action used in these techniques has precipitated a corresponding increase in the timbral variety and temporal flux possible in the medium. It appears that gesture and sound are inversely proportional. As the motions get smaller (and physical “readability” decreases) sonic potential increases dramatically. In addition, as sonic potential increases, the ability to which one can be said to “control” any given sound decreases in yet another inverse relation. Perhaps these observations are best likened to the shift from a classical to a quantum world, in which we move from a deterministic environment to one operating according to probability.