1949) for Luke Zyla, and Pulsar (2013) by Seth Shafer. This document explores Silhouettes, Receding (2012) by Jay Batzner (b.1974) for Bruce Bonnell, Ghost Circles (2013) by Jay Batzner for Bruce Bonnell, Recombinant Serenade (2013) by Christopher Biggs (b.1979) for Lin Foulk Baird, Nisi (2012) by Kevin Ernste (1973) for Adam Unsworth, Horn Call (1976) by Randall Faust (1947), Gently Weep (2009) by Thomas Hundemer, Zylamander (2011) by Russell Pinkston (b. Eight pieces were obtained via the composers and are analyzed from the viewpoint of both performer and pedagogue. The author’s intention is that this document will raise an awareness of the sonic possibilities of this genre to promote performances of the existing pieces and inspire new commissions. This repertoire is considerably smaller compared to other instruments’ and the existing pieces are not widely considered to be part of the standard repertoire. Early electronic instruments intended for live performance, such as Thaddeus Cahill 's Telharmonium (1897) and instruments developed between the two world wars, such as the Theremin (1919), Spharophon (1924), ondes Martenot (1928), and the Trautonium (1929), may be cited as antecedents, but were intended simply. Purchase Guti’s ‘The Year Of The Conga’ here.The purpose of this document is to explore works written for horn and live electronics. This Telharmonium console (likely pictured in the late 1890s) is an early electronic organ by Thaddeus Cahill, and one of the first electronic instruments used for live performance. Pioneer genius and the coolest guy ever.” “He played after my band with Francesco Tristano “Another Paradise” for Mutek Festival in Buenos Aires. I don’t like everything he does but I do enjoy watching perform and some songs are amazing. Creative, innovative and completely crazy. They will play every week in a shitty club next to my house, now they do stadiums! Viva Hugo Lobo! Later in life I recorded with some of them in many of my rock bands. Is a bunch of jazz, reggae and rock musicians getting together to jam standers. “This was one of the first bands’ live acts I ever seen. You know every song and sounds just better and clear and amazing. “Now it is rare that Martin plays live as he started DJing but I was there when he use to do… and it was the best. “Crazy duo of Spanish people singing dub in English… Pablo and Sergio are amazing producers and this project is/was super cool.” 7. I love him, I love his music and can’t stop watching him play the whole show, again… magnetic!” 6. “Swag! Matt is one of the most magnetic performers if not the most.
This song is a masterpiece and I have never heard it live… I wish!” 5. I love when he does piano and electronics. “Love them! I’ve been in the studio with many musicians and they are one of my favourite people to jam with!” 4.
“She is so talented and does it all! I remember we played together in New York at one of the Wolf and Lamb crazy parties they use to have there.” 3. “They are incredible! The connection they have when they play is just outer space shit!” 2. Below, he selects his favourite live performers to watch, from Bulgarian hardware wizards to reggae bands. The music he makes today, though, is less about jamming and more about crafting high-class house beats. Having just dropped his ‘The Year Of The Conga’ album on Cuttin Headz, which fits percussive 4×4 workouts side by side, Guti continues to infuse his cuts with his Latin and jazz roots. Attuned to music from an early age, the Argentinean is a classically-trained jazz virtuoso and became a national rock ‘n’ roll treasure in his native country. Someone who knows a thing or two about the art of performance is DJ-producer Guti. It’s one thing to make electronic music and DJ, but being able to play live is a whole other business.
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