https://www.tedmoore.art/tags/solo/Recent content in solo on Ted Moore | Composer, Improviser, Intermedia ArtistHugo -- gohugo.ioen-usTed Moore. All Rights Reserved.https://www.tedmoore.art/works/apsis-ii/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/apsis-ii/ Commissioned by HOCKET for #What2020SoundsLike full scorehttps://www.tedmoore.art/works/arco/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/arco/arco was motivated by an suggestion from violinist Marco Fusi to create a solo violin version of my work triangle for string quartet and tape. I liked the idea but felt that it would make more sense alongside additional movements to provide some context and commentary on this solo version. arco is a five movement work of which the solo version of triangle is movement four. I also created video designs to accompany the violinist and tape parts.https://www.tedmoore.art/works/column/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/column/The spatialized sounds used were designed using custom spatialization algorithms (tuned to the space) and custom sound design software created in SuperCollider. The DMX lights were composed and sequenced using a custom protocol between Reaper and SuperCollider. This is a stereo mixdown.https://www.tedmoore.art/works/eclipse/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/eclipse/ eclipse was commissioned by Skewed Visions, an experimental theater company in Minneapolis. The piece includes live audio processing using SuperCollider, as well as live visuals created with Processing. The visuals are controlled by the audio of the performer, giving the freedom to improvise within the structure specified by the composer, but keeping the visual and musical elements intimately connected through gesture.https://www.tedmoore.art/works/fiery-walls/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/fiery-walls/“I struggled no more, but the agony of my soul found vent in one loud, long, and final scream of despair. I felt that I tottered upon the brink—I averted my eyes—…There was a discordant hum of voices! There was a loud blast as of many trumpets! There was a harsh grating as of a thousand thunders!” —Edgar Allan Poe, The Pit and the Pendulumhttps://www.tedmoore.art/works/it-teaches-us/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/it-teaches-us/commissioned by percussionist Jeremy Johnston it teaches us that it doesn’t exist creates an audio feedback loop by attaching a transducer to a suspended cymbal. The transducer agitates the cymbal with whatever audio signal is coming in through the microphone, which, when placed over the cymbal amplifies the sounds of the cymbal, agitating it further, creating a positive feedback loop. Moving the microphone over different parts of the cymbal and at different distances and angles creates different feedback tones and dynamics.https://www.tedmoore.art/works/leviathan/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/leviathan/commissioned by Spitting Image Collective composed for Sarah Porwoll-Lee leviathan embodies the sonic world that one might hear in a littoral cave. The work was inspired by An Uaimh Bhinn, a cave on the Scottish coast famous for its unique harmonic resonances. The reverb used in the piece is modeled on the impulse response of a cavern; the vases serve as harmonic resonators through which many sounds are processed live, including the swell of ocean waves and the bass clarinet.https://www.tedmoore.art/works/noise-gate/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/noise-gate/ Composed for Giacomo Piermatti of Ensemble Suono Giallo for ilSuono Contemporary Music Week 2021. Città di Castello, Italy. full scorehttps://www.tedmoore.art/works/saccades/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/saccades/A “saccade” is a rapid movement of the eyeball between two fixed focal points. During this brief moment, the brain hides this blurry motion from our perception. Once a saccade motion has begun, the destination cannot change, meaning that if the target of focus disappears the viewer won’t know until the saccade completes. If the field of vision is changing too quickly, the saccades may never be able to arrive at and focus on a target, instead, the objects in view are only perceived through peripheral vision.https://www.tedmoore.art/works/still-motion/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/still-motion/Commissioned by and composed for percussionist Patti Cudd with support from MacPhail Center for Music and the McKnight Foundation. still motion uses live audio and video sampling of the performing percussionist, the projection of which creates a counterpoint to the live performer. All of the sampling is done with an openFrameworks program coded in C++. full score Contact me for the software download.https://www.tedmoore.art/works/still-motion-b/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/still-motion-b/still motion b uses live audio and video sampling of the performer’s mouth, the projection of which creates a counterpoint to the live performance. All of the sampling is done with an openFrameworks program coded in C++. Contact me for the software download.https://www.tedmoore.art/works/the-curve-is-exponential/Mon, 01 Jan 0001 00:00:00 +0000https://www.tedmoore.art/works/the-curve-is-exponential/commissioned by University of Chicago Carilloneur Joey Brink for the 75th anniversary of the 1st human-controlled self-sustaining nuclear chain reaction dedicated with much appreciation to Joey Brink the curve is exponential was written in commemoration of the 75th anniversary of the first human-controlled self-sustaining nuclear chain reaction. The structure of the piece roughly follows the events in the days surrounding the experiment at the University of Chicago in 1942.