....a year exploring improvisation with music technology in an ensemble scenario, Music Technology @ QCGU (2016)
Improvisation 1 [EDITED HIGHLIGHTS] and Improvisation 2 [UNEDITED] were inspired by and developed methods from Eddie Prévost’s infamous improvisation workshop which runs Friday evenings in London (John Ferguson attended 2009-2010). Musicians normally sit in a circle, a duo is chosen to begin improvised music making. This first duo often lasts 3-10 minutes but the length is determined by the musician on the left of the duo; at a moment determined by that individual to be ‘right’ they join the duo and play as a trio. This joining of a third musician is usually considered a signal for the first musician to start to ‘find a way out’. This results in a series of duos, trios, and occasional solos, these proceed around the circle, ending when the starting point is reached. The person at the circles’s starting point plays in both the first and the last improvisation. Listening is as important is any audible contribution, ‘no sound is innocent’. Wednesday 7th September 2016, QCGU Boardroom, Music Technology at QCGU, featuring Taana Rose, Blair Johnston, Liam O’Connor, Peter Wood, Julia Anderson, Luke Thomson, John Ferguson. Sound and vision mixed and live-captured by Alex O’Donovan, edited by John Ferguson
Rejecting the claim that popular music and music technology are oriented only towards commercialism and mass popularity, this experimental and improvised concert negotiates freedom alongside tradition. Kingfisher Blue (in three movements). Wednesday 26th October 2016, QCGU Boardroom, Music Technology at QCGU, featuring Taana Rose, Blair Johnston, Liam O’Connor, Peter Wood, Julia Anderson, Luke Thomson, John Ferguson. Sound and vision mixed and live-captured by Alex O’Donovan, edited by Ferguson
Music Technology at QCGU presented John Zorn’s infamous game piece from 1984 in collaboration with Winds, Strings, Composition, and Percussion. Wednesday 5th October 2016, QCGU Foyer, John Ferguson, Cobra cards (prompter); Taana Rose, Music Technology; Blair Johnston, Music Technology;Liam O’Connor, Music Technology; Peter Wood, Music Technology; Julia Anderson, Music Technology; Luke Thomson, Music Technology; Alexander Bull, Drums; Jack Jones, Clarinet; Phoebe Bognar, Flute; Mathew Klotz, Saxophone; Monash Lal, Flute; Renee Edson, Cello; Gerardo Dirié, Laptop; Toby Gifford, Clarinet. More information on Cobra here. Download John Ferguson’s print-ready version of the cards Cobra_cards_JF. Sound and vision captured by Alex O’Donovan, edited by John Robert Ferguson
Schmitt Trigger – HEME: In electronics a Schmitt trigger is a comparator circuit with hysteresis implemented by applying positive feedback to the non inverting input of a comparator or differential amplifier. In HEME the shmitt trigger is an ideal component to explore live construction, in quadrophonic sound. All circuits built live from raw components.
No input mixer – HEME: A mixer with no inputs. The outputs of an old and unloved mixing desk are plugged into its inputs, this creates feedback, and many opportunities for creative interaction.
Copernicus – Alex O’Donovan and John Ferguson: Challenging the canon of live musical expression – with a circuit bent synthesizer receiving voltage control, 6 oscillator detuned noise generator with voltage sag, and an amplifier responding to human-touch circuit bending.
Quiet raised eyebrow – HEME: Circuit, singing bowl, voice, projector, circular sequencer, no-input mixer, microphones.
Wednesday April 20th 7:30pm, QCGU Boardroom, featuring Liam O’Connor, Owen Arnold, Jack Brownridge-Jones, Sean Telford, Luke Thomson, Darcy Adam, Patrick Morwitch, Taana Rose, Blair Johnston, Alex O’Donovan, John Ferguson. Sound and vision mixed and live-captured by Alex O’Donovan, edited by John Ferguson
Handmade Electronic Music Ensemble (HEME) at OUT OF THE AUDITORY SYMPOSIUM from Music Technology QCGU on Vimeo. SYMPOSIUM ON SOUND AND ARCHITECTURAL DESIGN WEDNESDAY MARCH 9TH 2016, AUSTRALIAN INSTITUTE OF ARCHITECTS, QUEENSLAND, 70 MERIVALE ST, SOUTH BRISBANE. Sound and vision captured and edited by John Ferguson.