GEM - Fall 2009

Group for Experimental Music...
A cutting edge ensemble that focuses on improvisatory techniques in a group setting...

Here are a few audio clips from class:

free improvisation no. 1

Oliveros, circle singing song

free improvisation no. 2

for older GEM jam sessions and more info check out this link to christianasplund.net

Sonata for Guitar

- Sonata in Ab Major first movement -



the opening theme is sort of based on the idea of the minor second
expanding out and forming an augmented triad feel. This use of
secondal relationships is one of the core elements I'm trying to
weave into the piece.



The second theme takes the idea of the minor second and uses it as an ostinato
over which there is a nice little melody. The tonality drifts in and out of key
and has a sort of bitonal feel.

graphic scores...

...

complete!

Click here to hear the new piece for gamelan: GAMELAN PIECE

La Guitarra... Vignettes for the guitar... mostly from a few years back...

Prelude in A minor

Lullaby

on cue...

In the works...

a gamelan piece. . . these are some basic outlines of the piece. The end result will have about 8 times as many gongs in on the action. For a good idea of the piece I modelled this piece after check out "Puspanjali." This is a traditional style piece used for a welcoming dance. My recordings are far slower than you'll hear from traditional groups... I've only been on the gamelan for a year and a half. :)

Here it is:

the intro or Kawitan

A sections or Papesan (still being fleshed out)

a transition from the Papesan into the Pengawak--the Penjali

here is a sketch of one of the middle sections called the Pengawak

then there are two sections called the Pengecet and Pekaad (still under construction)

and a final outro, the Penjawud.


More coming soon... the pengawak will have a little western tinge by way of a two or three part canon in inversion at the unison. Lots of fun!

7/24/09 - finishing up the counterpoint in the pengawak, pengecet, and pekaad... It is a bit tricky because the notes are limited depending on which octave you are playing it. Then you have to take into consideration that each part, when played divisi, has to be doubled by another gangsa... this means that every melody line is double and when there are two lines it is quadrupled... then each one of those four lines has to share the melody between a polos and sangsi part (on the beat and off the beat)... this leads to a doubled, four part, partitioned counterpoint...

We'll see if it works... audio coming soon. :)

Pi for two flutes, piano, and chalkboard percussionists... Performance April 2007