Recording Permutations in the Kiln


During the last of our spring 2015 residencies at Aldeburgh, Tamsin and I recorded two of my six-part sketches. It was the first time she'd played any of the material for the six part sketches. We did this very simply using click tracks, a zoom recorder and logic. Some of the difficulties we experienced taught us more about how we will need to record Permutations when it is time to record the piece in full. This was a way of sharing what I had been writing with people at Aldeburgh as well as with Finbarr, Andrew and Tamsin. 

The two sketches we recorded, currently known as the Tuesday sketch and the Thursday sketch, each make use the space in a different way. 

One of the questions I had to begin to grapple with when writing the six-part sketches was whether the music could or should exert any control over the audience’s movements within the chamber. I suppose it is impossible to tell at this point whether listeners will be directed by the music in the way that I expect. The decision I made during the spring time residencies at Aldeburgh was that each of the sketches would play with the space in a different way, creating different relationships between the listener and the music around them. The Tuesday sketch directs the audience to the central chamber more than any of the others, although experiencing the it from one of the chambers would fragment and emphasise certain parts of the line. 

The Thursday sketch will be the opening of Permutations. Arriving into the chambers, the opening chords envelop the listener in sound from all sides. This will serve to aurally map out the entire space within Permutations for the audience. The nature of the chords is such that depending on a listener's movements or position, they will be given a different impression of the tonality of the opening of Permutations