The fixed media component

I was almost done with the fixed media component a few hours ago. I thought that it just needed something small but textural. One of the pianos in my office is currently tuned to Ben Johnston's scale from his Suite for Microtonal Piano, and I had sketched two little four-dyad motives a while back (this can be seen below in the Soundcloud link, though partially obscured). I thought I'd record myself playing those and work them into the texture somehow.

To see what this would sound like with the rest of the mix, I added two tracks to my Logic session and looped each file. I had recorded the second line twice, so I added a third track and looped both recordings of the second line, which were not synchronized. I put a little flanger and compression on them and found that this texture held my interest for five for six minutes. Probably self-indulgent, but I hate to use something that I like for a shorter time or a less central role than the material deserves. So now the dilemma is this. Does this piano bit complement what I already have? Or does it overwhelm what I'm trying to do? Tonally it works with the other audio (all of which are bird songs). Let me think about it.

The beginning

The beginning comes from the last few notes of the flute solo at the end of the piece. It is played on the vibraphone. The flute enters at about 1:08 (3rd system in this picture). I'm not sure yet how the piece will begin when it is a flute solo, but probably a shortened arrangement of this vibraphone material (probably will take advantage of the 9th multiphonic--with flutter tonguing on the long notes).

As with the previous post, this is only a sketch.


After a few months of moving, starting a new job, and conducting a major musical production, I finally started a new project this week. I'm composing a new work for flute, electronics, and optional percussion called Aubade. Flutist and poet Wayla Chambo invited me to compose this for her as part of her TranScript project that has composers writing new works based on her poetry. Here's my initial sketch.


This past Wednesday I went into the Memorial Chapel at Sweet Briar College--where the piece will be premiered next spring--and recorded video of me whistling while moving around the space. Today I transcribed a lot of the improvised whistling and tweaked it a little. It will be the final section in which the flute plays alone. She will traverse the space during the piece, ending atop the raised pulpit, where she will play this final section.

©2017 Joshua Harris