I love it. I am also very fascinated with this collaboration, because Nicolas found me on Soundcloud, and asked my permission to use the piece on his video. Nicolas and I never met in person, but I think we make a good team!
Sky Blue Waves is a track in Overundertone released by NOREMIXES.
Singaporean Crosswalk was inspired by my trip to Singapore in 2010. The sound of the traffic light in the city was quite different from that of the United States and Korea.
It was fun, effective, and musically intriguing. During the day, this sound was a theme song for the people in a metropolis. During the night, the traffic lights became part of a flora and fauna surrounding the city. I thank SPLICE Ensemble for commissioning and premiering this piece. I also thank Oberlin College’s Center for Information and Technology for renting me multiple computers.
Singaporean Crosswalk requires four laptops and four players. It uses the internal speaker and microphone of the laptop, so there is no additional equipment needed. The essence of the piece is in the creation of unique spatialization through physical movement of the laptop players on and off the stage. The recording of the premiere thus does not demonstrate the most interesting part of the piece, but you can at least hear the general atmosphere.
All materials needed to play the piece is uploaded on the top folder of this page. Let me know if you have any questions or need different versions (i.e. for trio, octet, etc).
VERY IMPORTANT: Edit the file path in line #30 of SSS.scd so that the program can properly find SwampsShowers.aif file. If you do not know the file path, you can drag-and-drop the SwampsShowers.aif file to line #30. It will automatically load the file path
Go to SuperCollider->Menu->Language->Evaluate File. You should hear a thunderstorm sound in few seconds
The oboe part is improvised. Imitate nature sounds you hear in the recorded part. There are rains, birds, streams, bugs, and other swamp creatures.
Starting at about 1:30 of the piece, the oboe sound will trigger long tones in the computer part. The oboist should improvise good accompanying notes to the computer- generated tones.
The piece is in d minor.
Generally, play fewer, but meaningful notes and phrases. Silences are essential.
JNNJ was commissioned and premiered by Hunter Brown and Louis Pino in 2016. The piece is inspired by the life and dynamics of my family. The title is a combination of the first letters of mom, dad, and two sons.
One computer with a DAW or Max: Download files from www.joowonpark.net/jnnj . A Logic Pro X session is provided on the composer’s website, but any DAW will work. The tape part can also be played with the provided Max patch.
Two speakers (stereo)
Two headphones for click tracks
An audio Interface with four separate outputs
TapeL.aif should be routed to output 1, connected to the left speaker
TapeR.aif should be routed to output 2, connected to the right speaker
ClickTrackL.aif should be routed to output 3, connected to Perc1’s click track
ClickTrackL.aif should be routed to output 4, connected to Perc2’s click track
Two percussionists with a snare drum and a large cymbal for each performer.
Both performers use brushes for the entire piece.
Perc1 stands close to the left speaker, and Perc2 stands close to the right speaker
Each performer gets his/her own click track. The click tracks will run in different tempi, and will gradually change the rate over the entire piece. Each performer should follow the tempo of his/her own click track.
Interpret the score like a jazz chart. Improvise in the notated style (funk and swing).
Pay attention to the pitch of the click track to hear the section changes.
S1: The tape part will fade in at around 20 seconds mark.
S2: Perc1 transforms the rhythmic pattern to a swing (indicated as “target rhythm”) while slowing down.
S3: Perc2 transforms the rhythmic pattern to more energetic and busy funk rhythm while slowing down. Listen for the white noise cue for the next section.
S4: Both Perc1 and Perc2 trade off solo while speeding up. The trade off will gradually overlap each other. Listen for the white noise cues to play uneven brush sweep on cymbals.
S5: Both parts will speed up significantly. When the tempo becomes too fast, freely improvise with great energy. Increase the use of cymbals throughout the section.
S6: Both Perc1 and Perc2 plays energetic cymbal improvisation while slowing down. Accompany the tape part after the click track stops. At the end of the tape part (7:00), create a quiet windy sound by swinging the brush in the air.
Here’s my new piece called Control Click. The first video is an excerpt that demonstrates the aesthetics and how-tos of the piece. The second video is a documentation of the 12-minute version installed in an outdoor.
Control Click is a piece for a site with multiple computers, such as computer lab or a game room. With a simple installation of a freeware, a typical computer lab will turn into a multichannel audio-visual instrument playing algorithmically generated parts. The piece has two subsections: the first section is an ambient soundscape to be played while the audience gathers in the site. Once enough audience is gathered in the lab, the main section will start. The main section is about 12 minutes long, and it sounds like a dream sequence at an arcade.
1. A site with iMac computers.
A computer lab is the easiest place to realize this piece, but any spaces that can host multiple computers would work
The current version works best with 8 to17 computers
8 to16 computers are Performers. See instructions in Performer.scd file for hardware/software setup instructions.
1 computer is Conductor. See instructions in Conductor-8Macs.scd or Conductor-16Macs.scd for hardware/software setup instructions.