Origins of compositional ideas

I forget sometimes that the best way for me to get inspired around my own composition is to go out to more contemporary music performances.

Seems obvious, right? But somehow I still don’t do it often enough. For example:

Late last week, the nienteForte staff had a meeting with a group involved in a Top Secret Project that we’re putting together for our Season 11 opener next October. I’m one of the composers that’s going to be writing on that project, and as we explored some of the parameters around it, I found myself soaking in all of the information as initial groundwork, but I wasn’t sure what I was going to actually do with it.

Then, last night, I went to a concert featuring New York contemporary guitarist Giacomo Baldelli, and as I was sitting listening to the fourth piece on the program, the structure for the piece that I wanted to write for the project just hit me. How I wanted to use the space, the performers, the kind of material that I was going to use – it ran into me and hit me like a brick, and I’ve been thinking about it ever since.

A long time ago during my undergraduate studies, I wrote a flute trio called Shades of Three. That piece was based around each flute having a spotlight moment around a single musical form. While those spotlight moments are similar, they have small differences in them that the other flutes support before the climax where all three flutes then spotlight together in harmony.

The piece I’m going to write for this project feels like a spiritual sibling to Shades of Three. It’s tentatively titled Forces of Fours, and it expands on the idea of “spotlight” by layering multiple kinds of spotlights throughout the work – the creative form and material dictated by me as the composer, the creative mix of strict vs improvised material dictated by the choices made by the individual performers, and the instruments themselves which deserve their own spotlight.

We’ll see what comes of it as I start writing it – I’m not in a space to put serious work into it yet as I still have to finish the piece that I’m writing for the Portland Percussion Group, but no doubt that as that piece progresses and as I get more steeped into this current season’s concerts with nienteForte and with Versipel in particular, my creative momentum will continue to move forward.

Pretty exciting year ahead.

The Challenge of Isolating 360 audio

Recently I’ve been toying around with a YouTube VR project that involves the viewer in the middle of a square room with four different videos playing on each wall. The idea is that the videos have some connective tissue, but the material will range from somewhat to very different, allowing for the viewer to focus on whatever side they want at their leisure.

I recently uploaded a video that betas this concept. It’s me playing through a Beat Saber song, showcasing three different difficulties: Hard chart on the left, the Expert chart on the middle, and the Expert+ chart on the right.

The problem I’m encountering has to do with audio isolation. The concept that I have for the project is that when someone faces a particular wall, I want the listener to hear only the audio for the wall that they’re facing with all other audio muted. That’s not generally how 360/ambisonic audio is treated – it’s easy enough to make whatever direction you’re facing the strongest audio in a 360 mix, but you still hear all of the other audio from the direction that it’s coming from and there doesn’t seem to be a built in process to change the levels that you hear depending which way you face.

For the Beat Saber video above, this isn’t a huge deal since the audio is for all intents and purposes the same on all three sides, but if I were to create a video where, say, I wanted to highlight my favorite three tracks in Beat Saber in a single video, it would be an aural mess.

Not sure what the solution for this is, but I’ll continue to do research. In the meantime, these Beat Saber vids work out pretty well, so I’ll be uploading more of those periodically in the immediate future.

evolving creative threads

I’ve suddenly found myself with two commissions for works that I need to complete over the summer – one work for the Byrne:Kozar:Duo and one for the Portland Percussion Group. The creative concepts I have for both involve using text as a vehicle for the works, but how I use and evolve the text in each piece are contrasting enough that I thought it would be a good exercise to talk about them conceptually.

I wrote in an earlier blog entry…