Category Archives: Performances

Hallelujah – for vibraphone and computer

 

Program Notes

This piece is a praise on things and events that are beyond my comprehension and control. Effect of subtle sonic changes on my mind, body, and soul is an example of such things.

Hardware Setup and Instruments

  1. One vibraphone with a working motor
  2. Soft mallets  and a bow
  3. A computer with SuperCollider : Setup the computer near the vibraphone so that you may see the screen. A Macintosh is preferred but not necessary. The SuperCollider application can be downloaded for free at www.audiosynth.com
  4. Hallelujah.scd file: The file can be downloaded from here
  5. One audio interface and one microphone : Connect a condenser microphone into the input 1 of the interface. Connect the interface to the computer.  Alternatively, you can use a USB microphone and no interface.
  6. A sound reinforcement system: connect the stereo output of the interface to the speaker(s). The speakers should be located in close distance to the vibraphone. Putting the speaker right behind the performer should work in small-medium sized venue.

Performance Notes

  1. Volume : The overall volume of the piece should not be loud. The computer part should be just loud enough to hear the pulsing between the vibraphone and the sine tone parts.
  2. Pedal : Pedal is always on. Muffle notes with the mallet on mm 51 (notated with ‘x’ ).
  3. Motor : Set to slow.  Motor is on from mm 53 to 79.
  4. Bowing : There are three notes in the vibraphone part that needs to be bowed (mm 65, 74, and 76).
  5. Pedal : Setup the vibraphone so that the pedal is always on.
  6. Count-In : Measure 1 starts after four beats of count in. Refer to the Visual Click Track window on the computer screen. The performer may interpret the timing of the notes.
  7. Notation of Computer Part : The computer part has three odd-shaped note heads. The rectangle represents a sine tone that changes its frequency when a vibraphone notes are played. The triangle represents a wobbly tone with rhythmic variation. And the diamond represents a note with rich overtones. All computer parts are long and gradual. You may start to notice the computer part about a measure or two after they are triggered at the notated measures. For example. the rectangular note in measure 5 will start to have a audible volume at around measure 6.

How to Run the Computer Part

  1. Make sure that your audio interface is set as the default input and output device for the computer.
  2. Open Haellelujah.scd file in SuperCollider
  3. Go to Menu and select Language->Evaluate File.
  4. Measure 1 starts after four beats count in.
  5. Press command+period (.) or select Language->Stop to stop the computer part
  6. Repeat steps 2-5 for rehearsal and practice.

 

 

Double Decker Music Series

I participated in Double Decker Music Series in last September, and it was easily the most fun gig I did in this year. http://www.sebastianpetsu.com/doubledecker/ddms8/

DDMS is organized by Sebastian Petsu and Bowerbird in Philadelphia. According to the website, “the Double Decker Music series is a unique, intimate mobile concert experience on an open-top double-decker bus. It features live performances in an urban setting paired with a guided tour of Philadelphia’s attractions.” In other words, it’s an experimental music show on a tour bus. Imagine that!

I played a 30min set with no-input mixer and custom synth (and no computer!) on a perfect September weather in Philadelphia for my friends and strangers. The tour bus passed by the Eagles stadium, Far-South Philly, and other places that represents an interesting side of the city. In my performance, I interacted with street musicians, police cars, random drunk people, and street lights. At one point, there was a helicopter hovering above the bus, and I played and interacted with one of the most amazing machine sounds.  I was also happy to share the stage with Myrrias, who played beautiful music (I remember their very unique keyboard!). Sebastian was also an excellent tour guide. Take his bus if you want to tour Philadelphia.

I begin to play at around 7:30, but I suggest you to watch the entire video. It’s quite fun.
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Armor+2 – for clarinet and computer


Required Software and Hardware

  1. Bb clarinet and Bass clarinet : A solo player will switch the instruments during the piece.
  2. Computer : a Macintosh with OS 10.9+ is preferred, but PC should also work.
  3. SuperCollider : this is a free software that runs the computer part.  Download it from HERE if SuperCollider is not installed already
  4. Armor+2.scd file : this is the computer part for the piece. If you don’t have it already, download it from the composer’s website (Here) or contact the composer at https://www.facebook.com/joowonmusic
  5. One Microphone: Close-mic the clarinet. A good condenser microphones is preferred.
  6. Audio Interface: The interface should have at least one microphone inputs and three outputs. The first two outputs send computer part. The third output sends a click track.
  7. Headphone: connect the click track output to the headphone for the performer.
  8. Speakers/PA : Connect the stereo output of the audio interface to the sound reinforcement system.

How to Use Armor+2.scd File

  1. Make sure that your audio interface is set as the default input and output device for the computer.
  2. Open Armor+2.scd in SuperCollider.
  3. Go to Menu-> Language-> Evaluate File.
  4. You will hear measure 1 in few seconds. Press command+period(.) or go to Menu-> Language-> Stop  to stop.
  5. Repeat steps 3-4 to restart.
  6. Do not let the computer go to sleep mode. It may cause a disconnection between the hardware and software.

Performance Instructions

  1. The electronic part should be as loud as the acoustic part. Adjust the gain and/or microphone position accordingly. Most of the computer parts are live-processed or algorithmic. The computer part processes the sound of the ensemble in realtime, and it will sound slightly different in each performance.  It is important to follow the tempo as accurately as possible to be in sync with the computer part.  The click track is not absolutely necessary, but it may assist the performance. The performer should be able to operate the computer part as the computer part requires runs automatically after the first measure.
  2. The click track starts at measure 1 without a count off. Place the bass clarinet near the performance space for a quick switch at measure 68.
  3. The following boxed words notated in the computer part indicate an addition or variation of the computer part: AM, AM2, and FM add harmonic elements. Ticks are short percussive sounds. Stutter imitates a short segment of the performer’s sound. Reverb simulates a room sound. Pad is a long synthesized tone, which can have a smooth or sharp beginning.
  4. There are some extra files in the download site. If the performer wants to practice the piece by sections, use the files in ForPractice folder. Armor+2-ClickOnLeft.scd has the click track on the left channel. If the performer does not want to operate SuperCollider part during the practice, he/she can use the recorded electronics part in ForTapeVersion folder.

Feb-March Tour

I performed in 5 cities from Feb 25 to Mar 13.

2.25.15 Lyn Goeringer and I performed a duo improvisation at the Oberlin Faculty Concert. It was broadcasted online.
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2.27.15 I did a joint concert with Matthew McCabe at the Columbus State University, GA
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3.6.15 I was the keynote speaker at N_SEME2015. I performed my solo set and take about my experience as a solo electroacoustic musician.
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3.9.15 I performed Toccata for Found Object and Computer at the University of Nebraska at Kearney for is annual New Music Festival. One gas station in Kearney had an interesting offer.
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3.12.15 & 3.13.15 My band I’m With Joo Won performed at Gus’ Cafe in Pittsburgh and Oberlin Playlets. The poster features my hand! More importantly, I shared a stage with improvisational punk band.
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And yesterday, IWJW released the first album under Starry Night Records.

In sum, life is good.

Fall College Tour

I’ll be performing and lecturing in several universities in november. Most of the events are free and open to public. Please come by and listen to some no-input mixer, found objects, and occasional melodies in A major.

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11/5 : Peabody Institute, Conservatory Building Room 314 @ 6PM

I will be doing a guest lecture at the Composition Seminar. I will be talking about my 100 Strange Sounds Project.

11/6 : University of Virginia, Open Grounds @ 8PM

I’m a featured artist in TechnoSonics XV: Found Sound. I’ll be performing Toccata for found objects and computer. This concert will be live streamed.

11/7: University of Richmond, Camp Concert Hall @ 2:30PM

I will be performing Receding Hairline at the Third Practice Electroacoustic Music Festival. I’m also working as a tech guy, so come by and say hello on either Friday or Saturday.

11/10: Oberlin College, Fairchild Chapel @ 8PM

Oberlin NewMusic and Improvisation Collective (OINC) will be presenting  a concert of free improvisation and John Cage’s number piece. I’m directing the ensemble.

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11/14-5: University of Wisconsin Oshkosh, Music Hall @ 7:30PM

I’ll be a featured composer of the Wired concert series. In addition to the concert, I will be doing a few lectures and workshops.

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Let me know if you have questions or inquires.