The Wind That Rolls Upon the Water (2022)
for two cellos, violin, voice, tambura, two shruti boxes, and harmonium in 7-limit just intonation; bells, tongue drum, copper and bamboo chimes, 2-hour field recording from Washington Coast, and dance - 90’
Performed by Annapurna Dharma Communion
December 2nd, 2022
Chapel Performance Space, Seattle, WA
Jackie An – violin
Michael Shannon – cello, voice
Katrina Wolfe – movement, costumes, choreography
Manasvi Patel – 7-limit shruti box, bamboo chimes, copper chimes, bells
Sam Vanderlinda – 7-limit shruti box, steel tongue drum, bells, tibetan bowls
Joey Largent – cello, voice, field recording, composition
Russell Christenson – 7-limit harmonium, bells
Ian Gwin – Miraj tambura
Basaltic Void Dervishes (2021)
for ten amplified cymbals, cave field recordings, dance, and time - 180’
Performed live by Joey Largent in collaboration with improvised movement by
Katrina Wolfe and Kawtee Wolfe
Chapel Performance Space, Seattle, WA
December 4th, 2o21
Katrina and Kawtee in rehearsal; photo by Joey Largent
This is an excerpt from a 3-hour durational performance of Basaltic Void Dervishes at Chapel Performance Space on December 4th, 2021. The work was performed live using ten malleted, closely mic'd cymbals in a semi-improvisatory format (using memory and some pre-determined cymbal combinations) combined with an unending field recording of cave dripping from Falls Creek Cave. Movement artists and mother/daughter duo Katrina and Kawtee Wolfe performed their delicately shifting improvisatory movement for the entire 3-hours in collaboration. The work was performed in near darkness, with no light other than five candles lit around the dancers. The audience sat on a large installation of rugs and floor pillows (with chairs in the back for those who needed them) and was free to come and go at any time during the performance.
Seven Dreams of the Nooksack Glacier (2021)
for string quartet in 7-limit just intonation - 13.5’
Written for and performed by Del Sol Quartet
as part of Arts, Letters & Numbers Sunship exhibition in the 2021 Venice Architecture Biennale
The work is an explorational sketch written to inspire the development of a larger durational composition for just intonation string quartet known as Drifting Waves of the Caverns Beneath the Sea, which explores sonic movements inspired by glacial systems from Mount Shuksan in the North Cascades and coastal regions of the North Coast of Washington State. The Nooksack Glacier just intonation tuning is derived from a hybrid of Raga Darbari and the dorian mode (with a flat 6th degree), a modal system that I have worked with for several long-form, in-progress pieces over many years. The system primarily includes septimal intervals for half steps, pythagorean intervals for the remaining notes, and a sharp septimal fourth included in the scale (the only interval to be mathematically acquired using the 5:4 [major third] interval; the rest rely on 7:4 and 3:2 relationships).
The piece premiered as a live streaming on October 24th, 2021 and was performed in 7-limit just intonation by San Francisco-based Del Sol String Quartet as part of Arts Letters & Numbers CMO 2021 Workshop + Residency, directed by Michael Harrison. A deep and special thanks goes to Kathryn, Charlton, Sam, and Ben of Del Sol for working with me on this, and to Michael for all his help in guiding me through its development.
Nooksack Glacier Tuning by Joey Largent
Dreams of the Forty Whales of the Harmonic Reed System (2021)
for three shruti boxes and harmonium in 17-limit just intonation, five voices, dance - 90’
Performed by Glacial Time Communion on:
August 14th, 2021 at Chapel Performance Space, Seattle, WA
October 2nd, 2021 inside Battery John Brannon, Fort Worden State Park, Port Townsend, WA
This is a short excerpt from the 90-minute composition, Dreams of the Forty Whales of the Harmonic Reed System, for three shruti boxes and one harmonium retuned into 17-limit just intonation performed by Glacial Time Communion. The composition is paired with movement by Katrina Wolfe, which both visually highlights the shifting shapes of the natural harmonics and allows time to pass at a different rate. This performance occurred inside of Battery John Brannon in Fort Worden State Park, Port Townsend, Washington on October 2nd, 2021, featuring Danielle Quenell (7-limit shruti box), Taehyung Kim (17-limit shruti box), Sasha Leon (7-limit shruti box), Joey Largent (7-limit harmonium), and Katrina Wolfe (movement). This was the second live performance of the piece.
This performance occurred at Chapel Performance Space in Seattle on August 14th, 2021, featuring Danielle Quenell (7-limit shruti box), Taehyung Kim (17-limit shruti box), Kaliane Van (7-limit shruti box), Joey Largent (7-limit harmonium), and Katrina Wolfe (movement). This was the first live performance of the piece.
Levitation Practice for the Sublimation of Time in the Modal System of the Maroon Glacial Cirque (2020)
voice, viola, erhu, two shruti boxes, and harmonium in 7-limit just intonation, and dance - 120’
Performed by Dhikr Allah Ensemble on:
November 3rd, 2020 at Studio Ma, Seattle, WA
A celebration in honor of the 102nd birthday of Faquir Pandit Pran Nath
Katrina Wolfe - delicate, continuous movement, floral installation
Joey Largent - amplified voice, tambura, shruti box, composition
Michael Shannon - erhu, voice
Noel Kennon - viola, voice
Danielle Quenelle - shruti box
Taehyung Kim - 7-limit just intoned shruti box
Russell Christenson - harmonium
This work was a variation of an ongoing “durationless” composition series featuring a 6-piece acoustic ensemble drifting delicately in the expansive Raga Miyan ki Malhar. The structure of the piece creates form while offering space for individual improvisations. The audience was placed in the center of the room, immersed by musicians and sound. The work was performed underneath Katrina Wolfe’s hanging installation of purple smoke and vine maple branches. Due to Covid restrictions, the audience amount was limited to 7 attendees, offering the rare chance for attendees to be outnumbered by musicians. Photo during rehearsal by Russell Christenson.
Wind from Inside Me (2020) - 26’
continuously malleted cymbals in resonant cave side passage
Released digitally and on CD on the album Below Diorite Waters (2021) [Dragon’s Eye Recordings]
Selected Drift in Dream Stasis (2020) - 120’
tambura, two voices, two shruti boxes, harmonium, two Chinese shengs, two custom-built just intonation reed horns, double bass, viola, two shehnais
Levitation Practice in the High-Order Modal Stasis of Sama’ (2019) - 105’
tambura, two voices, shruti box, harmonium, viola
Self-released digitally
An Offering (2019) - 38’
bells, cymbals in pairs, two singing bowls, incense, water from the intersection of two wakes, slow movement, scrolls, for ten people
There Was a Time That I Knew You (2018) - 15’ ~ 120’
1872 Taylor & Farley reed organ, cracked bellows, durationless composition, to be played late in the evening
Third Cast of Burdock Light (2018) - 25’ ~ 120’
restored 1930’s Estey chaplain’s organ, for dawn, midnight, during rainfall or near flowing water source
Below Diorite Waters (2018) - 25’
continuously malleted cymbals in final chamber of two mile lava cave
Released digitally and on CD on the album Below Diorite Waters (2021) [Dragon’s Eye Recordings]
Psalm of Her Time (2018)
solo 1872 Taylor & Farley reed organ
Suspended by a Faint Blue Light of Consciousness (2018) - 9’
malleted custom cut cymbal, malleted 1920s chinese wu-han crash, performed at the ice caves at Big Four Mountain near Granite Falls, Washington
Purified By the Light (2018)
solo Indian harmonium
When I Saw You (2018)
solo 1872 Taylor & Farley reed organ
Impermanence (2018) - 11’
20” cymbal, 14” cymbal, 18” cymbal, on isolated North Coast ocean beach
Self-released digitally and on CD on the album Earth Drones (2018)
Night Thoughts Illuminate the Divine (2017) - 11’
solo Indian harmonium
Self-released digitally and on CD on the album Earth Drones (2018)
Realms of Memory and Voidness (2017) - 11’
selected frequencies of continuously malleted rack tom, snare, floor tom
Self-released digitally and on CD on the album Earth Drones (2018)
Tourmaline Resonance (2017) - 6’
selected frequencies of solo shruti box in a small limestone cave
Self-released digitally and on CD on the album Earth Drones (2018)
Seven Auras (2017) - 15’
solo Indian harmonium
Self-released digitally and on CD on the album Earth Drones (2018)
Arrival on the Bardo Plane (2017) - 8’
20” cymbal, 16” zildjian crash cymbal
Self-released digitally as the single, Arrival on the Bardo Plane (2017)
16728 Harmon Road (2016) - 5.5’
voice, floor tom, two bowed cymbals
Released digitally on the compilation Ambient Arkansas [Aural Films]
The Path of Good Wishes Affording Protection from Fears in the Bardo (2015) - 10’
spoken word, accordion
Self-released digitally on the album Dreams (2015)
Song of Earth (2015) - 8’
for layered voice
Self-released digitally on the album Dreams (2015)
The First Dream of My Brother (2015) - 7’
bowed cymbal, for Solomon
Self-released digitally on the album Dreams (2015)
A Brief Recollection of Transcendence (2015) - 14’
extended field recording passing Redmond’s Candy Factory on i44 outside of Lebanon, Missouri
Self-released digitally on the album Dreams (2015)
Constellations (2015) - 8’
selected frequencies of three snares
Self-released digitally on the album Dreams (2015)
Time Between Three Points (2015) - 7’
for accordion, voice, to be played in Mount Sequoyah Woods, Arkansas in spring
Self-released digitally on the album Dreams (2015)
Alborz (2014) - 3.5’
accordion, violin, voice, flute, contrabass
Türk Düğün (2013)
davul, zurna
Ground Me, Spirit, Show Me to Love (2013) - 5.5’
layered voice
Self-released digitally on the album Prana (2013)
Spirit / Eye (2013) - 12.5’
percussion, two voices, Indian harmonium, bells, dan moi
Self-released digitally on the album Prana (2013)
The Farthest Thing You Can See (2013)
piano, voice
In Swarupkathi (2012) - 13’
Indian harmonium
Vibrations from Swarupkathi (2012) - 11.5’
Indian harmonium, frame drum, percussion
Chrysalis (2012) - 4.5’
for three shruti boxes, two voices
He Varuna (2012) - 5’
floor tom, Indian Harmonium, voice, bass drum, cymbal, bells
Chand Baori (2012) - 5’
Indian harmonium, voice
Through Oradea (2012)
accordion, voice
Sunspots (2012)
piano, voice
Sylvia (2012)
accordion, voice
Valjevo (2012) - 5’
voice, accordion, bass drum, cymbal, bells
Tehrani (2012) - 6’
solo accordion
Güle Güle, Turkiye (2012) - 5’
accordion, voice
Mistress (2012)
Indian harmonium, voice
Etesian Winds (2011) - 7’
for accordion, bass drum, cymbal, bells
(2014) arr. for accordion, bass drum, cymbal, tambourine, davul, hand drum, two trombones, trumpet, violin, saxophone, flute, bouzouki
Mimas (2011) - 5’
for accordion, bass drum, cymbal, bells
(2014) arr. for accordion, piano, violin, trumpet, trombone, bass drum, davul, cymbal, tambourine, saxophone, mandolin, contrabass, voice