Deviations I Track

Performance InstructionsEach performer must select a path from the central home point to one of the five destination points. Each path is different and varies from a straight, direct path to a labyrinthine, indirect path. Each performer should select a path most suitable to them. Each performer must select a different path and if in the case where two performers wish to select the same path, a settlement must be m  ade to accommodate everyone as best as possible. Each performer interprets the forms and textures along their selected path as the basis for free improvisation. Consider assigning your own timbre, duration, articulation, pitch, melodic or harmonic structure, etc. to the forms and textures. The only given assignment to these forms and textures is volume: dense = loud;  sparse = quiet; white = silence. Since each of the five paths are different lengths, consider assigning tempo to the length of your chosen path: 1) straight line = slowest to 5) labyrinthine line = fastest. Also consider the following pitch ranges: 1) straight line = lowest range to  5) labyrinthine line = highest range.The duration of the piece is five minutes. Each path has been marked 1–5 providing a visual guide for following the time (one notch for each minute). Since the destination point for all paths is black and ends abruptly with a white border, all performers should p lay as loud and frenzied as possible during this time and stop abruptly together on cue. During this last burst, change the manner in which you use your instrument and make sounds completely different from what you played before. The red outline along your path will indicate when to begin this activity.PerformersTrue Rosaschi: pianoGeoff Dyer: saxophoneJen Baker: tromboneCarolyn Tyler: celloDavid Rosenfeld: violinConductorBrian SchornBrian Schorn BioBrian Schorn is an interdisciplinary artist. He received an MFA in Electronic Music and Recording Media from Mills College where he studied with Pauline Oliveros, Fred Frith, Alvin Curran, Maggie Payne and Chris Brown. In addition, he has MFA degrees in graphic design, photography and creative writing. Schorn's music has been performed in France, Austria, The Netherlands, New York and elsewhere throughout the United States. He has performed with composers and artists such as Cecil Taylor, Maryanne Amacher, Steina Vasulka and Ke  n Butler. Schorn's music appears on the compilation CDs Open Source/Open Ear and The Last Signal. His 60 second composition, Under a Submersive Sun, toured the Midwest with the 60x60 Project in 2006. In 2007, he was an artist-in-residence at I-Park Artist's Enclave where he composed and performed a new work using field recordings and shamanic ceremony. In 2008, his first internet release of electronic, text-sound compositions were made available at www.cyclene.com. In 2009, Schorn's graphic scores and creative writing will be published in Notations21: An Anthology of Innovative Notation.Contact:www.myspace.com/brianschorn