Actually we have the project to perform Inuksuit here in Belém, capital of Pará State in the North of Brazil, uniting Universities and conservatory percussion groups and other musicians.
I have checked this out multiple times now and still impressed I wonder whether your doubts about the sound quality are unfounded... seems to match the "Grainy" visual mastering wonderfully!
Conor Logan Thanks for checking it out, Conor. Here's their latest installation that just ended, further pushing the boundaries: ruclips.net/video/Opa4J9VXReo/видео.html
Why it crossed out that phrase--I don't know. More of what I meant is that its' hard to hear it's impact remotely--maybe you can't record that. I'd have loved to have been there! But I know lots of people who would run away, too.
I've actually performed the piece! There are 3 main groups of players in the piece. Each group has a set 3 parts that are played sequentially. For my part, I played first the shaker, then a standing drum kit, then a sizzle ride for the ending rolls. In the first part, the part with the shells and the whirly tubes and the shakers, the players each play one measure of sound while wandering "aimlessly" (read: in the general direction of their setup for the 2nd and 3rd parts), then after an indeterminate period of rest, 2 measures of sound, then a shorter rest, then 3, and so on until the sound is continuous. The measures are designed to resemble a hill with a wide base, and the spaces between the groups of measures are deliberately left to individual interpretation. A lead player for each group will begin the next section by beginning the performance of the second part, which for my part, was a single hit of a drum. The measures here are designed to look like an Inuksuit statue on the page. As with earlier, there is a space between the measures which is left to musician's interpretation. The idea with this second section is that there are 8 lines of music for each player, and they start from the bottommost line, play it, then on repetition, add the next line on top. The lines are also designed polyrhythmic. For my part, my bottom line was a sequence of whole notes in 5/4. Then, in the second line, it was a set of whole notes, but the time signature there was 6/4, forcing me to play a 5:6 polyrhythm with my hands. The third line was in 4/4, forcing me to feel a 5:4:6 polyrhythm with 3 limbs at once. I chose to simply stay at this level of complexity, but it is left totally open-ended as to how you interpret the innately impossible task of an 8-layered polyrhythm. Finally, the lead player of my group signaled the end of the section by beginning a long, undulating sequence of cymbal rolls. At first, the sound of the cymbals is continuous and cacophonous, but after the first line, a measure of rest is added, then another, then another, in such a way that it mirrors the "hill formation" from the first part. Finally, the only players left making sound are the whirly-tube players from earlier, who play crotales like birdsong until it fades into silence...
@@collintmay whoa, thanks man! this video definitely didn't do justice to the piece, but I found out just now that there's a recording on spotify. must've been quite an experience performing it!
Actually really curious to understand your point, because my one regret - equally as enormous as that Armory Drill Hall - was not having my high-quality microphone on hand to film this. If you're saying this sounds through good headphones as bad as good sound through bad headphones (the better way to put it), I agree.
This is like any number of works from the 1970s. Amusing and even occasionally evocative but mostly gymicy and certainly unoriginal. Too bad...I was really looking forward to hearing something new.
Actually we have the project to perform Inuksuit here in Belém, capital of Pará State in the North of Brazil, uniting Universities and conservatory percussion groups and other musicians.
I just heard this at the Ojai Film Festival. Really a cool experience walking around the instruments, the varying perspectives.
Tomorrow September 24 , it will be played in downtown street location in Buenos Aires, Argentina
I have checked this out multiple times now and still impressed I wonder whether your doubts about the sound quality are unfounded... seems to match the "Grainy" visual mastering wonderfully!
I can imagine that this piece has a lot of impact on people --performers and strollers through the sound-- in live performance.
This is incredible...I kindof thought classical music was running in circles as of lately, but this changed my mind
Conor Logan Thanks for checking it out, Conor. Here's their latest installation that just ended, further pushing the boundaries: ruclips.net/video/Opa4J9VXReo/видео.html
Wow ! Pure chaos! I can become a composer myself!!!
Why it crossed out that phrase--I don't know. More of what I meant is that its' hard to hear it's impact remotely--maybe you can't record that. I'd have loved to have been there! But I know lots of people who would run away, too.
I want to know what is written on each music sheet...
Buy the score
I've actually performed the piece! There are 3 main groups of players in the piece. Each group has a set 3 parts that are played sequentially. For my part, I played first the shaker, then a standing drum kit, then a sizzle ride for the ending rolls.
In the first part, the part with the shells and the whirly tubes and the shakers, the players each play one measure of sound while wandering "aimlessly" (read: in the general direction of their setup for the 2nd and 3rd parts), then after an indeterminate period of rest, 2 measures of sound, then a shorter rest, then 3, and so on until the sound is continuous. The measures are designed to resemble a hill with a wide base, and the spaces between the groups of measures are deliberately left to individual interpretation.
A lead player for each group will begin the next section by beginning the performance of the second part, which for my part, was a single hit of a drum. The measures here are designed to look like an Inuksuit statue on the page. As with earlier, there is a space between the measures which is left to musician's interpretation. The idea with this second section is that there are 8 lines of music for each player, and they start from the bottommost line, play it, then on repetition, add the next line on top. The lines are also designed polyrhythmic. For my part, my bottom line was a sequence of whole notes in 5/4. Then, in the second line, it was a set of whole notes, but the time signature there was 6/4, forcing me to play a 5:6 polyrhythm with my hands. The third line was in 4/4, forcing me to feel a 5:4:6 polyrhythm with 3 limbs at once. I chose to simply stay at this level of complexity, but it is left totally open-ended as to how you interpret the innately impossible task of an 8-layered polyrhythm.
Finally, the lead player of my group signaled the end of the section by beginning a long, undulating sequence of cymbal rolls. At first, the sound of the cymbals is continuous and cacophonous, but after the first line, a measure of rest is added, then another, then another, in such a way that it mirrors the "hill formation" from the first part. Finally, the only players left making sound are the whirly-tube players from earlier, who play crotales like birdsong until it fades into silence...
@@collintmay whoa, thanks man! this video definitely didn't do justice to the piece, but I found out just now that there's a recording on spotify. must've been quite an experience performing it!
@@adrino777 Which is the best place for a listener to place himself in order to understand the piece as a whole
Olá, Festa do Ritmo. -- Então, como vai o projeto? Grande ideia. Parabéns.
somehow i messed out
so thanks for saving it
in a recording
Awesome composition that truly involves the performance space in the sonic equation.
If you ever are unsure about buying a quality pair of headphones, this should help you make up your mind.
Actually really curious to understand your point, because my one regret - equally as enormous as that Armory Drill Hall - was not having my high-quality microphone on hand to film this. If you're saying this sounds through good headphones as bad as good sound through bad headphones (the better way to put it), I agree.
Grande
Beautifully shot. Is the whole performance captured on film? If not, why not?
lets see...yupp! JLA just became my new favorite composer. bill murray is right, just close your eyes and l..i..s..t..e..n
As was stated... Do not watch the video, close your eyes, and you will have a lot more appreciate for the composition.
+Bill Murray I agree with your sentiment, closed eyes will additionally avoid some of the performers' melodramatics.
+Bill Murray I saw a storm in the mountains. The clouds were animals, adding their calls to the thunder and wind
Black and white makes it hipster fly.
Well, music doesn't have to be anything but sounds, beautiful or not, dreadful or not...
This is like any number of works from the 1970s. Amusing and even occasionally evocative but mostly gymicy and certainly unoriginal. Too bad...I was really looking forward to hearing something new.
I hate it.