Shaft + BSAF

Hi faithful reader.

I've been away for a while. I've been experiencing many wonderful things and making many changes in my life. I've gained over 90 points on my credit score. I've brewed some beer. I've gained at lost the same ten pounds at least twice. I got engaged to the awesomest female I know. And I've recorded a few things.

This recording is from a live set on July 18th at the Longhorn Saloon in Toledo, OH. I opened up for my friends and former bandmates in SHAFT!

There are no overarching themes or intentional experiments in this piece. I was simply attempting to performing something that felt right... I had originally intended to write a piece in memory of my dad who passed away on July 4th of this year. However, my ambitions were too large and I was unable to finish the piece in time. (Note: it's still not finished!) I did end up using 2 sections from that piece in this performance.


This collection of recordings captures two different performances of the same still-untitled piece. I wrote it in early September in preparation for my performance on the Black Swamp Arts Festival Electronic Stage. I guess technically it's two pieces, but I've always performed them together and they are in related keys, so I'm calling it one piece.

I was attempting to write in the tintintabbuli style invented by Arvo Pärt. From wikipedia: "musically, Pärt's tintinnabular music is characterized by two types of voices, the first of which (dubbed the "tintinnabular voice") arpeggiates the tonic triad, and the second of which moves diatonically in stepwise motion." The first section (clean delayed guitar) is using this composition method with a C major scale and an arpeggiated C chord. The second section (ebow guitar) uses a A natural minor scale and an arpeggiated A minor. These scale/arpeggio choices are not nearly as interesting as the ones that Pärt uses (ex. D harmonic minor scale w/ A minor arpeggio in Fratres), but the basic effect comes through. I expect to do more work in this style. :)



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