#AEROPHON
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amarilla16 · 10 months ago
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juan-dreamsk8 · 1 year ago
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jstor · 2 years ago
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So some of you knew that there were these musical instruments (aerophone-lip-vibrated horns, technically) called "serpents"? And what, you were just going to wait until we ran into them while whiling away time on the Metropolitan Museum of Art collection on JSTOR (which includes nearly half a million open access images for everyone, btw)?
We don't even care what they sound like, we love them.
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dustedmagazine · 5 months ago
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Rempis / Adasiewicz / Abrams / Damon — Propulsion (Aerophonic)
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The title of this recording is apt. Saxophonist Dave Rempis, vibraphonist Jason Adasiewicz, bassist Joshua Abrams, and drummer Tyler Damon sustain direction and momentum throughout its three lengthy tracks, which are excerpted from a concert that transpired on August 31, 2023 at Elastic Arts in Chicago. But it could just as easily be called Cusp, since it captures the precise moment when the quartet’s leader transitioned from one career phase characterized by intense community engagement to another that will focus upon articulating a mode of improvisational music-making that’s taken decades to develop.
Besides his dogged work as a musician and label proprietor, Rempis is an indefatigable organizer. He’s had a strong hand in the production end of the Hyde Park Jazz Festival and Pitchfork before that, and for 21 years he ran a weekly concert series presenting improvised music for the Elastic Arts Foundation. The latter affiliation came to an end the night that this music was played, when Rempis booked himself to play the final concert of his tenure with Elastic Arts. It fell on the same weekend as the Chicago Jazz Festival, which has often been an occasion when he would choose to play with one of his more enduring ensembles in some smaller venue after the main festival closes for the night. But this time he picked a new combo, albeit one with deep roots. Rempis, Adasiewicz, and Abrams are part of a cohort that came onto Chicago’s jazz scene in the 1990s, and they’ve been appearing on records together in varying combinations for nearly two decades. Damon and Rempis have been frequent collaborators since 2017, when their trio Kuzu (with Tashi Dorji) was first born on Elastic’s stage.
This web of associations is key to the character of the music on Propulsion. Everyone here understands what Rempis is after, and knows how to make it happen. The essence of his aesthetic is a convergence of the micro and macro. He’s committed to total improvisation. The music is made in the moment that is played, and the selection of personnel is his chief compositional decision. But that’s still very much a compositional act, since Rempis wants his improvisations to develop cohesive forms shaped by the imagination of every contributor. Even an unaccompanied passage, such as the incandescent, circular breathing-fueled four-minute line drawn by Rempis’ alto that opens “Egression,” is simply part of a larger, collectively conceived work. While his keening instrumental voice pushes forward, a calmer vibraphone melody wreathes it, and a seething maelstrom of bowed bass and Sisyphean drumming first fuels the progress and then resolves it as the music gently lands night quite fourteen minutes later.
Music like this doesn’t work unless all parties involved are tuned into each other from moment to moment. But it also requires musicians with sufficient recall where the music has recently been to make contributions that make sense as part of a larger developmental arc. While nothing quite matches the experience of being present when such music is being willed into existence, Propulsion comes close enough to deliver the feeling as well of the sound of committed co-creation.
Bill Meyer
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femmeterypolka · 6 months ago
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i want a shruti boxxxxxx
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dozydawn · 2 years ago
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La Locura Tango Festival, 2019.
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antoncorazza · 1 year ago
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"Scrimblo Type Beat"
Been a while y'all. This ain't nothing huge (the big stuff is coming soon). Some people told me this sounds like Klonoa. Some say it sounds like a classic JRPG village (in other words, where my brain lives). Played on Aerophone like usual. All of the lead sounds are in UVI Synth Anthology 2. Most of this song was composed in 2 hours, but I spent more than twice that amount of time after that EQing that first lead and I still don't love it but I'm calling it a day lol.
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no-nic · 2 years ago
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when will they* text me about our date** ???
* the music shop
** trying out this baby
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evil-bonched · 2 years ago
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Sometimes I sit on the phone with my dad and we just google things. Peace and love on planet earth
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goodguygadgets · 3 months ago
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HONOR Philippines showcases the latest HONOR X7c; opens new store at SM J Mall in Cebu
The wait is over! The HONOR X7c arrived in Cebu during the First-Day Sale event at the HONOR Experience Store in SM J Mall on November 9, 2024! 🎉 HONOR fans joined the celebration as HONOR Philippines showcased the new All-Angle Water Resistant smartphone to the Cebuanos. #HONORX7c #AllAngleWaterResistant #HONORPH #GoodGuyGadgets #LetsTalkTech
The highly anticipated HONOR X7c has arrived in Cebu, officially debuting at the newly opened HONOR Experience Store at SM J Mall. This launch signifies HONOR Philippines’ commitment to bringing cutting-edge technology closer to Cebuanos, delivering an affordable, reliable smartphone designed to withstand the demands of daily life. Equipped with All-Angle Water-Resistant, and Drop-Resistant…
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trendfag · 1 year ago
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a little post class survey after my music exam and one of the questions was like “these instruments make sound by vibrating a column of air” and i was like…is that not just literally what sound is??
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themusicpilgrim · 1 year ago
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Latin Percussion Udu Drum Mbwata (Model LP1400-MB)
@lpmusicofficial
https://lpmusic.com
#latinpercussion #ududrum #ududrums #udu #mbwata #latinpercussionududrummbwata #claydrum #claydrums #ceramicdrum #aerophone #idiophone #drumoftheigbopeopleofnigeria #percussion #madeinthailand #designedbyfrankgiorgini
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dustedmagazine · 1 year ago
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Dave Rempis Percussion Quartet — Harvesters (Aerophonic)
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Harvesters by Rempis Percussion Quartet
Saxophonist Dave Rempis is joined on Harvesters by bassist Ingebrigt Håker Flaten and two drummers, Tim Daisy and Frank Rosaly. The group last recorded in 2013, and the double CD is from their first tour of France in March 2023, a live evening at Le Petit Faucheux in Tours (The English translation of the venue’s name is “Little Daddy Long Legs”—Harvester is another name for the spider). Rempis and company spent a week visiting five venues in France. The set from Tours, their first night in the country, is extraordinary music-making.
Two pieces are on the first CD. “Everything Happens to You” is a half-hour long piece that presents an interesting reversal. It begins with trills and shrieks, out of which, after considerable free improv, a tune emerges. This setup is the opposite of traditional jazz performances, where the tune begins the proceedings to be followed by solos. The drummers create a welter of polyrhythms, rather than interlocking, complementing and responding to each other. Listening again, one can find scraps of the melody that eventually appears: Crafty construction and passionate execution.
Trumpeter Jean-Luc Cappozzo guests on “The Exuberant Aubergine,” playing high, breathy, glissandos while Rempis once again plays fleet trills. It is a slow tempo piece that is also a slow burner. The percussionists, for the most part, keep their powder and the dynamic level low. Cappozzo unfurls a wide-ranging solo and Rempis responds with bent notes and high glissandos of his own. Håker Flaten contextualizes the harmony with scalar passages and chromatic passagework. Cappozzo and Rempis trade riffs, sometimes imitating one another and at others doing their own thing. Duet becomes a trio with bass notes double-timing, moving through all the registers of the instrument. Solos are exchanged in the next section, with the percussionists pressing the action with muscular playing. Midway through, the surface calms, bass notes repeated instead of the previous scalar movement, misterioso melodies from trumpet and saxophone, and a general slowing down. Pops, clicks and slurps from the winds are responded to by accentuations in the percussion. A gradual accelerando and the return of Rempis’ trills signal a return to the demeanor of the opening volleys. The intensity ratchets up, with the drummers becoming more prominent than the winds, despite their altissimo held notes. Once again, riffs are traded, with a call and response between Rempis and Cappozzo responded to by intense playing from the rhythm section. The conclusion sees the drums move back to a simmer, the bass playing repeated notes against a decrescendo by the winds. Exuberant indeed.
CD 2 chronicles the second set. “Spooky Action” begins with a drum duet that introduces a syncopated rhythmic pattern. Rempis is buoyed by the drumming to soaring solos. Håker Flaten adds yet another layer of metric ambiguity. The rhythm section maintains its energetic performance, Rempis exploring and melding various melodic cells of material, creating flurries of ostinatos. Once again, a soulful melody is saved for late in the piece. At the last, the drums drop out, the bass plays repeated pitches, and Rempis builds the repeating patterns into a caterwauling climax, with the percussionists only then edging back in. Rempis concludes with a bluesy cadenza, punctuated by aphoristic gestures from the other players.
“Little Fascists” begins with Cagean percussion improv. Rempis enters similarly, with disjunct riffs and rasping, sustained pitches. He then builds overtones with perfectly tuned harmonics. Håker Flaten contributes a long high register arco trill, adding to the sense of experimentation. Rempis adds keening wails at the end of the piece. While the free jazz blowing on other tunes is exciting, “Little Fascists” has a distinctive sound world that is fascinating.
The final tune, “Fat Lip” opens with a bass solo in which harmonics are juxtaposed against a pizzicato solo that ranges the whole instrument. Håker Flaten has been a keen collaborator throughout the concert, and his solo brings this style to the fore. Rempis joins him with an undulating melody that begins brawny and slow and proceeds to mercurial runs. The drummers alternate between pulsation and freely constructed fills. Rempis returns to his mid-register melody, embellished with quick scales. The saxophonist savors an intervallic sequence, tweaking it here and there with half step variations. His solo quickens and takes up a stentorian tone. The rest of the group recognizes his intentions, pressing forward and creating a sweltering density. With raucous howls and undulating lines, Rempis fragments “Fat Lip’s” melodic contours. He eventually settles on two short riffs, that he repeats as the drummers add still more fills and Håker Flaten plays a modal ostinato. The conclusion is a decrescendo with a sizzle of cymbal at the end.
One hopes that more of the France tour might be committed to disc. This is Aerophonic’s tenth anniversary, and there are few better ways to celebrate than more of Rempis’s Percussion Quartet.
Christian Carey
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femmeterypolka · 6 months ago
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i like drones in folk music but theyve gotta be like meaty drones. if you get me.
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foone · 4 months ago
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The equivalent of the Dewey Decimal System for music instruments is the Hornbostel–Sachs system.
The Western concert flute is 421.121.12.
That's:
421.121.1 for Open side-blown flutes,
421.121 for (single) side-blown flutes,
421.12 for Side-blown flutes,
421.1 for flutes without ducts,
421 for edge-blown aerophones or flutes,
42 for non-free aerophones,
4 for aerophones.
Yeah it's a weird non-decimal concatenative system.
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hanna-water · 1 year ago
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I feel like the aerophone is the new leafblower. Being the casual side character in lots of their videos.
Johannes Groth - White Christmas ft Ylvis
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