Tech rehearsal with ETHEL and Gibney Dance. For the piece, I created a tape part to “ghost” the live ensemble at certain moments. With the quartet performing to click, the “ghosts” emerge in synch with the ensemble. It’s working great. Free shows tomorrow and Saturday: http://www.gibneydance.org/company/performance-calendar.php
Day 2, assembling a new work with ETHEL & Gibney Dance. Two ensembles simultaneously pulling my music in different ways into three dimensions. Crazy feeling.
“NOW THRU MAY 5”
Pre-show, “Like Lazarus Did” with Stephen Petronio Company at The Joyce, Opening night.
I’M AT THE MIX FOR MY FIRST FEATURE! w/ @nedbenson #DisappearanceOfEleanorRigby #JessicaChastain #JamesMcAvoy
The good man @rafiqbhatia in a tangle of pedals, generating textures for a new film score I’m working on. Last night I started mapping the audio to a keyboard, creating playable but unpredictable instruments to use in the writing process. One of the reasons I do this is to free myself up from compositional habits based on theory and the motor memory of my fingers. Sidestepping this bias helps me keep an intuitive response to sound central to my process. Mapping and experimenting with programming ahead of time also facilitates an instinctive workflow because it’s quicker than cutting up audio. #GeekTalk
Today I was in the studio with @krrrschmidt, sculpting more sounds for a new film score. Working with unfamiliar tools is a good way to surprise myself, which always seems to be a useful feeling.
Today I began in earnest on a new film score. Here’s engineer Eric Tate, setting up for a session with @thejonnyrodgers, recording tuned wine glasses. I’m developing a library of improvisations & various articulations, from which I’ll generate textures and virtual instruments for the score. Details on the incredible film TBA!