Pad Act One (2022)
for alto saxophone and live electronics
Performances (with Ted Moore)
Mise-en_Place - Brooklyn, USA - 4th January 2023
Crashbox - Austin, USA - 6th January 2023
El Sótano de Vacas Verdes - Mexico City, Mexico - 12th January 2023
Developed with Ted Moore.
Pad Act One dislocates the liveness of the saxophone, alternating between realisations of the instrument that are sampled, signal processed, or acoustic. During this piece for two performers, the live electronic part works in unison with the saxophone part, adding to and affecting its sounds in real time. References to electronic music traditions, such as glitch, turntablism, and tape music appear fleetingly, altering the sounding of the limited musical materials used throughout. The work presents three versions of the opening material, each time unravelling through greater and more substantial interventions from the live electronics which eventually swamp and overwhelm the saxophone.
Developed with Ted Moore.
Pad Act One dislocates the liveness of the saxophone, alternating between realisations of the instrument that are sampled, signal processed, or acoustic. During this piece for two performers, the live electronic part works in unison with the saxophone part, adding to and affecting its sounds in real time. References to electronic music traditions, such as glitch, turntablism, and tape music appear fleetingly, altering the sounding of the limited musical materials used throughout. The work presents three versions of the opening material, each time unravelling through greater and more substantial interventions from the live electronics which eventually swamp and overwhelm the saxophone.
Developed with Ted Moore.
Pad Act One dislocates the liveness of the saxophone, alternating between realisations of the instrument that are sampled, signal processed, or acoustic. During this piece for two performers, the live electronic part works in unison with the saxophone part, adding to and affecting its sounds in real time. References to electronic music traditions, such as glitch, turntablism, and tape music appear fleetingly, altering the sounding of the limited musical materials used throughout. The work presents three versions of the opening material, each time unravelling through greater and more substantial interventions from the live electronics which eventually swamp and overwhelm the saxophone.