Miscellaneous performances, older pieces, etc.
mp3 format

(scores, program notes)

• Notes on this piece were written for the Leonardo Music Journal, Vol 2.
• live performance (first performance?), Mills College CCM staff concert, maybe 1987 (Jody Diamond and Gino Forlin).
  

• 1994, for tape, 4 minutes long
  
• 9b was released on my Artifact CD Change, and the Cold Blue collection of four voice canons.
  
• a set of short tape pieces made using five vocal sounds of my four year old daughter Anna as the source. FVC#9 is a set of mensuration canons in the manner of my eight previous Four Voice Canon s (1975-present), and is composed using my computer language HMSL (co-authored with Phil Burk and David Rosenboom).
• FVC #9 uses HMSL to generate a Csound  score, which is then used in conjunction with Soundhack to create the canon. The Csound score is for one voice only, and the canon is a strict one of pitch shift and time compression.
• Each of the four versions is the same, except for the duration/pitch (superparticular) ratios used for the four voices, which are: a: 4-5-6-7, b: 6-7-8-9, c: 8-9-10-11, and ø: the golden mean.

• this piece is from 1975 or 1976, it's made with a four-track analog machine at UCSC
• the voices are Corky, Craig, and Sascha Harris (Sascha was a little kid, and made the source recording on a little plastic "mail" recorder)
• there's also an instrumental version of this piece, which is performed with the tape, for a small ensemble (premiered at San Diego with Vincent Plush conducting). It was on the Chile...Ten Years On concert in 1983, and there are two versions, one with Dolby B, one with Dolby C (I can't remember which NR the master tape had). Other musicians on this performance were Erica Duke, Miles Anderson, and Bert Turetsky.

• tooaytood #1
• tooaytood #2
• tooaytood #3
• tooaytood #4 (viiiviiiiniv)
  

(the numbering may have changed for these pieces in the published version. these recordings were made by kyle in june 2004, in his office at bard college). There are now 13 such pieces (including the four abetoods, and iiivxii for 12 cellos and winds)

live performance (premiere) of tooaytoods #1, 2, 3, 5, 8, 9, 11, by Reiko Harigaya, Dartmouth College Festival of New Musics, April 26, 2005.
live performance of the complete first "book" (1-11) by Kentaro Noda, Japan, Fall, 2006.

toovviivfor (four electric guitars) Video of a performance by Toon Callier's group in Belgium, 2007.

• Two recordings done in the mid-1980s, at the Mills College Center for Contemporary Music. Toyoji Patch was a piece/software/installation written originally for Toyoji Tomita to play trombone with. It was a real-time feedback system, which fed live audio into the transfer function of a set of digital waveshaping oscillators. The hardware was an S-100 68000 based computer system running the original protoptype of HMSL, including a GUI and set of instrument drivers and utiilities for controlling Don Buchla's 400 series digital waveshaping oscillators.
• The system could be used with or without a live input, since the system also uses an external mic to feedback into itself. The audio time domain signal is used a transfer function to modify itself, but one could also in real time alter Chebyshev coefficients, redraw the waveform, and control a number of other parameters.
• Flutist, Anne LaBerge. In the first version, Ann is playing, but not recorded. She is in another room, and the output of the system is fedback into itself thru a microphone. By playing, Anne could drastically effect the sound (since her flute went immediately into the transfer function). In the second version, Ann is in front of the same mic that's used for feedback, which is both the recording and the feedback mic.
• In both versions, I was controlling the mix and the feedback gain, as well as playing with the computer.

• Litany
• Proposition
• Doggerel

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