ALBUMS
MELISSA KEELING
|
ABOUT
SONYQ's debut album (2010)
SONYQ is a project led by electric flutist, Melissa Keeling.
To book a performance, obtain sheet music and backing tracks, or to ask any questions, contact me at melissa@melissakeeling.com.
Melissa Keeling plays a Powell Conservatory flute, Trevor James Black Nickel alto flute, Trevor James Recital piccolo, and Robert Dick Glissando Headjoint.
Effects pedals by BOSS.
Microphone by K&K Sound Systems -- "Silver Bullet."
See the Gear section for more.
To book a performance, obtain sheet music and backing tracks, or to ask any questions, contact me at melissa@melissakeeling.com.
Melissa Keeling plays a Powell Conservatory flute, Trevor James Black Nickel alto flute, Trevor James Recital piccolo, and Robert Dick Glissando Headjoint.
Effects pedals by BOSS.
Microphone by K&K Sound Systems -- "Silver Bullet."
See the Gear section for more.
SONYQ
Melissa Keeling
(2010)
Bandcamp
Spotify
Spotify
SANIK - PROGRAM NOTES
2001: Thus Spake Zarathustra
The theme of this piece is based around the notorious three notes from Strauss' famous work, "Thus Spake Zarathustra." This theme recurs throughout the piece. There are three major improvised flute sections, using electronic effects such as Distortion, Digital Delay, Reverse, and Harmonization to create changes in timbre as well as build towards the climax. The flutist is allowed great freedom in 2001. [Backing track available]
The Moirae
The Moirae, or the Three Fates, are characters from Greek mythology. As the fable goes, the three Fates determine the length of every mortal's life: Clotho spun the thread of your life, Lachesis measured the length of the thread, and Atropos cut the thread with her shears. This story draws a close parallel to the work of composers and improvising musicians, who create the music from nothingness, determine its quality and style, and decide how and when it should end. Thus are we, musicians, the Three Fates in one.
:O
Dark and atonal, :0 is the exploration and stretch of electronic flute music to its farthest. It evokes feelings of apprehension, chaos, and horror as bass and electric guitar set the background. There is a motif of a tritone interval, around which the flutist improvises; electric effects are employed to heighten the tension. [Backing track available]
Bluebird, for electronic flute and voice
The text of this poem is taken from a Charles Bukowski poem of the same name, translated into French. The theme of the poem is hidden feelings, inhibitions, and who our tendencies as human beings is to hide this "weak" part of ourselves. Bukowski personifies these feelings as a bluebird. The first stanza of the poem:
"there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you."
Surrounding the stanzas of the poem are snatches and quotes taken from flute literature centered around birds: "Deux Poemes de Ronsard, I. Rossignol, mon mignon" (Roussel), Stravinky's "Firebird Suite," Prokofiev's "Peter and the Wolf," and of course, Saint-Saens' "Carnival of the Animals."
www.
As a tribute to modern technology, "www." is a brooding, quiet, and contemplative piece. It is through-composed and requires no electronic effects for performance unless desired.
Sonata IV
Sonata IV is an adaptation of Bach's famous flute Sonata in C Major, Allegro. It combines the old with the new: it begins and ends with classical flute, but the middle section is an electric explosion that Bach would never have dreamed of! This unique juxtaposition shows both the classic and the avant-garde flute at their finest.
Pange lingua gloriosi
This piece centers around a hymn by St. Thomas Aquinas in the 13th century; it has been sung for centuries. The piece is in ABA form, the first section being in the minor key, and is separate from the hymn melody. The B section modulates to the parallel major, and the hymn first appears, simply at first, and then embellished. Following is a return of the A section. A translation of the text is as follows:
"The word now being flesh become,
So very bread flesh by the word,
And wine the blood of Christ is made,
Though our sense it not afford,
But this in heart sincere to fix
Faith sufficeth to accord."
reverBrever
In this improvised piece, the guitar takes a more conversational role with the flute. The effect of this piece is created by the Digital Delay pedal, which creates the sensation of many more players. Electronic drums add a driving rhythm to the piece. As in several other works, the flutist's role is to create variety in timbre, rhythm, and melody by using electric effects. [Backing track available]
The theme of this piece is based around the notorious three notes from Strauss' famous work, "Thus Spake Zarathustra." This theme recurs throughout the piece. There are three major improvised flute sections, using electronic effects such as Distortion, Digital Delay, Reverse, and Harmonization to create changes in timbre as well as build towards the climax. The flutist is allowed great freedom in 2001. [Backing track available]
The Moirae
The Moirae, or the Three Fates, are characters from Greek mythology. As the fable goes, the three Fates determine the length of every mortal's life: Clotho spun the thread of your life, Lachesis measured the length of the thread, and Atropos cut the thread with her shears. This story draws a close parallel to the work of composers and improvising musicians, who create the music from nothingness, determine its quality and style, and decide how and when it should end. Thus are we, musicians, the Three Fates in one.
:O
Dark and atonal, :0 is the exploration and stretch of electronic flute music to its farthest. It evokes feelings of apprehension, chaos, and horror as bass and electric guitar set the background. There is a motif of a tritone interval, around which the flutist improvises; electric effects are employed to heighten the tension. [Backing track available]
Bluebird, for electronic flute and voice
The text of this poem is taken from a Charles Bukowski poem of the same name, translated into French. The theme of the poem is hidden feelings, inhibitions, and who our tendencies as human beings is to hide this "weak" part of ourselves. Bukowski personifies these feelings as a bluebird. The first stanza of the poem:
"there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you."
Surrounding the stanzas of the poem are snatches and quotes taken from flute literature centered around birds: "Deux Poemes de Ronsard, I. Rossignol, mon mignon" (Roussel), Stravinky's "Firebird Suite," Prokofiev's "Peter and the Wolf," and of course, Saint-Saens' "Carnival of the Animals."
www.
As a tribute to modern technology, "www." is a brooding, quiet, and contemplative piece. It is through-composed and requires no electronic effects for performance unless desired.
Sonata IV
Sonata IV is an adaptation of Bach's famous flute Sonata in C Major, Allegro. It combines the old with the new: it begins and ends with classical flute, but the middle section is an electric explosion that Bach would never have dreamed of! This unique juxtaposition shows both the classic and the avant-garde flute at their finest.
Pange lingua gloriosi
This piece centers around a hymn by St. Thomas Aquinas in the 13th century; it has been sung for centuries. The piece is in ABA form, the first section being in the minor key, and is separate from the hymn melody. The B section modulates to the parallel major, and the hymn first appears, simply at first, and then embellished. Following is a return of the A section. A translation of the text is as follows:
"The word now being flesh become,
So very bread flesh by the word,
And wine the blood of Christ is made,
Though our sense it not afford,
But this in heart sincere to fix
Faith sufficeth to accord."
reverBrever
In this improvised piece, the guitar takes a more conversational role with the flute. The effect of this piece is created by the Digital Delay pedal, which creates the sensation of many more players. Electronic drums add a driving rhythm to the piece. As in several other works, the flutist's role is to create variety in timbre, rhythm, and melody by using electric effects. [Backing track available]
