Xperimentus: Project Datasheet

Author: Krispen Hartung / info@krispenhartung.com / 208-724-5603
Xperimentus CD Page: http://www.krispenhartung.com/xperimentus

The idea of a mistake is beside the point, for once anything happens it authentically is. - John Cage

Improvisation: The art of thinking and performing music simultaneously. - Grove Dictionary of Music (1954)

After silence, that which comes nearest to expressing the inexpressible, is music - Aldous Huxley

Do not fear mistakes. There are none - Miles Davis

Many western musicians are fabulously skilled at playing black dots on a printed page, but mystified by how the dots got there in the first place and apprehensive of playing without dots. Music theory does not help here; it teaches rules of the grammar, but not what to say. The real story of improvisation is spontaneous expression, and is therefore a spiritual and a psychological story rather than a story about the technique. - Stephen Nachmanovitch

TAKE AN OBJECT

DO SOMETHING TO IT

DO SOMETHING ELSE TO IT

- Jasper Johns

Krispen Hartung & Friends: Xperimentus. 1

Table of Contents. 1

Progress “Dashboard” 2

Project/CD Title. 2

Project Overview. 3

Project Resources / Contact Info / Web Sites. 3

Sound Engineering, CD Design, Production. 4

Project Schedule. 4

Composition Parameters. 4

Menu of Duo Composition Approaches. 6

APPROACH A(i) – “Soundscapes/Textures on Top of Single Note Melody” 6

APPROACH A(ii) - Reverse order of players in A(i) 6

APPROACH B(i) – “Single Note Melody on top of Soundscapes/Textures” 6

APPROACH B(ii) – Reverse order of players in B(i) 6

APPROACH C(i) – “Single Notes on top of Single Notes” 6

APPROACH C(ii) – Reverse order of players in C(i) 6

APPROACH D – “Series of Stand-Alone Looped Parts without Background” 6

APPROACH E(i) – “Complete Dual/Parallel Parts (Tonal center known only, not the first part)” 6

APPROACH E(ii) – “Complete Dual/Parallel Parts (First parts heard)” 6

APPROACH F – “Call and Response” (traditional method of trading off solos and melodic phrases over a foundation of chords, textures, etc) 7

APPROACH G(i) – “Group Cacophony” 7

APPROACH G(ii) – “Group Cacophony –Mixed and Processed” 7

Player/Approach Matrix. 7

Approach/Duo Recording Sequences. 7

Compositional Modes of Feel and Moods. 8

Recording/Internet Collaboration Technology. 9

Appendix A (Genre Descriptions) 10

Appendix B (Examples of Experimental, Avant-Garde, and Improvisational Music) 11

Progress “Dashboard”

Note: Some songs will have only 2 parts, others more. N/A is used in columns for duo songs that do not have that additional part

	Approach Selected?	First Part Complete?	Second Part Complete?	Third Part Complete?	Fourth Part Complete?	Fifth Part Complete?	Song complete?
Vincent / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes
Benoit / Kris	Yes	Yes	Yes	Yes	N/A	N/A	Yes
Simeon / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes
Paul / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes
Mark / Kris	Yes	Yes	Yes	Yes	Yes	N/A	Yes
Rainer / Kris	Yes	No	Yes	Yes	Yes	No	Yes
Fabio / Kris	Yes	Yes	Yes	Yes	Yes	N/A	Yes
Tony / Kris	Yes	Yes	Yes	Yes	Yes	N/A	Yes
Clint / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes
Sony / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes
Ted / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes
Scott / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes
David / Kris	Yes	Yes	Yes	N/A	N/A	N/A	Yes

Project/CD Title

Krispen Hartung & Friends: Xperimentus

Project Overview

This project is a music CD of approximately 80 minutes in length, comprised of a series of experimental and avant-garde duo compositions. Each composition (song) will be a virtual performance by Krispen Hartung and one of 13 other featured musicians, primarily from the Looper’s Delight discussion group.

The genre/style of the CD will be in the experimental, free improvisational, free-style, and avant-garde categories (refer to All Music Guide for descriptions of these genres and their sub-genres), but may also cross into ambient, new age, electronic, fusion, and jazz genres. The general feel of the CD, within these defined genres, will be abstract and non-diatonic. “Non-diatonic” for the purposes of this project is defined as not falling within any Western key or scale-based system – although Western modes and scales may be used in contraposition to harmonic backdrops to generate tension and release.

The final CD will be sold on CD Baby and available at all of CD Baby’s digital distribution partners. Profits, after CD duplication costs are covered, will be distributed evenly amongst all players based on their percentage of playing time on the CD. Krispen Hartung will receive no net profit other than his total percentage of playing time on the CD. Players are welcome to promote the CD using their own means (discussion groups, contacts with friends, gig distribution lists, news letters, etc)

Project Resources / Contact Info / Web Sites

The Duo Players

Krispen Hartung (USA) – Acoustic Guitar, electric guitar, sitar, darbuka, project coordinator/artistic director

· Samples at: http://www.soundclick.com/bands/5/krispenhartung_music.htm or http://www.soundclick.com/bands/5/hartungandmiressemusic.htm

· Contact info: info@krispenhartung.com or khartung@cableone.net or kris.hartung@hp.com

Vincent Miresse (USA) - Didjeridu, percussion

· Samples at: http://www.soundclick.com/bands/5/hartungandmiressemusic.htm

· Contact info: vincentmiresse@hotmail.com

Benoit Ruelle (Belgium) - bass, guitar, keys and a bit of drums

· Samples at:

· Contact info: benoitruelle@yahoo.fr

Simeon Harris (UK) - Guitar

· Samples at: www.simeonharris.co.uk

· Contact info: simeon@simeonharris.co.uk

Paul Mimlitsch (USA) - Guitar

· Samples at: http://homepage.mac.com/pmimlitsch/Menu10.html

· Contact info: pmimlitsch@mac.com

Mark Francombe (Norway) - Guitar

· Samples at: http://www.synchnonsynch.com/radio.htm

· Contact info: mark@markfrancombe.com

Rainer Thelonius Balthasar Straschill (Germany) - keys, bits of electric (bass) guitar and saxophone, whimsical electronics

· Samples at: http://moinlabs.zed.cbc.ca

· Contact info: rs@moinlabs.de

Fabio Anile (Italy) - Keyboard, Electronics

· Samples at: http://music.download.com/eterogeneo/3600-8357-100294444.html?tag=quickurl

· Contact info: fabio.anile@tiscali.it

Tony K (USA) - Guitar, Bass, Mandolin, Synths, Bongos, Electronic Drums

· Samples at: http://www.thinginajar.com/bigtony/music.htm

· Contact info: bigtony@softhome.net

Clint Allen (USA) - Chapman Stick, Bass, Guitar

· Samples at: www.clintallen.com

· Contact info: clint.allen@gmail.com

Sony Felberg - (USA, Seattle) - Found Sound composer/ACID

· Samples at: http://chickiboom.com/records/current/index.htm

· Contact info: sonyart@comcast.net

Ted Killian (USA) - Guitar

· Samples at: http://www.pfmentum.com/flux.html

· Contact info: ArsOcarina@aol.com

Scott Hansen (Iowa City, IA, USA) - Guitar

· Contact info: evanpeewee@yahoo.com

David Coffin (USA) - Guitar

· Samples at:

· Contact info: dpcoffin@earthlink.net

Sound Engineering, CD Design, Production

· Krispen Hartung – CD layout and final mastering/mixing

· Rainer Thelonius Balthasar Straschill – Mixing on the “Group Cacophony” piece

· Davin Coffin and Paul Mimlitsch – CD Cover Artwork

· Other contributors to be defined based on interest and bandwidth

· CD manufacturing – DiskFaktory

· Distribution – CD Baby and directly via project members in their countries

Project Schedule

The schedule for this project is flexible (true art cannot be rushed!), but the general time frame for completion will be December, 2005 and on CD Baby by January 1, 2006

· June 15 – All players select their desired approach

· July 15 – First parts complete

· August 15 – Second and third parts complete

· Nov 1 – Refinement and mastering; artwork and CD master shipped off for production

· Jan 1– Project complete and on sale at CD Baby, etc

Composition Parameters

This project is in the Experimental, Improvisational, and Avant-Garde genres. Please read up on these genres (Appendix A) f you have the time, as it will help you with your contribution to the CD.

· All pieces will be non-metered (no time signature) and free flowing or with just a rhythmic pulse

· All pieces will have some degree of melodic/solo work, either by itself or over the top of textures and soundscapes (hence the request for players whose forte is soloing)

· All pieces will have no key / they will be predominantly non-diatonic….general tonal centers are fine, but with a significant degree of "outside" playing, tension and release, etc - this is essentially Free project

· Mistakes and blemishes are required! This is to be a sincere and genuine work, not a finely polished to perfection studio project – as Miles Davis once said “It ain’t jazz if you’re not making mistakes”)

· Push the limits of your creativity…take risks, create true art!

· Other parameters are negotiable

Menu of Duo Composition Approaches

(This is a menu of options to be selected by each duo, depending on personal style, strengths, instrumentation, etc)

APPROACH A(i) – “Soundscapes/Textures on Top of Single Note Melody”

· Krispen lays down a track (single note part) for the entire song consisting of a series of abstract melodies, single note motifs, etc

· Player X adds soundscapes, harmonic textures, sound effects, etc over the top of Krispen’s track (compblacknting the harmonic structure and feel of that track)

APPROACH A(ii) - Reverse order of players in A(i)

APPROACH B(i) – “Single Note Melody on top of Soundscapes/Textures”

· Player X lays down a soundscapes, harmonic textures, or sound effects for the entire song

· Krispen lays down a series of abstract melodies, single note motifs, etc that compblacknt Player X’s initial part

APPROACH B(ii) – Reverse order of players in B(i)

APPROACH C(i) – “Single Notes on top of Single Notes”

· Krispen lays down a track (one single note part) for the entire song consisting of a series of abstract melodies, single note motifs, etc…all of which allow for a second melodic part with responses, complementary melodies, etc

· Player X adds a second track, consisting of a series of abstract melodies, single note motifs, etc in response to Krispen’s initial track

· The result is a single note duo piece

APPROACH C(ii) – Reverse order of players in C(i)

APPROACH D – “Series of Stand-Alone Looped Parts without Background”

· Krispen or Musician X lays down a section of a song – built up loops, textures, melodies, both, etc (approx. 10-30 seconds)

· Musician X or Krispen lays down another section of the song in sequence (directly following the first section), which compblacknts the prior section harmonically

· Repeat 1. and 2.

· Either Musician could lay additional tracks down over the top of the completed sequences

APPROACH E(i) – “Complete Dual/Parallel Parts (Tonal center known only, not the first part)”

· Krispen or Musician X lays down an entire song track within a given tonal center

· Musician X or Krispen lays down an overlaying track in the same tonal center, without listening to the initial track (both tracks must be the same length)

· Both tracks are mixed appropriately

APPROACH E(ii) – “Complete Dual/Parallel Parts (First parts heard)”

· Krispen or Musician X lays down an entire song track

· Musician X or Krispen lays down an overlaying track based on the first track, while listening to that track (traditional studio overdub approach)

· Both tracks are mixed appropriately

APPROACH F – “Call and Response” (traditional method of trading off solos and melodic phrases over a foundation of chords, textures, etc)

· Krispen or Musician X lays down a soundscape or textural backdrop for a set length, in a specific tonal center

· Krispen or Musician X plays a section of melodies, single note motifs, etc

· Krispen or Musician X plays another section of melodies, single note motifs, etc, which complements the prior section – like a meaningful conversation

· Repeat 2-3 until the end of the song

APPROACH G(i) – “Group Cacophony”

· Krispen lays down a soundscape or textural backdrop in a specific tonal center for the whole song

· Each player plays a melodic part in that tonal center, but without hearing the soundscape – all sections must be the same length

· All parts, as they are, are integrated into one piece

APPROACH G(ii) – “Group Cacophony –Mixed and Processed”

· Krispen lays down a soundscape or textural backdrop in a specific tonal center for the whole song

· Each player plays a melodic part over that soundscape, but not hearing any other melodic part

· All parts are mixed into a single coherent piece (e.g., effects or processing could be added to individual tracks, tracks come fade in our out, etc)

NOTE: All duos have the right to agree on applying additional processing and/or effects to their final pieces.

Player/Approach Matrix

A(i)

A(ii)

B(i)

B(ii)

C(i)

C(ii)

E(i)

E(ii)

G(i)

G(ii)

Live

Vincent

Benoit

Simeon

Paul

Mark

Rainer

Fabio

Tony

Clint

Sony

Ted

Scott

David

Approach/Duo Recording Sequences (Green is complete)

· Ben/Kris (F): Ben lays down a soundscape for the entire song -> Kris solos over first part of the soundscape -> Ben solos in response over the second part of the soundscape -> Kris solos in response over the third part of the soundscape -> repeat until end of song

· Simeon/Kris (Bi): Simeon lays down a soundscape for the entire song -> Kris plays melodies over the entire soundscape

· Paul/Kris (Ci): Krispen lays down a track for the entire song consisting of a series of abstract melodies, single note motifs, etc -> Paul adds a second parallel track, consisting of a series of abstract melodies, single note motifs, etc in response to Krispen’s initial track

· Mark/Kris: (Bi and Aii): Mark lays down a track for the first half of the song consisting of a series of soundscapes, harmonic textures, etc -> Krispen lays down a series of abstract melodies, single note motifs, etc that compblacknt Mark’s first half part -> Kris lays down a track for the second half of the song consisting of a series of soundscapes, harmonic textures, etc -> Mark lays down a series of abstract melodies, single note motifs, etc that compblacknt Kris’ second half part

· Rainer/Kris (Gii): Kris lays down a soundscape for entire song -> all players play separate melodic parts over the same soundscape independently -> Rainer mixes all parts into a song, using various techniques (fading in/out, processing, cutting and pasting, etc)

· Fabio/Kris (Ai and Bi): Kris lays down a single note melodic section for the first half of song) -> Fabio records a soundscape over that first part -> Fabio lays down a soundscape for the second half of the song -> Kris records a single note part over that second soundscape, finishing the song

· Sony/Kris (Eii): Kris lays down the track for an entire song (soundscapes, melodies, phrases, textures, loops, etc) -> Sony lays down a second overlaying and parallel track of soundscapes, melodies, phrases, textures, loops, etc

· Ted/Kris (Cii): Ted lays down a track of single notes, melodies, phrases, etc -> Kris lays down a second and parallel layer of single notes, melodies, phrases, etc

· Scott/Kris (Eii): Scott lays down an entire song track within a given tonal center -> Krispen lays down an overlaying track

· David/Kris (Bii): Kris lays down a soundscape for the entire song -> David plays melody over the top of the soundscape

· Tony K / Kris (F): Tony lays down a soundscape or textural backdrop for a set length, in a specific tonal center-> Krispen plays a section of melodies, single note motifs, etc -> Tony plays another section of melodies, single note motifs, etc, which complements the prior section – like a meaningful conversation, and so on

· Clint / Kris (Ai): Krispen lays down a track (single note part) for the entire song consisting of a series of abstract melodies, single note motifs, etc -> Clint adds soundscapes, harmonic textures, sound effects, etc over the top of Krispen’s track (compblacknting the harmonic structure and feel of that track)

Compositional Modes of Feel and Moods

(Duos select one or more for their composition)

· Fast and lively

· Erratic and chaotic

· Slow, with subtle pulse

· Pensive

· Dreamy

· Dissonant

· Dark

· Minimalistic

· Completely atonal

· Tonal center with outside melodic work

· Call & response

· Spacious - much open space between parts

· Harmonically complex (dense, polychords, etc)

· Meditative

· Ominous

· Obscure

· Ethereal

· Others to be added during discussions amongst duos

Recording/Internet Collaboration Technology

· All files fill be share at www.box.net (Kris will setup a share an ID/password for all to access)

§ Save files at16 bit 44.1) or MP3 (192 bit rate) file

§ Upload your files with the following filename format: your first name_Krispen_Part # (Example: Ted_Kripsen_Part_1.wav)

· Krispen will integrate and master all wav file using ProTools LE and Steinberg Wavelab, and then convert to mastered wav and MP3

· Krispen will master the final CD, rip to MP3 for internet publication, and then send to CD-Baby for sales and digital distribution

Appendix A (Genre Descriptions)

Avant-Garde is taken from the French for "vanguard," which is the part of the armed forces that always stands at the front of the rest of the army. In the case of music, the avant-garde are those individuals who take music to the next step in development or at least take music on a divergent path. The term was first applied only after World War II. In popular idioms it is a term used to describe or refer to free jazz movements but the meaning remains the same: techniques of expression that are new, innovative and radically different from the tradition or the mainstream. Wagner and Debussy can easily be classified as avant-garde relevant to their time but the term did not enter familiar usage until the advent of Stockhausen.

Experimental Music is a general label for any music that pushes existing boundaries and genre definitions, be it in rock, jazz, modern composition or any other style. When a musician or composer's approach is a hybrid of disparate styles, or incorporates unorthodox, new, distinctly unique ingredients, the music could be classified as experimental.

One of the main innovations in the contemporary classical field, Minimalism has also influenced new age composers and electronic producers alike, particularly in progressive electronic styles where sequencers play an important role. Generally, this music is characterized by a strong and relentless pulse, the insistent repetition of short melodic fragments, and harmonies that change over long periods of time. A trio of '60s figures, LaMonte Young, Terry Riley and Steve Reich, did the most to pioneer the field, though Philip Glass had the most success with the style during the 1970s.

Free improvisation represents the culmination of the avant-gardist musician¹s quest for complete, uncompromised freedom. To improvise means to perform without preparation, to make music on the spot. Improvising is nothing new: classical composers like Mozart were accomplished improvisers. But free improvisation lets the musician do whatever he wants, regardless of any rule. Rhythm, harmony, melody, even respect for the physical integrity of the instrument itself (preparations and home-built instruments are often used) are shattered. The free improviser channels his creative energy through his instrument and plays. A lot harder than it may seem, free improvising requires extensive musical and psychological training, as the musician must attain a high level of concentration, an ability to metaphorically strip naked in front of the audience, and if he is not performing alone, to listen to the other improvisers in order to interact with them if he doesn¹t want to get isolated. Free improvisers come from very diverse backgrounds — jazz (Cecil Taylor, Derek Bailey), rock (Thurston Moore), electronica (Fennesz, Jim O'Rourke, Voice Crack), even classical (Patrick Scheyer, Aki Takase) — and perform in settings ranging from solo to large groups called creative orchestras.

Free improvisation is not the same as free jazz, although some key musicians like Bailey and Taylor came from such a background. Free jazz often remained anchored in its originating idiom, using heads and licks to structure the improvised material. There is no such thing in free improvisation — being freed of all rules, it cannot be traced back to a genre other than the very generic term "avant-garde." As a style, free improv started to emerge in the late 1960s, mainly on the Berlin and London scenes, when people like Peter Brötzmann and the musicians revolving around (and trained by) John Stevens started to push American free jazz into more abstract territories. Brötzmann¹s 1968 LP Machine Gun shattered the world of free jazz and pioneered a form of improv characterized by extreme energy levels. Around Stevens and his Spontaneous Music Ensemble, a group of musicians developed an approach to improvisation relying on listening, toning down, trying to "become" the other musicians while being oneself, instead of attempting to outplay the other participants. This school of free improv is best exemplified by the productions released on the record label Emanem. In the late 1990s/early 2000s, an even more radical approach to free improvisation emerged, based on silence and the use of very short, very fragmented musical gestures. People like John Butcher, Axel Dörner, Franz Hautzinger and Radu Malfatti first explored these extremes. — François Couture

Atonal is music with no key-centeredness, dominant tone or diatonic scale associated with it, and is often considered disconcerting by those who are accustomed to "traditional" harmonies. Melodies, if they can be discerned at all, are generally self-contained and not related externally to any other piece of music, structurally or otherwise. This characteristic can also be ascribed to the harmonies involved in the atonal work. Key-signatures, an exterior structure, are present in tonal music but completely absent in atonal works. In twelve-tone scales for example, each note is given an inherent value equal to that of any other tone. Some twelve-tone composers have required that each note of a twelve-tone scale be used once and only once until all of the tones have been used, then the method continues but the phrase is not repeated. As composers, Berg and Schoenberg are often exemplified as atonal composers.