composer
One Line was composed with a scale described in Lou Harrison’s Music Primer, and continues my work featuring multimedia representations of microtonal systems. Many of my similar pieces use complex tuning structures, but One Line is instead quite streamlined, restricted to only 8 notes.
A livestream performance of Comma, One Line, and Diamond Pulses
Comma is a 17-minute solo multimedia performance that combines streamlined rhythms and harmonies with colorful live feed light projections to generate an abstract narrative that is playful and linear, but also steeped in the additive processes of musical minimalism and alternate tuning systems.
Comma premiered August 4-6, 2016 at REDCAT’s New Original Works Festival 2016, featuring 30 ft. projections and 4.1 surround sound.
New Classic LA: “Comma’s multiple paths of engagement and balanced blend of cooperative elements worked to hold audience attention consistently, slowing time against a steady stream of activity. Enthusiasm for the concluded piece reverberated palpably, as a sense of music’s abiding power to enchant and challenge was affirmed once again.”
24700: “The compelling score is inspired by the additive process of minimalist music as grids of light turn on in response to the musician’s movements. “
Los Angeles Downtown News: “A minimalist musical composition using colorful, illuminated buttons on a soundboard. The dark silhouettes of his hands against the backdrop of the light show provide the visual component.”
A livestream performance of Comma, One Line, and Diamond Pulses
Sextets #1-5 are interactive wall-hanging sound pieces that combine micropolyphonic structures and post-industrial materials. Viewers/listeners are allowed to turn any/all of the knobs on the Sextets in order to create their own unique aleatoric experience.
Expanding on forms explored in prior music box-based projects like Requiem for György Ligeti, the five Sextets were created at the Marin Headlands Center for the Arts in October 2014.
For any number of voices and optional electronics. Duration is variable, to be pre-determined by the performers.
LA Times: “Corral’s wordless, a cappella “Meditation” enters into Ligeti territory with four singers treated to electronic feedback and mimicking what might be mistaken for an airplane in perpetual lift off. The performers looked terrified yet sounded amazing.”
The Constance Gradual: “Sing, cymbals, like a lullaby; put justly, it is our best defense.”
For several years I made 4-movement music boxes based on the concept for Requiem for György Ligeti. They are smaller and easier to make, and I sold them and gave them as gifts.
Requiem for György Ligeti is a giant music box created in memory of composer Gyorgy Ligeti, who died in June 2006. It was inspired by Ligeti’s Poem Symphonique, which involved 100 wind-up metronomes being set off at once. The Requiem was originally a part of Pandoras Box, a group installation that opened at the CalArts Main Gallery in March, 2007.
There are several ways to interact with the Requiem. The casual passerby can merely turn some of the silver knobs on the top of the box, each of which is attached to a different music box movement. If you are feeling more diligent, you can then push in the gold knob on the front of the box. This stops all of the movements from playing, so that you can wind up all 100. Once you have wound them all up, then pull the gold knob back out and they all start playing at once to create a micropolyphonic texture.There are several ways to interact with the Requiem. The casual passerby can merely turn some of the silver knobs on the top of the box, each of which is attached to a different music box movement. If you are feeling more diligent, you can then push in the gold knob on the front of the box. This stops all of the movements from playing, so that you can wind up all 100. Once you have wound them all up, then pull the gold knob back out and they all start playing at once to create a micropolyphonic texture.
