Second Study for Alto Saxophone, Video, and Electronics: pulp (2015) by Jason Thorpe Buchanan

www.jasonthorpebuchanan.com

SECOND STUDY FOR ALTO SAXOPHONE, VIDEO, AND ELECTRONICS: PULP Co-commissioned by Matt Evans, Casey Grev, Emily Loboda, Marta Tiesenga, & Sumner Truax

JASON THORPE BUCHANAN

First Draft Copy – June 15, 2015

Second Study for Alto Saxophone, Video, and Electronics: pulp

Texts by Charles Bukowski Sophia Burgos, soprano

Co-commissioned by Matt Evans, Casey Grev, Emily Loboda, Marta Tiesenga, & Sumner Truax

v.06.16.15 5:27

Mechanically subdividing, pulsing

q = c78

Alto Sax.

n >œ

œ. J

ç pp

Voice

sub

jäœ hœ

2 dist.

flatt.

æ ç pp

˙ ˙ ˙ r˙

˙ ˙ ˙˙

port.

&Œ

V O X

ç pp

sub

`12345B8

r j lœ ˙ +˙ · . ß> pp P (ç) CH

port.

sub

# == ˙˙˙ ˙ +˙

c.4" - 5"

OOOOO

012

port.

n˙

d˙ ˙

j .. ..

ç pp

> pp ß

sub

c.8"

port.

( >)

p ç ppp

sub

`12345cB

port.

`2346Cc

+vox (quasi-unison, abrasive)

> pp ß

`1234Bc

c.8"

prestissimo possibile

>œ œ œ b œj œnœj œ œ cont'd ad libitum n œ œ œ œ = œ œ = œ œœ nœ ( >) 17a

17a

pß

sub

p ç pp

sub

> pp ß

port.

r k= >˙˙˙ x3 .. + ˙ =˙ n˙

j .. ..

c.3" - 4"

ç ppp sub

013

c.2" - 5"

OOO

˙˙ ˙ ˙ ˙ b˙ 5

+Palm D

j j . . . .

! O port.

`12345bc

> # =œ

port.

009 5

c.6"

>˙˙ + ˙ O # O O x4 ˙˙ + n ˙˙ .. ˙ ˙ j˙ b ˙ j

port.

O ç ppp

j ..

n äœ

æ pp ç O +vox >.

sub

" O

c.10"

˙ ## ˙˙ ˙ # ˙˙ ˙ =˙

(

P pp ..

sub

) 3

+œ œ œ œ œ #œ œ œ

port.

j ‰ O

Ÿ~~~~~~~~~~~~~~ ( n œ) flatt. œœ œ œ œ- œ œ j =|>œ = œ- . J J R . æJ \ p Rp

flatt. œ . >œ . >œ J J æ

ç pp ç

sub

Ÿ~~~~~~~~~

dist. Ÿ~~~~~~~~~~~~ (n œ ) flatt. flatt. j -œ œ- œ- œ- œ- œ- = >œ . œ= >œ œ = œ- œ- œ- =|>œ œ . j = >œ œpo. rt. nœ® \ \ J fl R æJ \ æ pp J dist.

(ç· )çpp

sub

çpp sub

> pp ß

sub

˙˙ kr ˙˙˙ ˙ +˙ ˙ =˙

> >

prestissimo possibile

port.

ß pp

007

(quasi-unison, abrasive)

sub

dist.

p3 ç

ç pp

timb.

sub

> pp ß

(ç· ) ç pp

sub

> pp ß

sub

010

+Palm D

sub

`123456B

c.3"

p ç pp

(bend up and back down slightly w/embouchure x2)

q = c69

dist. flatt.

r k œœ ˙ ®n œ d˙ R

17a

c.8"

e œ. k œœ ..

*omit grace notes if not possible

31 w ˙ + ˙ b˙ +˙ # ˙ ˙ ˙ t˙ n ˙n ˙ ˙ t ˙ ˙t ˙ # ˙

sub

c.9"

Oßppp

`2346c

`2346Bc

O OO O O O

`1234B8

j ( ‚ .. ) œ .. J

(·) n˙

sub

17a

jäœ . hœ .

(overblow, highlight upper partials)

sub

003

senza tempo

ç pp

sub

r˙ =˙ ‰ + + ˙˙ n ˙

(overblown + vocalizations, bend up and back down slightly w/embouchure) (q = c78)

ç pp

> pp ß

sub

`123456BTjD

sub

j .

> pp ß 002

ç pp

sub

c.7"

e ˙ n˙ l ˙ nt ˙˙ l ˙ # ˙

+Palm D

* each repetition should be of contrasting length, between approximately 3 and 8 seconds V O X

+vox (quasi-unison, abrasive)

(supress upper partials, bend up and back down slightly w/embouchure)

j˙ ˙ e˙ r˙

c.5" - 7"

+Palm D

d˙ ˙

sub

008

sempre legato

p ç pp

timb.

006

sub

> pp ß

sub

Ÿ~~~~~~~~~~~~~~~~~~ > œ . j >œ œ. n˙. J J

flatt. œr >œ œ œ- œ- œ- œ- n œ- . r >œ J æ æ dist. flatt.

005

# == ˙˙˙ ˙

lœ .

`123456b+

#œ nœ nœ bœ nœ

`12356bc

004

q = c48

`12345B8

ä˙ j ˙ # ˙ ˙ e ˙# ˙ ˙ e ˙ =˙ ˙ k ˙˙ k ˙

tremolo

˙n˙ ˙˙ # ˙

sub

+vox (quasi-unison, abrasive)

ç pp

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

sub

> ç pp

sub

prestissimo possibile sempre legato, unordered

`1234B8

+vox (quasi-unison, abrasive)

V O X

ç pp

œ- œ- œ- œ- œ- œ- >œ . RJ

dist.

sub

Frozen Time

ª q = c48

flatt. œ œ j>œ œ œ- œ- œ- œ- œ- œ- œ- jœ- n >œ . J æ zJ z æ flatt.

> pp ß

001

Elec.+Vid.

& k œœ

ç pp p

V O X

Soprano,

eœ

dist. œ- œ- œ- œ- œ- >œ Rz

>œ . J

`12345B8

c.9" senza tempo, frozen

Jason Thorpe Buchanan June 2015

> pp ß

sub

j port. .

011

c.5" - 6" j x3 ( n œ nœ b œ )

ad libitum

c.7"

˙˙ ˙ ˙ ˙ n˙ ! O, 5

r k= ˙˙˙ ‰. ˙ +˙ =˙ b˙ 5

O Ø

possibile

015

c.6"

q = c44

˙˙Ÿ..~~~~~~~~~~~~ ˙. port. ˙. ˙. timb.

timbral trill

n˙. (+œ !

016

nœ )

˙ . (+ œ p

+O nœ )

port.

ª j +œ

‰

(

3`1256c8

dist.

flatt. 5

tongue ram

® . port. > ß pp

sub

port.

F pp

.. j

® . port. > ß pp

port.

F pp

sub

flatt.

tongue ram

æ y b œ n œ d œ# œ n œ > breath O ßÿ ç ·

> > port. w œ ˙ ( œ œ . + œ œ dœ ÔR J nœ + œ n œd œ dœ +œ

q = c48 Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~

+œ dœ ® & n œd œ nœ 5

021

sub

`1345BD

022

sub

œ J

j r j > > >

ad libitum, erratic rhythm

ß >

percussive key click

>y . ß

port.

020

+Palm D

> bb ed œ œ

ß pp sub

pß

h >

>e œ bb eœ œ .

pß

bb e

d >

œœ

œbb eœ œ

023

q = c48

O !

h >

œ bb eœ .

>e œ bb eœ

œ.

timbral trill

exhalation

x˘· "

· ..

 R  # #

(ç )

6 ß pp

slap tongue

tongue ram

sub

+Palm D

timb.

>y ß

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

`12356bc

024

1/2 air tone # # timb. 1 # >œ œ dark, supressed l ˙˙.. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿtimb. ~~~~~~~~~~~~~ x3 + ˙. œ O OOOOO OO  OOOOOOO OO  # œ d œ œ œ œ œ œ. > œ œ œ œ œ œ. " # = œœ œœ ˙ . OO OO # OO #. # œ .. + ˙. . n œn œ nœ# # œ œ œ œ œ œ œ œ œ œ œ ‰ # k œ œ 19

V O X

irregular rearticulations, like an echo or delay w/alternate fingerings

sub

q = c54 timbral trill, extremely subtle and irregular/varied

ädist. œ œ> œ ) ˙ ( · · · · · · · · · · · · · · · · · · · ) d œ · RÔ

pp ç

sub

, x3 j..

+Palm D

019

legato possibile alternate fingerings, microtonal figuration around starting pitch microtonal fluctuation

+Palm D

018

V O X

+Palm D

sub

017

sub

`1234B8

+Palm D

sub

V O X

13 c.5" - 9" Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ tongue # slap j >œ ˙ n ˙ dist. #œ # ˘œ tongue , ram 7 > 6 = œ tongue flatt. n œ + œ = œ + œ Ÿ~~~ h œ ˙ r ˙ #O n O# O O O b O # œ n O= >œn œ+ œ ram> # œ> œ n œ # O n O b On O O O O# O O # OO b O n O > ( O OO OOO ) # = œœ , ( O O O O O O ) x3  n œ O d œ # œ ˘ O > n ˙ + œ # O po rt. nœ. eœ ˙ O O bœ OO .. j b œ œ +œ nœ j nœ œ œ j #œ= œ n œ b œ n œ port. k œ t œ ˙ # ˙ n œ œ œ d œ˙ by y port. · y= >œ n œ · y F> pp 7 3 6 7 æ 7 7 F p O breath pp ß F O breath F pp P F p pp 6 O 5 O ß çpp Pß p ß ß 5 pp O ß P O P F

sub

`12345B8

11 c.3" Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿtimb. ~~~~~~~ = >˙ = ˙˙ 5  & j n œ dœ# œ nœ dœæ.port.t œæ ˙ n ˙ > · y bœ çp > breath O ßF pp F pp

prestissimo possibile

Second Study for Alto Saxophone, Video, and Electronics: pulp `12356bc

)

suddenly cut off

O ! bœ ( ) "6

p ppp6 sub

dist. 11 flatt.

Ï pp

˙ ˙ ˙

c.6"

œ .. = = œ>œ œ .... t # œœ œ =œ # # # # œ ..port. = œ > > > > > 1b

sub

7 ß pp

œœœ œ œ

*like a bad engine sputtering

sub

`123456B

025

ad libitum

`123456B port.

#˙ ˙ #=˙˙˙

port.

timbral trill

[overblow increasingly œ œœœ breathy 1 œœ œ  œp œ œ ort. = œ complete exhalation until out of breath por

(change of embouchure, addition of octave key)

sub

026

027

028 (

q = c40



&‰

j ·> ·. ƒ "

breath, through instrument

percussive articulations

tongue ram



‰.

· ·- ·- ·- ·- ·- ·- ·- ·- ·- ·- ·- ·- x· fl staccatissimo ß

029

)

3`1256c8

`12356bc

030 c.7"

034

032

timbral trill

sub

035

036

c.9"

[timb. 12 11 12 12 Ÿ~~~~~~~~~~~~~~~ Ÿtimb. Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿtrem. ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~ ~~~~~~~~~~~~~~~~ Ÿtrem. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ overblow =˙ =˙ ˙ #˙ ˙ =˙ = ˙ = ˙ ˙ # ˙ ˙ = n ˙˙ #n œ . œ ˙ n˙ ˙ =˙ ˙ œ # äœ ˙ ˙ ‰ # t˙ ˙ œ +œ. ˙ t˙ ˙ k˙ ˙ t ˙ (œ ) ˙ 3 " O ç pp P F p P 11

V O X

033

031

037

timbral trill



‰

3q = c54

`123456B

# >˙ & #=˙˙

timbral trill

# ˙˙

P pp

sub

V O X

œ œœ œ œ

`123456B

port .

ä˙ Ÿ.. ~~~~~~~~~~~~~~~~~~~~~~~ = ˙ œœœ t ˙˙ .. œ =˙ . # # # # œ > > > > > =˙. œ overblow

timb.

039

# rœ.

œ ..

port.

#œ

= >œ

dist. flatt.

&æ

ç pp >

>œ . J

œ. J

sub

ç pp ç sub

sub

ß pp

>œ

flatt.

+œ œœ

+ äœ # œ jeœœ

äœ œ # >œ . œ œ #œœ œœ 27a

061

flatt.

dist. flatt.

ß pp sub

# l œœ

+œ nœ

(ç)

sub

œ-

œ = >œ . R æJ

P pp

port.

ç pp

sub

> .

æ æ

# 5

`2346Cc

l œ w œœ b œ = œ +œ # œ # œ jœ n œ n œ t œœ n œt t œœ

c.9"

sempre legato, unordered

ppp

possibile

`2346CcTl

air only, open embouchure to allow noise

·>

050

ß pp

056



tongue ram

overblow

F pp

cont'd erratically ad libitum

sub

n˙.

flautando, senza vib.

# ‰ y Ø ß

062

063

possibile

ç pp >

sub

ßpp

ß pp

= >œ \z

(ç· ) CH

> pp ß

port.

>œ œ œ œ

œ >œ

œœ

œ œ

œœ

ßP

sub

q = c44

r + œœœ œ . ˙ +  #œ ‰ +œ poco reart.

[

äœ . œ. # œ.

œ >œ œ

overblow

ß > R ß

*like a bad engine sputtering

sub

064

˙˙ ˙ ˙ ˙

œœœ

çP

ß 6

sub

œ œ œœ

‰

046

ßP

(n œ =œ )

(œ

œ)˙

OO O OO

(b ˙ )

sƒf

poss.

‰.

059

ß J

066

5 5

27a

# > ç

060

+ >œ œ . œ + Ÿœ .~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙. ˙ œ + r œœ # ‰# œ +œ

dist. ä äœ . + œ œ dist. œä. l œ œ # >œ . œ œ . j eœœœœ # # œœ .. #z z

058

`2346c

# œ- ˙ . œ# J

c.5"

senza vib.

+Palm D

065

˙ #˙ ˙˙ + n ˙˙

053

[

17a

sub

O !

tremolo

sub

timb.

F pp

>œ ˙ œ œ ˙ œ

œœœ

overblow

c.5"

˙ +w ˙˙

045

[ 9

overblow

17a

Ï ç pp fl

+œ œ. J

häœ #œ t t œœ 26

052

`123456BTjD

j .

sub

057

044

043

˘j > Ÿ~~~~~~~~~~ œ .port. nœ® r= œœ Ÿtimb. ~~~~~~~~~~~~~ J + + œœ œ . ˙ .

ç pp sub

b œ . ˙ .. ® poco reart.

timbral trill

`2346c

051

dist. timb.

sub

12346c`

q = c32

[

sub

œ. J

>œ œ . œ œ. œ œ. J

= œœ

O ß5 ß

(F )

ad libitum, erratic rhythm

Ÿ~~~~~~~~~~ - |flatt. œ. = >œ œ = œ . n >œ \ (# œ ) \ J æ

# >œ œ

# ‰j œ œ y tongue ram

from moisutre to produce granularization

ç pp

q = c54

dist.

dist. flatt.

`2346c

042

049

055

n œ n œœœ

sub

ßpp sub

= œœ

. J

*alternate erratically between multiphonics

054

27a

`2346Bc

possibile (sempre)

sub

`2346Bc

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

35 timb. 37 (erratic intteruptions in air flow, like a rusty, creaking machinery)

flatt. Ÿ~~~~~~~~~~~~~~~ œ œœ œ œ œ œ =|>œ = œ- . J R J\ R (# œ ) J j æ p F pp · . ç ppp

`236cB

. J

c.9" 1/2 air ⭩ air tone, ad libitum 1 flatt. 1 æ port.

ƒ ! erratic dynamicadswells, libitum

sub

`23456q

D x˘œ

tongue ram

048

ª q = c69

V O X

Fç

041

`12345ce

tempo `12356wc senza Frozen time, ad libitum

Dœ ˙ +˙ R poco reart. # ˙˙ " (F )pp

047

040

sub

V O X

q = c48 [ [ 36 overblow timb. timb. overblow dolce, poco vib. secco slap Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~ tongue timb. äœ ˙ . äœ . ˙ . >œ ˙ port. +Palm D +Palm D tongue air only, exhalation r r ram Ÿ~~~~~~~~~~~ flatt. breath 5 (subtone) b ˘y ˘ ¨ n # œœ ˙˙ .. OO O O O O . . O O O OO ‰ j O # œœ œ .. ˙˙˙ .. #y œ ˙ . #œ r ‰ + œ ˘ # # j # ·æ. ·æ. port. œ yÿ # œ· O P O ç pp P ! pp ß pp O (F ) q = c54

*like a bad engine sputtering

`12345ce

With extreme tension in each gesture

move saxophone left to right

V O X

increasingly breathy

ad libitum

c.7" q = c54 1/2 air ⭩ air tone, ad libitum timb. 1 1 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

`2346Cc

Second Study for Alto Saxophone, Video, and Electronics: pulp

[

port.

038

rit.

27a

ç >

# . 5

˙˙ ˙ ˙ ˙

‰.

increasingly breathy poco reart.

Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~ poco vib. œ ‰. =œ œ +œ. œ # Pp O O " sub

067

q = c44

timb. = Ÿœ ~~~~ . # # ˘œ 5

#b œ

˘œ OOOOOO +Palm D

Second Study for Alto Saxophone, Video, and Electronics: pulp `13456CD

nœ œ n œ œ

#œ œ ‰ nœ +œ œ P3 pp sub

V O X

068

&‰ V O X

from moisutre to produce granularization

c.7"

·>.

(F )

ad libitum, erratic rhythm

076

`123456BTjD

q = c40

& ‰.

J >

timb.

J ad libitum >

j # +œ ˙

tongue ram secco

y yyyy

ßp

sub

œ #=œœ jœ R +œ

senza vib.

ß pp

17a

˙ ˙ ˙˙

17a

œ# œ ˙

V O X

098

œœ œ

q = c30 (n œ ( b œ ) =œ )

yyy Oÿ ÿ ÿ

`12345ce



F pp

sub

c.6" - 9"

overblow timb. r ˙Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~x4 colorless, senza vib. OOOOO O . +˙. # n # ˙˙˙ . +Palm D

. ..

" p

.. J

OØ

‰

+˙

O O

timbral trill

`123456Dq

sub

äœ œ œ œœ R

pç

œœ .. œ. œœ ..

äœ œ œœ œœ œœ œœ R

`12345cw8

tongue ram

yyyy ÿÿÿÿ

081

082

ß `2346Bc

`236cB

n äœ

+Palm D

.. .

`12356wc

091

n˙

˙ # ˙˙ pp

poss.

+Palm D

.. . JO .

+œ œœ

`12345ce

092 36

n œ n œœœ

`23456q

= œœ

# l œœ

`2346Bc

ß pp

sub

pulp

ç 5

sub

ä.

œœ œ œœ

ç ä

R .

port.

8va ¨ n œ¨ n œ#¨ œ = œ + œ n œ # œ n œ¨ + œ # œ# œ nœ n œ

˘ R

port.

ç pp

from moisutre to produce granularization

085

086

c.7"

sub

r˙

(b œ )

d œ )port. ˙ ˙ port.( d œ port.

(F )

O !

101

102

ad libitum, erratic rhythm

#˙

*lip down 1/4 tone to achieve parenthetical pitches

‰

c.10:40

096

ª +Palm D

OOOOO

+œ )

port.

port. ( d œ

poss.

c.7"  Ÿ~~~~~~~~~~~~~~~~~~~~

" Ø

095

n˙

084

#œ # œ b˙ Ÿ ~~~~~~~~~~~~~ # ˙ port. n œ œ nœ ‰

O Ø

 senza vib.

+—

ƒØ

n˙

c.8"

sub

poco rearticulations/pulsations, ad libitum

·>

äœ œ . œ œ. œ œ. œœ œœ .. R

ß pp

(ghosted, nearly inaudible)

air only, open embouchure to allow noise

"In the old days,’ he said, ‘writers’ lives were more interesting than their writing. Now-a-days neither the lives nor the writing is interesting." - Charles Bukowski, Pulp (1994) First Draft - June 15, 2015 Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved

äœ . œ. œ. œœ ..

prestissimo possibile

j #œ

094

: a soft, wet, shapeless mass of material. : popular or sensational writing that is generally regarded as being of poor quality.

"Dedicated to bad writing"

‰

nœ ˙ >

083

093

+œ nœ

F ç

*alternate erratically between multiphonics

100

nœ

R# œ

sub

JO .

# äœ œ . port. D œ œ

5 ß pp

timb. 31 34 Ÿtimb. 29 ~~~~~~~~~~~~~~~~ # , Ÿ~~~~~~~~~~~~~~~~ = ˙ œ # œ ˙ n œ n ˙ # OOOOOO œ x2 ˙ OOO OO œ x3 d œ œ = œ ˙ + ˙ c.6" O œ # J .. # jœ ˙ n ˙ R .. ..t # ˙˙ œ .. J O 3 P O P F F Op " P "

c.6" - 9"

œœ œ œœ

075

senza vib.⭩ molto vib.

fl ç

099

3`1256c8

sfffz 5pp

5:4 6:4

c.5" - 7"

090

[

080

+ œœ œœ .... Ÿœtimb. ~~~~~~~~ Ÿ.~~~~~~~~~ .. # œ # œ ( ) . =œ œ jeœœ œœ .... œ R

œœ œ œœ

074

24 timb. = äœ Ÿ ~~~~~~~~ œ . d >œ loco . poco reart. n œ n œ=œn œ œ = n œœ = œ œ = œ- . œ = œ#œ œ n# œœ .. œœ Rnœ > + œt œ 5 f 5

‰.

27a

äœ œ œ œœ

073

)

079

089

(

ä n t ˙˙ =˙ n = ˙˙ 15

œ = œ- ˙ tongue ram # 8va

c.2"

072

`2346c

> > > > > >

œ ‰  Œ

timbral trill

repeat ad libitum, gradually fade to nothing

! .. J

Coxsackie, NY --- June 15, 2015

possibile

, n˙ d˙

c.5"

(ç)

078 rit.

r˙ =˙ + ˙˙

sub

>y >y >y >y

071

`1345Db.

088

 8va senza vib. #œ

097

quasi-slap w/key percussion 6:4 5:4

077

c.6"

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103 Duration: c.13'

Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, and electroacoustic music. His works have been described as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong”, commissioned and performed internationally by conductors and ensembles such as Brad Lubman, Alan Pierson, Jean-Philippe Wurtz, Marc Lowenstein, Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Nonsemble 6, Iktus Percussion, the [Switch~ Ensemble], The Industry, wild Up, OSSIA, ensemble39, Brevard Music Center Orchestra, Fiati 5 (Italy), Sound ExChange Orchestra, Eastman Musica Nova Ensemble, BlueWater Chamber Orchestra, TAD Wind Symphony (Japan), among others. Nominated for the 2015 Gaudeamus Prize, his works will be presented by Insomnio, Nadar Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek in September 2015. Scenes from his Multimedia Opera Hunger have received performances at the Darmstadt Contemporary Opera Workshop (2014) with Ensemble Interface, The Industry’s FIRST TAKE Opera Workshop in Los Angeles (2015) with wild Up, and the MATA Interval 8 Series in New York City (2015) with the [Switch~ Ensemble] on a concert of new works for Ensemble & Multimedia curated by the composer. Los Angeles Times critic Mark Swed writes: “Jason Thorpe Buchanan's Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a [sic] wailing orchestral effects, cuts the ear like a knife. Buchanan delivers.” Awarded a Fulbright Fellowship (2010-11) at the Hochschule für Musik und Theater in Hamburg (Germany) as a visiting scholar, he was recently selected as Artist-in-Residence by USF Verftet and the City Council of Bergen, Norway to complete work on Hunger in late 2015, with a grant from the American-Scandinavian Foundation. Additional honors and awards include the ASCAP Morton Gould Award (2014) & Howard Hanson Orchestral Prize (2014) for Asymptotic Flux: Second Study in Entropy (2013) commissioned by the Mizzou International Composers Festival for Alarm Will Sound, a commission from the International Horn Society & ASCAP Morton Gould Award (2015) for Double Concerto (2014) with soloists Jeff Nelsen, Mike Walker, and the Eastman Musica Nova Ensemble with conductor Brad Lubman, antistasis (2014) for the Tzlil Meudcan Festival (Tel Aviv) with Ensemble Nikel, oggetti 1 (2014) as composer-in-residence for Chamber Music Campania (Italy), both winner of the newEar 4th Annual Composer’s Competition (2013), and selection at the NYC Electroacoustic Music Festival (2014) for Asymptotic Flux: First Study in Entropy co-commissioned by the [Switch~ Ensemble] & OSSIA, 2nd place in the American Prize composition competition (2012) for Berlin Songs, commissioned by the German/American Fulbright-Kommission and premiered at the Akademie der Künste (Berlin) during the European Fulbright Conference, and winner of the 2014 International Iron Composer 5-hour composition competition in Cleveland. He has studied composition with R.Zohn-Muldoon, C.Sánchez-Gutiérrez, R.Morris, A.Schindler, D.Liptak, V.Baley, P.Michael Hamel, J.V.Grossmann, P.Furman, M.Stahnke, B.Lubman, G.Aperghis, B.Ferneyhough, R.Cendo, C.Czernowin, A.Read Thomas, H.Abrahamsen, P.Leroux, C.Gadenstätter, J.María Sánchez-Verdú, and P.Billone, among others. He is coordinator of the VIPA Festival’s Composition & Contemporary Music Program (Spain), from 2007-2012 served as founder and director of Melos Music, a consortium and concert series in (Chicago, San Francisco, Philadelphia). He has served as assistant conductor for Eastman’s Musica Nova Ensemble with conductor Brad Lubman and Graduate Teaching Assistant/Course Instructor for the Eastman Computer Music Center, as well as board member of Ossia and co-founder, conductor, and artistic director of the ECMC’s ensemble-in-residence, the [Switch~ Ensemble] as a Ph.D. candidate at the Eastman School of Music. Degrees in Composition and Music Technology from San José State University and the University of Nevada, Las Vegas, where he taught courses in composition and theory (2008-2010), with highest honors from both institutions. Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, a consortium for saxophone, electronics, and video, and commissions from Peter Ferry (percussion) and electronics (Chicago, 2016), the New York Virtuoso Singers (NYC, 2015), Blue Water Chamber Orchestra as winner of Iron Composer 2014 (Cleveland, May 2015), Slagwerk Den Haag to be premiered at Gaudeamus Muziekweek (Netherlands, Sept.2015), and Eklekto Geneva Percussion Center (Switzerland, Nov.2015).

For more information or to contact the composer, please visit www.jasonthorpebuchanan.com

SECOND STUDY FOR ALTO SAXOPHONE, VIDEO, AND ELECTRONICS: PULP First Draft Copy – June 15, 2015