Ryan Carraher just finished a new work for solo tenor trombone entitled Alazia. "I figured I would share some thoughts and formal processes I had during the composition process."
Firmly rooted in the American Mavericks tradition, this work fuses hymns with polytonality and misalignment, a la Charles Ives.
Reilly Spitzfaden's work Resonances is an interesting exploration of instrumental tone and gesture, a cat-and-mouse game of imitation.
Mitch Weakley's piece "Keys, Strings, Clothespins" investigates a C pentatonic scale with a flattened sixth step (Ab) through the lens of a prepared piano, and its consequent timbres.
Matthew Kennedy's "Until I Say 'When'" is a breathtaking exposure of space, timbre, and mood, that is both playful and hypnotic.
"STRING II was made with “real” sounds - sounds that I recorded both in my studio and in the field. I used only the oddest bits of these recordings to go ahead and represent something else. Something that EVERYONE hears differently - its interpretation is up for grabs. I feel that’s important."