Isomoth

I have been listening to Giacinto Scelsi's "Quattro Pezzi (su una nota sola)" and the idea of building such a complex work with only note fascinated me. Do you know any other works with this characteristic? Like Musica Ricercata's first movement or Stockhausen's Inori?

I used a guitar multi-effect processor, a Digitech RP250. I thought it wasn't going to work with the double bass, since it has so many low frequencies, but it did... Not with all the effects, off course, but these ones did. I connected it with a fretted strings pickup (it was originally designed for a violin, but I'd been using it on my viola with good results, and the double bass player is also a luthier, so he came out with a solution for adapting it to his instrument). I combined the parameters for my effects there, editing the presets... Yes! That is precisely one of the moments in which I went away from the concrete ideas I had and the notion of development went to hell hehehe. It is exactly one of my weaknesses in my technique, and I'm working on it right now (just like when, on the instrument, your teacher picks a specific study for you because you need to solve a certain technical problem).

Well, I had never written a piece like that before, I mean, the one that pushes the limits of an instrument... But I had to take that opportunity, because the double bass player for whom I wrote it is an excelent one, and when one is a student, having the chance to work with a national contest winner is not common. He wanted precisely that: a piece where he could explore his instrument in ways he hadn't (he had only worked with classical repertoire, and the "rarest" piece he'd played was Psy by Berio). However, there is a clear consequence of my... too enthusiastic exploration: I'm aware that this piece might sound a little episodic. You're right about the huge amount of gestures. I'm still in the proccess of learning to filter the ideas in such a way that I don't use every single gesture I think of for a single piece heheh. And yes, the theather helps a lot, you have to feel the distortion resonance all over your body, just like in a rock concert :happy: I will upload the score soon (there's a couple corrections I haven't finished). Thank you for listening and writing your comments, they are pretty useful to me.

This is a piece I wrote for exploring the virtuoso possibilities of the Double Bass, along with the use of effects: Metal-like distortion, phaser, and rotary + tap delay. Cosmosomum Myriduriam, for Double Bass, Piano and Live Electronics

Hi, I'm researching about a very particular type of composition: the Étude. I'm not exactly looking for the pieces written with a technical instrumental purpose (like Chopin's), but rather the ones they wrote to explore a specific compositional material. The first ones I thought of were: Stockhausen's Studie I and II Pierre Schaeffer's Études de Bruits Wolfgang Rihm's Étude d'après Seraphin Do you have any other suggestions? Thank you.

Hi, I'm writing a piece for electric guitar, live electronics and the voice of the guitar player himself. I have a doubt: I know that, for example Crumb (Black Angels) and Saariaho (Noa Noa), use this format: Instrument Voice of the player Live electronics But... I'm doubting about doing the same, because in my piece, the voice is very important, it goes beyond some spoken words or phonemes like in the cases mentioned above. It's active most of the time. What do you suggest? Should I leave the format I mentioned, or should I place the player's voice above the instrument staff? Thanks in advance, Isabel.