Music for Flute & Tape

various artists compilation - Music for Flute & Tape

Karl Korte - Rembrances (1971)

for flute & synthesized processed sound

electronic tape realized at the Studio for Electronic Music, State University of New York at Binghamton

Mario Davidovsky - Synchronisms No. 1 (1962)

for flute & recorded electronic sounds

tape realized at the Columbia-Princeton Electronic Music Center

Meyer Kupferman - Superflute (1971)

for flute & tape

Samuel Baron - flute on all pieces


Tracklisting:

Side One

1. Karl Korte - Remembrances {18:54}

Side Two

1. Mario Davidovsky - Synchronisms No. 1 {3:35}

2. Meyer Kupferman - Superflute {12:51}

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Extended Saxophone

various artists compilation - Extended Saxophone

From the liner notes:

Dimensions III and Dimensions IV by Barton McLean
Albert Regini - saxophone
Barton McLean - electronic tape

In DIMENSIONS III and IV for saxophone and tape, McLean has blended the contrasting images of live and taped sounds, first by using saxophone sound events as tape sources, albeit modified through varying of tape speed, tape loops, synthesizer-generated modifications, etc.; and second, by blurring the distinction between tape and instrumental sounds by giving the live saxophone part a considerable number of electronic-sounding passages to play. These two works move away from the abstract pitch-rhythm world and toward a richer palette of basic human gestural and timbral sounds. DIMENSIONS III is a study in extreme emotional contrasts, including some hair-raising as well as sublime sound events for the saxophone. Its basic mood is one of human vs. machine in which, at the end, the performer is figuratively wiped out. DIMENSIONS IV is reflective, relying on evocative chords and effects. Each work in its own way evokes strong subconscious emotional responses by use of the saxophone, which is perhaps as richly endowed as any instrument with a human-gestural repertoire through its association with jazz.

Symmetrics by Karl Korte
Albert Regini - saxophone
University of Texas Percussion Ensemble

SYMMETRICS was composed in 1973 for the University of Texas Percussion Ensemble. The pitch material is derived from symmetric hexachords. The piece explores extended resources of the saxophone utilizing quarter-tones, 'false' fingerings, and multiphonics. One of the several jazz 'licks' heard along the way is intended as a small tribute to jazz giant Lester Young. (Karl Korte)

Variations by Kevin Hanlon
Albert Regini - saxophone
Kevin Hanlon - tape recorders

VARIATIONS for alto saxophone and tape delays is the first in a series of pieces involving live performers and tape delays. The tape delays are created by using a single tape which passes through two reel-to-reel stereo tape recorders, the first on 'record' the second on 'play'. Feeding the live sound into the first tape deck will cause the signal to be played back on the second tape deck a short time later. The amount of time-delay depends on how far apart the decks are from one another, and may thus be controlled precisely. As the first delay sounds, its signal may be rerouted back to the first tape deck and then to the second machine again, causing a second delay of the same material at twice the time distance from the initial sound. (Kevin Hanlon)

Tracklisting:

SIDE 1

1. Barton McLean - Dimensions III {6:24}

2. Barton McLean - Dimensions IV {12:02}

SIDE 2

1. Karl Korte - Symmetrics {11:33}

2. Kevin Hanlon - Variations {6:43}

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