Randy Gibson
Sound | Time | Art
The Four Pillars Appearing from The Resonating Discs invoking The 72:81:88 Confluence
2017 | Three Percussionists and Harmonic Resonators | 81 Minutes
Presented in a setting of Quadrilateral Starfield Symmetry ATS4 Base 6:81
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Reviews
A Single Note | Randy Gibson profiled in the New York Times | 2017
Seth Colter Walls profiles Randy Gibson for The New York Times
″As is sometimes the case with outwardly unvaried Minimalist music, the texture emerges from the overtones, the frequencies that sound above fundamental notes (in this case, those seven Ds on the piano). Mr. Gibson’s electronic design for the piece highlights these naturally occurring acoustic phenomena, making their ghostly quality more easily perceived.″
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Commissioned by Avant Media
For TIGUE
World Premiere: Wild Project, New York City - April 11th, 2017
Premiered by: TIGUE:
Matt Evans
Amy Garapic
Carson Moody
Read The Program Notes
Reviews
A Single Note | Randy Gibson profiled in the New York Times | 2017
Seth Colter Walls profiles Randy Gibson for The New York Times
″As is sometimes the case with outwardly unvaried Minimalist music, the texture emerges from the overtones, the frequencies that sound above fundamental notes (in this case, those seven Ds on the piano). Mr. Gibson’s electronic design for the piece highlights these naturally occurring acoustic phenomena, making their ghostly quality more easily perceived.″
Read More...
The Four Pillars Appearing from The Resonating Discs invoking The 72:81:88 Confluence brings a new level of conceptual rigor and complexity to The Four Pillars world. In this work, the three percussionists of TIGUE perform sustained tones on unpitched instruments, filtered into the tones of The Four Pillars, within a completely enveloping environment of pure blue projected light.
This is the first work I created utilizing new concept called Harmonic Time wherein the performer is charged with not affecting change to the entirety of the performance situation for slowly evolving durations beyond what would traditionally be perceptible. These time units are based on the same numeric elements as the rest of the work: structure and pitch reinforce each other creating an immersive ecosystem where time stands still, if only for a moment.