Rose introduced us to two of his instruments, the amplified violin bow and the MIDI bow. The next piece demonstrates the truly out nature of this show. He demonstrated use of his MIDI bow, waving it around for great sonic effect.
He had a few foot pedals with which to play back samples. He occasionally stood up to feed his violin back into his monitors, creating loud wailing and screeching. The first and longest part was him improvising fast and furiously on his violin while triggering a small city's worth of bizarre sounds. His first set was divided into three parts. I am almost positive that I will never see anything like that again. I have been yanking at my hair for a long time trying to describe his Civic Minded Five show at Rollins. They not only contribute light relief, but aid his central aims of unpredictability of interaction and comprehensive exploration of timbre.' Rose also combines hi and low tech, because junk, kitsch and trash are central elements in his constructions. His work is in parts intense, in parts whimsical, in parts satirical (e.g., The Fence) and exhibits rapid changes of texture. His bowing is not only a means of controlling sound production, but an enactment of psychodrama. n technical terms, Rose is an impressive virtuoso and has a developed ear for all manner of tonal relations. For him, the new technologies are not only of value for their expansion of the world of sound, but for their expansion of the potentials of computer-interactive counterpoint for the solo performer.
It is also highly contrapuntal, and he sees this latter attribute as the unique contribution of Western music to world culture. ' Jon Rose's textural aesthetic is busy and extroverted, often distinctly nonlyrical, and gives a central role to explorational improvisation and physicality of performance. Rose doesn't fit into any categories but all his albums create a violin-shaped world that is all his own, shot through with wild humour.' Many of the tracks on Hyperstring come across as an urgent report from the frontline, from Rose's personal battlefield with the instrument several tracks feature the sinister rattles of his whipolin, a seven string 'disembowelled cello'. ' He experiments with technology that acknowledges and extends his hard-won instrumental techniques rather than ignoring or negating them. ' There's not much Rose doesn't know about the violin. Indeed, as Rose leapt about, sawing and strumming strings, shredding the bow, rattling and shaking the wood or wheeling through manic arpeggios, he became a New Millenium Paganini, stopping just short of destroying his violin to squeeze out the last possible effect.' ' Working like a demon to extract every imaginable sound from his instrument. Something more voo-doo'y that I haven't thought of.This page consists of descriptive reviews from from The Wire, The London Times, Jazzword, The Cambridge Encyclopedia of Jazz, The Sydney Morning Herald, The Guardian, Cadence magazine, The Voice, The Australian, New York City Jazz Record, Cyclic Defrost, Time Out New York, All About Jazz, Limelight Magazine, The Squid's Ear, Time Out, Real Time Magazine, and many more.
#ACTION STRINGS STACCATO GLITCHING PATCH#
You play the first note of each double stroke, and then either use a MIDI echo function, or load a specific double-stroke patch in Action strings, so that when you play the first note, Action strings plays two notes.Ĥ. You play each note in to click, but at a slower tempo, and let the performance be as tight as possible, then speed up the tempo.ģ. You play each note in (so, 1/2, 1/2, etc) to a click, and then quantize strongly to make it as tight to the grid/click as possible.Ģ. The way I'm thinking, it's one of three ways.ġ. I know that you used Action Strings to get that feel, and I was wondering how you approach programming/playing/writing them. It's something I want to have available in my compositions, and mockups. I really loved your double-stroke violin passages in the action cues on Independents Day. This is for everyone, but Mike, if you could weigh in, I would be super grateful.
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