experimental

Improvisations VI: Just, Plane, Natural

Improvisations VI: Just, Plane, Natural manipulates the improviser's playing to be different partials of harmonic series. Though the performer is free to improvise within the bounds of good judgment, the form is dictated by the order of events in the Pure Data software.


Interested in performing Improvisations VI: Just, Plane, Natural?

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Performances:

Improvisations 5.2 Two Tracks for Two Minds

Free improvisation based on Improvisations V.  For any instrument and laptop performer.


Interested in performing Improvisations 5.2: Two Tracks for Two Minds?

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Performances

April 15th, 2017 [Premiere], THIS IS THE END: Society of Composers, Inc., Andrew Friedrichs (trombone), Dylan Findley (laptop).

April 28th, 2017, Refreshing the Feeling: A Concert of Works by Dylan Findley, Paige Towsey (violin), Dylan Findley (laptop).

Improvisations V: Two-Track Mind

The second piece in my Improvisations set, this piece experiments with randomized, manipulated loops of material produced by the improviser.  These loops inherently create rhythms, and the improviser performs according to the rhythms.  As with the first improvisation, the form is set, making it a unique and identifiable piece.


Interested in performing Improvisations V: Two-Track Mind?

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Performances:

FOR 20 ELECTRIC KEYBOARDS

A free-form piece based off of both Terry Riley's In C and John Zorn's Cobra. Letters indicate repeated musical ideas and numbers specify which pianist performs which idea. The director has complete control over the order of the events, though there are three suggested sections to follow in order to create a departure and return.


Interested in performing FOR 20 ELECTRIC KEYBOARDS?

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Performances:

  • April 11, 2015, [Premiere], Brigham Young University ALMA Lab (Open Lab Time).

Improvisations IV: An Appeal to the [SOUND] Masses

This improvisation is fed through a Pd Extended patch, which processes, modulates, and loops the improvised sounds.  The structure is determined by a loop pedal, and the performer is encouraged to familiarize him or herself with this structure to take advantage of its unique qualities.


Interested in performing Improvisations IV: An Appeal to the [SOUND] Masses?

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Performances

[Breathe if needed]

This open instrumentation work develops rhythms based on four articulations/attack styles of the performers' choice. It can be performed by at least two performers, and there is no limit on the number of performers.


Interested in performing [Breathe if needed]?

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Performances

February, 21st 2017, Catch and Release: Student Composers, Inc., Diego Matallana (contrabass), Guillermo Ospina (percussion), Dylan Findley (clarinet).

November 20th, 2014 [Premiere], Group for Experimental Music, Stuart Wheeler (voice), Chris Morrison (piano), Brian Lee (percussion), Dylan Findley (clarinet).

Thoughtsketches

Thoughtsketches features an open-ended structure that allows for improvisation.  This technique is largely explored by Christian Asplund, who I studied with at the time.  The first movement, Canonic Perception, has a line of text that is read by the performers at the rhythm of their choice, but within a tapped tempo. It proceeds in a round.
Synesthesia provides a uniquely colored chromatic scale for each performer. The vocalist has a list of colors with associated words to vocalize. The instrumentalists play within the limits of the colored notes according to which color they feel matches the word.


Interested in performing Thoughtsketches?

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Performances: