Archive for the ‘Egregoros’ Category

Gigs November, 2018

November 13, 2018

November 4 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Ofri Rieger, Andrea West, Yahtze – movement
Christos Koulendros, Walter Wright – sound
Working on abstraction/variation using simple graphic scores.

November 5 at 114 Grand Street, Lowell MA
Egregoros:
Christos Koulendros – Shnth
Walter Wright – floor percussion

Signal Culture Residency
November 6-19 in Owego NY
Working on
– Projektor/Lumenetta

Performance Lab: sac mélangé
November 17 at The Hearing Room, Lowell MA
Egregoros:
Christos Koulendros – ???
Walter Wright – drums, percussion
featuring
new videos from Signal Culture
with
Rick Breault, Goa Death Monster, Nico Tracy, Dei Xhrist

November 18 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
– movement
Walter Wright – sound

November 19 at 114 Grand Street, Lowell MA
Egregoros:
Christos Koulendros –
Walter Wright – floor percussion

THANGSgiving
November 23 at The Armory, Somerville MA
Xhrist Wright Duo:
Dei Xhrist – voice, electronics
Walter Wright – Board Weevil
+
ensemble inédit ?!
Joe Burgio – artistic director
– movement
Walter Wright – sound
Come early 9am-12noon, produced by Paul Kafka-Gibbons

November 24 at HoGO, Manchester NH
Xhrist Wright Duo:
Dei Xhrist – voice, electronics
Walter Wright – Board Weevil
with
Eric Dahlman, Michael F Dailey Jr, id m theft able, David Kontak, RAT
Produced by Walter Wright

November 25 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
– movement
Walter Wright – sound

November 26 at 114 Grand Street, Lowell MA
Egregoros:
Christos Koulendros –
Walter Wright – floor percussion

Messing with Messiaen
November 30 at Third Life Studio, Somerville MA
Egregoros:
Christos Koulendros – grand piano
Walter Wright – drums, percussion
Improvisations based on Olivier Messiaen’s book, Technique De Mon Langage Musical

Egregoros recorded November 5, 2018

November 5, 2018

Christos Koulendros – Shnth
Walter Wright – floor percussion

Preparing for “Messing With Messiaen”, a gig later this month at Third Life. Exploring bird sounds and rhythms. This is a good one !!!

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Gigs October, 2018

October 31, 2018

October 1 at 114 Grand Street, Lowell MA
Egregoros:
Christos Koulendros – Shnth, field kit, reverb
Walter Wright – floor percussion

October 7 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Andrea West – movement
Lou Bunk, Christos Koulendros, Walter Wright – sound
Working on new graphic scores, PATE, SSS, reversal, stretching time.
[link to post]

October 8 at 114 Grand Street, Lowell MA
Egregoros:
Christos Koulendros – Sidrazzi
Walter Wright – floor percussion
Working on a new graphic score, warmup with 4 ‘subscores’

October 14 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Katerine Gagnon, Charlotte Wagner, Andrea West, Yahtze – movement
Christos Koulendros, John Voigt, Walter Wright – sound
Pirates Robots & Ninjas: We work up a short piece for Nov 3rd in Providence. Then back to PATE, this time exploring symmetry as another approach to reversal.

October 15 at 114 Grand Street, Lowell MA
Egregoros:
Christos Koulendros – Shnth, MemoryMan
Walter Wright – floor percussion
Open rehearsals (almost) every Monday, everyone welcome!

October 20 at The Hearing Room, Lowell MA
Egregoros:
Christos Koulendros – field kit & modules
Walter Wright – floor percussion
with
Stephan Anstey, Dan Bacon, Jane Boxall, Christine Elise, Kuf Knotz, John Voigt, Carolyn Wilkins

October 21 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Katerine Gagnon, Ofri Rieger, Charlotte Wagner, Yahtze – movement
Walter Wright – sound
and
Stu Vandermark and his wife – audience

October 28 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Katerine Gagnon, Charlotte Wagner, Yahtze – movement
Lou Bunk, Christos Koulendros, Walter Wright – sound
Nov 3rd cancelled, working on interpreting graphic scores, this week variation.

Egregoros recorded October 15, 2018

October 15, 2018

Christos Koulendros – Shnth, MemoryMan
Walter Wright – floor percussion

This is a good one, straight ahead improvisation, Christos’ latest program for his Shnth. I’m getting used to my floor percussion (if not actually sitting on the floor for 30 minutes) 8^)))

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Egregoros recorded October 8, 2018

October 8, 2018

Christos Koulendros – Sidrazzi
Walter Wright – floor percussion

Our weekly rehearsal, Christos brings the Sidrazzi. “… of seven barres and triangular waveshape, a unique timbral variable sawtooth waveshape, it has a new mandala of nodes on the back face”, says Cait-Lonbarde. I have my (on the) floor percussion based around an 18” frame drum, a collection of percussive objects including cymbals, tin cans, paint can lids, a 14” metal salad bowl, various sticks and mallets.

Christos also brings graphic scores, four small ones and a large, longer score. The four small scores represent important concepts used in the large score.

Score #1: Drawn on a 3×5” card. Reading left to right, the red bars, circles, dots, lines and arrows represent playable elements. The bars tell the player to improvise, and the dots indicate the start and end of the improvisation. The length of bar tells the player how long to play, the vertical lines of the background grid are 1 time unit apart. The player follows the arrows from the section to section. At the end of the first improvised section, 4 units in length, the player choses between two arrows, the first lead up towards a line of three circles, the second down to a cluster of circles. The circles above contain horizontal lines, representing sustained sounds. The lower the line within the circle, the lower the sound. Again, reading left to right, the length of the line represent the duration of the sound. In the first circle a mid-range notes starts immediately and is held for 1 time unit. After 1/2 unit a lower note starts and is held for 1 unit. There’s a 1/2 unit rest following the end of the second sound. The player is free to repeat the circle any number of times. However, after finishing the first circle there’s only one way to go, on to circles two and three.

However, after the first improvisation, the player may decide to follow the arrow down to the cluster of five circles. Here the circles are filled with dots not lines indicating percussive not sustained sounds. The dots, again reading left to right, represent short rhythm pattens that can be repeated, within the circle. Again as above, once a circle is completed, the player follows the the arrows to the next section. There are two paths through this cluster of circles and, at the end, an arrow that points back to the line of circles above.

Leaving the circles behind the player moves to two final improvisations. The first 4 units long, followed by a 1 1/2 unit rest or pause, then a final 2 1/2 unit improvisation. The half circle at the right margin represents the end of the score.

Here are two tracks based on this score –
track 01
track 02

Score #2: Drawn on a 3×4” card, actually a piece of paper. Bars arranged in four rows. Reading left to right the first row starts with a 3 1/2 unit (time) rest. The bar tells the player to improvise, continuing to read from left to right, for 11 units. The red dots at either end of the bar, indicate the start and end of the improvisation. Another 3 unit rest then a final short improvisation of 2 1/2 units.

Christos and I use approximately 1 sec as our basic unit. The time units are flexible, up to the player,

The second row begins with an even longer pause, 5 1/2 units. A short improvisation, 3 units. Another pause, 5 units. Ending with a 5 1/2 unit improvisation. The third row has a series of short improvisations, with short rests between. It’s the densest of the rows. The fourth row starts with a long rest of 8 1/2 units followed by an improvisation of 7 units, a 1 unit rest, and a final, 2 1/2 unit improvisation.

Players read the rows from left to right, and are free to play any row, in any order. They can repeat rows. Players drop in and out as they follow the score. There may be times where there is no sound at all.

Here are two tracks based on this score –
track 03
track 04

Score #3: A percussion score allows players to string together a series of rhythm patterns. Starting with the circle on the far left, two groups of two sounds separated by a 1 unit rest. Players may repeat the pattern for as long as they wish then follow the lines to either the circle to the right, another short rhythm pattern, or down to the larger circle containing a random dispersion of dots representing free percussion, a variety of sounds ranging from high to low frequency, or simply, noise.

Players may follow the arc of seven, smaller circles from left to right or right to left, move back and forth between adjacent circles, or drop down to the larger circle. From the larger circle they may jump back to any of the smaller circles. With no start or end points indicated, players may start in any circle, then follow the lines until they “find an end”.

Here are two tracks based on this score –
track 05
track 06

Score 4: So, how do I read/these this score? The first thing I notice is the 3 rows of circles. I assume these represent the basic elements that make up the score. There are large circles, the top and bottom rows, and small circles, the middle row.

The circles in the top row each contain a number of dots arranged in somewhat complex patterns. I assume he dots represent short, percussive sounds. As I read from left to write, along the horizontal axis, I assume the order of the dots establishes timing. I interpret the vertical location of the dot as pitch. For example, the second circle from the left in the top row starts with three percussive events: the first a low sound, the second a mid-range sound, and third both high and low-pitched sounds. The mid-range sound followed by high and low-pitched sounds pattern repeats a couple of times. The pattern ends with a variation. I might play it this way –

  [L] . [m . HL] . [m . HL] . [m . HL] . [m . l . HL]

  h  – high sound, H accent
  m – mid sound, M accent
  l  – low sound, L accent
  .  – rest

The circles in the middle row contain simple dot patterns. Again, I read from left to right. The first circle has three dots, followed by a space. There’s no vertical distribution, no variation in pitch. However, all three circles are the same size, 2 time units in width. I might interpret as –

  [m.m.m . . . . . ]
  [m.m . . . . . . . ]
  [m . . . . . . . . . ]

The circles in the bottom row contain lines not dots. I read he lines as sustained sounds. Where several lines are stacked, one on top of another, I read these as tone clusters, perhaps chords. The length of the lines represents duration, the vertical location pitch, and the spaces between rests or silence. But what about that last circle, far right? I see three lines. They originate from a single point on the upper left boundary of the circle, 1/2 (time) unit in and at the same high pitch. The lines drop down to tree separate points on the lower right boundary of the circle. The first drops to the lowest point in 2 units, the second line finishes in 2 /12 units at a slightly higher pitch, and the third line finishes at the highest pitch in 3 units.

Next I check to see how the circles are connected. I look for start/end points. Not finding any I conclude that I can begin/end anywhere. However, for me, the norm is to start at the top left, end at the bottom right. Circles connect directly to their neighbors. The connections are bidirectional, no arrows. The circle at the top left connects to two other circles: the large circle to the right and the small circle to the right and below. The next large circle in the top row connects to four other circles: the two large circles right and left and the two small circles below. The small circle in the middle of the middle row connect to six other circles: the two small circles to the right and left, the two large circles above, and the two large circles above.

There are any number of ways to play through this score. Here are a few examples –

  T1>T2>T3>T4>m3>m2>m1>B1>B2>B3>B4
  T1>m1>B1>m1>T2>m2>B2>m2>T3>m3>B3>m3>B4>M3>B4
  T1>m1>T2>m2>T3>m3>T4gt;m3>B4>m3>B3>m2>B2>m2>B1
  Player 1: T1>m1>T2>m2>T3>m3>T4
  Player 2: B1>m1>B2>m2>B3>m3>B4

  T1-4  – top row of circles
  m1-3 – mid row
  B1-4  – bottom row

Here are two tracks based on this score –
track 07
track 08

Score #5: All together now, for two players. The half circles on the left border indicate start points, the half circles on the right border the end points. Moving horizontally left to right, the bars indicate free improvisations of varying length separated by rests or silence also of varying length. The players can chose to play straight across or, to make things more interesting, follow the arrows into the woods and wander through the clusters of large and small circles that indicate percussion patterns and tone clusters, small phrases that can be folded, spindled and mutilated at will 8^)))

Here are two tracks, we’re learning the score –
track 09
track 10

Gigs September, 2018

September 30, 2018

(Downtown Lowell) First Thursday
September 6 at Insulated Wire Co, Lowell MA
Egregoros:
Christos Koulendros – Sidrazzi
Walter Wright – drums, percussion-triggered video
with
Alexandra Derderian, Gregory Kowalski

September 9 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Rajita, Ramita, Charlotte Wagner, Andrea West – movement
Christos Koulendros, John Voigt, Walter Wright – sound

September 10 at 114 Grand St, Lowell MA
Egregoros:
Christos Koulendros – Shynth, Moog filter
Walter Wright – drums, percussion-triggered video
Open rehearsal, all welcome!

September 12 at UnchARTed Gallery, Lowell MA
Egregoros:
Christos Koulendros – Shnth, Moog filter
Walter Wright – drums, percussion-triggered video
with
Frode Gjerstad, David Kontak, Fred Lonberg-Holm

September 16 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Katerine Gagnon, Ofri Rieger, Charlotte Wagner, Andrea West, Yahtze – movement
John Voigt, Walter Wright – sound

September 23 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Debra ???, Katerine Gagnon, Rajita, Yahtze – movement
Christos Koulendros, John Voigt, Walter Wright – sound

September 24 at 114 Grand St, Lowell MA
Egregoros:
Christos Koulendros – Shnth
Walter Wright – acoustic drumkit
Open rehearsal, all welcome!

Thursday Experiment
September 27 at Gateway City Arts, Holyoke MA
Walter Wright – solo AVSynth
with
Bonnyvale Racket, Dan Sine

September 28 at Dorchester Arts Project, Boston MA
LOS CONDENADOS:
Bonnie Kane – flute, sax, electronics
Andrea Pensado – voice, laptop
Chris Strunk – drums, percussion
Walter Wright – Board Weevil
with special guest
Shereen Salem – movement
and
Blues Dream Box, Noise Nomads, This is Not Okay

September 30 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Flora, Yahtze – movement
Lou Bunk, Christos Koulendros, John Voigt, Walter Wright – sound

Egregoros recorded September 24, 2018

September 24, 2018

Christos Koulendros – Shnth
Walter Wright – acoustic drumkit

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Egregoros recorded September 10, 2018

September 10, 2018

Christos Koulendros – Shnth, Moog filter
Walter Wright – drums, percussion-triggered video

Rehearsing for a gig at UnchaRTed later this week.

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Gigs June, 2018

June 30, 2018

Grolier Poetry Festival
June 2 at Harvard Square, Cambridge MA
ensemble inédit ?!
Joe Burgio – artistic director
Katerine Gagnon, Ofri Rieger – movement, poetry
John Voigt, Walter Wright – sound

June 3 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Katerine Gagnon, Andrea West – movement
Reggie Liu, John Voigt, Walter Wright – sound

Summer miniTour:
Third “Annual” East Coast Free Music Festival
June 4 at Rotunda, Philadelphia PA
June 5 at Rotunda, Philadelphia PA
June 6 at Bread & Puppet, Easton PA
June 7 at Art Rat Studios, Roanoke VA
Savage Weekend
June 8 at Nightlight, Chapel Hill NC
June 9 at Nightlight, Chapel Hill NC
Bats From Pogo
Andrea Pensado – voice, contact mics, laptop
Walter Wright – Board Weevil, contact mics
with
Lauren Tosswill & many, many more

Choreographers’ Series
June 15 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Katerine Gagnon, Ofri Reiger, Charlotte Wagner, Andrea West – movement
Reggie Liu, John Voigt, Walter Wright – sound
with
Featuring work by Kylie Burnham, Perla Joy Furr, Evolve Dynamicz, Catherine Lenard Gerberding, Rebecca McGowan, Liz Roncka, Deanna Beattie-Gallant, Margaret Wiss, Boston Community Dance Project and Kelley Donovan

Performance Lab: Return of the BopAnts
June 16 at The Hearing Room, Lowell MA
BopAnts:
Marc Bisson – unprepared guitar
Walter Wright – drums, percussion
with
Inspector 34, Pain Chain, Sonic Puppet: Eliot Cardinaux, Katya Popova, Adam Yuch

June 22 at 114 Grand Street, Lowell MA
Egreoros:
Christos Koulendros – saz
Walter Wright – amplified drums, percussion

June 24 at Third Life Studio, Somerville MA
ensemble inédit ?!
Joe Burgio – artistic director
Bianca Beneduzi, Katerine Gagnon, Kristiana Hubley, Charlotte Wagner, Andrea West – movement
Walter Wright – sound

Egregoros recorded June 22, 2018

June 22, 2018

7-string baglama

“The bağlama is a stringed musical instrument. It is sometimes referred to as the saz, it is also sometimes referred to as the “cura”, although the term “saz” actually refers to a family of plucked string instruments, long-necked lutes used in Ottoman classical music, Turkish folk music, Iranian music, Azeri music, Kurdish music, Assyrian music, Armenian music, and in parts of Syria, Iraq and the Balkan countries.”
~ Wikipedia

Christos Koulendros – 7-string baglama or saz
Walter Wright – amplified drums, percussion

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