Pichuco

Research output: Non-textual formComposition

Abstract

Pichucho examines approaches to improvisation - as a method of generating musical
material as well as in performance. Composers working with sound and technology
often spend large amounts of time improvising in the studio with their source
material in a “plastic” manner- transforming, reshaping, generating new material
before laying it one side for future consideration and possible inclusion in a piece.
Composer and researcher in the early days of electroacoustic music, Guy Reibel
referred to this as sequence/jeu and the notion of “play” is an important aspect of
this piece.
In 2015, I recorded the bandoneón (the “accordion” used in Tango music) of Eliseo
Tapia, a renowned bandoneónist with a strong interest in new forms of tango as
well the traditional. The session was a combination of me asking him to do make
certain sounds and of him performing short improvisations. The mix of Eliseo as
“expert” and me as “tourist” provided a very varied palette of sonic possibilities.
The piece explores sounds ranging from the creaking of the fuelle (bellows) to
extended techniques (yeites) from tango such as arrastre, a strong accented upbeat
and the even stronger vómito, using material derived from improvisations by Eliseo
and material written in an improvisatory style.
Pichuco was created for Eliseo Tapia and is dedicated to him.
Original languageEnglish
Publication statusPublished - Sep 2018

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  • Cite this

    Stollery, P. J. (Author). (2018). Pichuco. Composition