Leap of Faith Orchestra | The Expanding Universe (Live)

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Avant Garde: Free Improvisation Jazz: Experimental Big Band Moods: Type: Improvisational
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The Expanding Universe (Live)

by Leap of Faith Orchestra

The Expanding Universe uses a score which is simultaneously a Density and Sonority map prescribing the improvised development of the work. Written English descriptions of the overall sonority desired are given durations for each player's events.
Genre: Avant Garde: Free Improvisation
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  Song Share Time Download
1. The Expanding Universe (Live)
76:57 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Leap of Faith Orchestra - The Expanding Universe - 1:16:57
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Evil Clown 9110:
Nave Gallery,
Clarendon Presbyterian Church
Somerville, MA - 6/4/2016
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.PEK - dulzaina, sopranino & alto & tenor saxes, oboe, clarinet, contraalto clarinet, sheng, bass tromboon, fog horn, ms-20,
boomwhakers, slide whistles, siren whistle
.Glynis Lomon - cello, aquasonic, voice, slide whistle
.Steve Norton - sopranino & alto & baritone saxes, bass & contraalto clarinets, celeste, fog horn, boomwhakers
.Andria Nicodemou - vibes, bells, crotales, slide whistle
.Yuri Zbitnov - drum set, lead gong, metal, balfon, blocks, festival drum, daiko, chains, siren whistle, boomwhakers, percussion
.Mimi Rabson - metal, slide whistle, siren whistle, percussion
.Clara Kebabian - slide whistle, siren whistle, percussion
.Bob Moores - trumpet, electronics, tiny slide whistle, percussion
.Charlie Kohlhase - alto & tenor & baritone saxes, slide whistle, percussion
.Dave Harris - tuba, trombone, fog horn, crank siren, slide whistle, boomwhaker
.Peter Cassino - piano, slide whistle
.Tony Leva - bass, slide whistle
.Brendan Higgins - bass, slide whistle
.Yedidyah Syd Smart - edrums, percussion
.Kevin Dacey - drum set, balfon, blocks, metal, chains, percussion, crank siren, taxi horn
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The Leap of Faith Orchestra is a large improvisation ensemble comprised of 5 Sub-Units that can play independently or in combination. Any two or more of these units in combination are the LOFO, but this was the first event with all of the performers and Sub-Units simultaneously.
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Those Sub-Units are:
Leap of Faith (an improv ensemble dating back to 1995)
Metal Chaos Ensemble (an expanded percussion section)
String Theory (an expanded string section)
Turbulence (an expanded horn section)
New Language Collaborative (cellist Glynis Lomon's trio)
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For the last year we have been preparing for this concert - the first presentation of the Full Orchestra!! Each of the Sub-Units has had two performances with Leap of Faith with a short set for each band and a longer combined set. We have also had several concerts with 9 or 10 performers with short sets by different smaller sections of and a longer combined set... About 30 talented Boston area improvisers have participated....
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When deciding that I wanted to create a large improvisation ensemble version of Leap of Faith I reflected on my prior experience with large groups where we tried to gather the entire group and rehearse. I decided to take a different approach and to develop the orchestra slowly over time by working with many smaller sections and combinations ultimately leading to the full unit. Now, all the orchestra members have experience performing with each other in various combinations, and we have created a lot of great work in the process.
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This work, The Expanding Universe, unlike the preparation performances, has a score. The score does not contain notated melodic, harmonic or rhythmic information, but is composed of time indices and English language descriptions of the instrument and texture desired which control who plays what at what times during the 75 minute duration of the composition. The score is simultaneously a Density and Sonority map defining the development of the work.
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The orchestra work (The Expanding Universe) uses a score which is simultaneously a Density and Sonority map prescribing the improvised development of the work. The score does not contain notated melodic, harmonic or rhythmic information, but is composed of time indices and English language descriptions of the overall sonority desired with durations given for each player on their part along with direction on when to play and when not to play. Players track the elapsed time with a large digital sports clock. This system allows me to compose detailed events without having to notate pitches or rhythms which would require significant rehearsal to accurately achieve. Skilled improvisers, like the ones I have recruited, can easily follow these instructions to create a highly structured improvisation without the need for specific rehearsal even when the ensemble is quite large as it is here.


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