Kevin Flanagan sound files




Audio
ELECTRO-ACOUSTIC COMPOSITIONS
electro-acoustic compositions 7 new compositions created with the Csound system. Audio streaming optimised for 56kps modems. REAL PLAYER REQUIRED.






Sibelius Files
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Sibelius files can be accessed with a Scorch player. This enables you to view an auto scrolling manuscript containing the notation, lyrics and composers instructions as the midi plays back.
Double Concerto
Perinde

Like Miles (see text below)

Mode For Joe
Sextets
Gaishi Dojo


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Midi Files
For those not wanting to download a Scorch player the tracks are reproduced as General Midi files. Click titles to play.


Mode For Joe.mid
Sextets.mid
Bird.mid
Gaishi.mid
Ghost.mid
Like Miles.mid

CSound
Download CSound compositions in development. (zip file contains the orc & sco files required by the compiler)

Pmood1.zip (7KB)
Pmood2.zip (6KB)
Pmood3.zip (6KB)


The CSound composer synthesizes digital sound generated by the computer in real time. The software module uses two small files of text command instructions created by the composer. These are then analysed by the computer to produce a completed composition, either playing back the sound and/or recording to hard disk on the fly as a high quality 16 bit wav file.
Find out lots more by going to the MIT PRESS (Massachusetts Institute of Technology) and getting CSound resources from CSOUNDS.COM, CSOUNDS.ORG, CSOUNDS MANUAL for WINHELP, DIRECTCSOUND.



Like Miles

trumpet concerto for solo trp, fl, ob,
cl, bcl, hn, trb, 2 perc, strings (4.4.2.2.1)
duration: 8 minutes (see Sibelius Scorch file)

Like Miles was inspired by a performance by the Britten Sinfonia of some the Miles Davis/Gil Evans collaborations with Guy Barker on trumpet. It started as a gathering of fragments from the solos of Miles Davis to be transmuted and used as motivic material in a trumpet concerto. The material was then utilised for the parts of the soloist and orchestra as both rhythmic and melodic cells. The idea being to combine a Miles Davis inspired trumpet line floating above the orchestra, which must maintain a forward impetus and metricality to contrast with the freer nature of the trumpet part, not unlike the role of a rhythm section in small group jazz. The orchestral part comments, opposes, or wraps itself around the soloist, but always creates the ground pulse and occasional tonal centricity necessary to allow a soloist to create gestures toying with the listener's expectations such devices might raise.

The soloist should approach the piece in the spirit from which it has been derived, not so much striving for purity of tone as for the vocal, almost conversational style which characterises the immediately recognisable personal sound that any jazz soloist has. This being the admitting of the gestural: mutters, fluffs, sudden accents, unexpected jokes, bends and sudden show-boating that would take place in a relaxed conversation between friends. (This could be enhanced by lightly amplifying the soloist, especially when muted.)

Much of this, it is hoped, can be the responsibility of the soloist. No jazz player, especially Miles, would play things as written or even the same way twice. The written score could be considered merely a starting point, and the soloist is encouraged to improvise and/or embellish within their part if they so wish. The piece was written to also include the possibility of modifying sections to leave them completely open for a soloist, merely suggesting a few chord formations or melodic fragments to use to mesh (or not) with the underlying accompaniment.

© Flanagan