The opening of 2017 had me busy creating music for theatre director Miguel Moreira and for film director João Viana. All in all, 126 minutes of music.
For the first project, a piece of physical theatre at the stage of Portugal’s National Theatre, I used a large set of percussion and my own voice: which was a first. The piece revolves around two types of music: “territórios” and “coros”, the former intense, throbbing, multi-layered soundscapes inspired in electronically processed bass marimba; and the latter, the “coros”, more fluid, developed and expanding.
For the film music, I employed a more limited set of percussion, expanded by flute, alto flute, bass flute (one player) and clarinet and bass clarinet.
For both projects I used a system bypassing notation altogether, via direct composition on recorded medium: in this case, Reaper – which I had used extensively for recording (such as for this release), but never for creating a piece from scratch. It’s such a fast, powerful and customizable tool, that I cannot see myself using Pro Tools for such endeavors again. Pitch correcting (specially in a section where I had recorded samples of rather large flower pots) is accurate and done blazing fast. The process (of bypassing notation) is as exciting as it is daunting, but always time consuming: but at the end immensely liberating. I had the pleasure of working with Rui Borges Maia (flutes) and Ana Maria Santos (clarinets), gentle companions in this crusade.
I’ll post some samples soon.