tag:blogger.com,1999:blog-60334494616370370492024-03-13T11:33:51.975-07:00Seattle Composers' SalonUnknownnoreply@blogger.comBlogger78125tag:blogger.com,1999:blog-6033449461637037049.post-34186899023674238912019-10-13T15:18:00.002-07:002019-10-13T15:18:37.942-07:00Salon - November 9, 2019<table border="0" cellpadding="0" cellspacing="0" style="background-color: #f2f2f2; border-collapse: collapse; color: #222222; font-family: roboto, robotodraft, helvetica, arial, sans-serif; font-size: small; width: 653px;"><tbody>
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<br />
An evening of music and discussion with Seattle composers:<br />
<br />
<span style="font-family: Helvetica;">Carson Farley</span><br style="font-family: Helvetica;" /><span style="font-family: Helvetica;">Garret Fisher</span><br style="font-family: Helvetica;" /><span style="font-family: Helvetica;">Satchel Henneman</span><br style="font-family: Helvetica;" /><span style="font-family: Helvetica;">Clement Reid</span><br />
<br />
Curated by Tom Baker<br />
<br />
Friday, March 1, 2019, 8 pm<br />
<a data-saferedirecturl="https://www.google.com/url?q=https://composersalon.us8.list-manage.com/track/click?u%3D5c7f8b293cc19d9bb2559bfbc%26id%3Dc6575ab078%26e%3Db30dde6ae4&source=gmail&ust=1550057815777000&usg=AFQjCNFozMCI3ZAZdOjHiJr4--qnBv-oFQ" href="https://composersalon.us8.list-manage.com/track/click?u=5c7f8b293cc19d9bb2559bfbc&id=c6575ab078&e=b30dde6ae4" style="color: #235fa3; overflow-wrap: break-word;" target="_blank">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5-15 suggested donation<br />
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<table border="0" cellpadding="0" cellspacing="0" class="m_4134854502746264761mcnTextBlock" style="border-collapse: collapse; min-width: 100%; width: 600px;"><tbody class="m_4134854502746264761mcnTextBlockOuter">
<tr><td class="m_4134854502746264761mcnTextBlockInner" style="margin: 0px; padding-top: 9px;" valign="top"><table align="left" border="0" cellpadding="0" cellspacing="0" class="m_4134854502746264761mcnTextContentContainer" style="border-collapse: collapse; max-width: 100%; min-width: 100%; width: 600px;"><tbody>
<tr><td class="m_4134854502746264761mcnTextContent" style="color: #606060; font-family: helvetica; font-size: 11px; line-height: 15px; margin: 0px; padding: 0px 18px 9px;" valign="top">The Seattle Composers’ Salon fosters the development, performance and appreciation of new music by regional composers and performers. At bi-monthly, informal presentations, the Salon features finished works, previews, and works in progress. Composers, performers, and audience members gather in a casual setting that allows for experimentation and discussion.</td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-88103647171039023502019-02-12T09:20:00.000-08:002019-02-12T09:20:39.204-08:00Salon March 1, 2019<table border="0" cellpadding="0" cellspacing="0" style="background-color: #f2f2f2; border-collapse: collapse; color: #222222; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif; font-size: small; width: 100%px;"><tbody>
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<tr><td class="m_4134854502746264761mcnTextBlockInner" style="margin: 0px; padding-top: 9px;" valign="top"><table align="left" border="0" cellpadding="0" cellspacing="0" class="m_4134854502746264761mcnTextContentContainer" style="border-collapse: collapse; max-width: 100%; min-width: 100%; width: 100%px;"><tbody>
<tr><td class="m_4134854502746264761mcnTextContent" style="color: #606060; font-family: Helvetica; font-size: 15px; line-height: 22.5px; margin: 0px; padding: 0px 18px 9px;" valign="top"><span style="font-family: "droid sans", sans-serif; font-size: 24px; line-height: 32px;">Composers' Salon | March 1, 2019</span><br /><br />We're back!<br /><br />An evening of music and discussion with Seattle composers:<br /><br />Ha-Yang Kim<br />Neil Welch<br />Kaley Lane Eaton<br />Blake Degraw<br />Lily Shabbabi<br />Liam Hardison<br /><br />Curated by Tom Baker<br /><br />Friday, March 1, 2019, 8 pm<br /><a data-saferedirecturl="https://www.google.com/url?q=https://composersalon.us8.list-manage.com/track/click?u%3D5c7f8b293cc19d9bb2559bfbc%26id%3Dc6575ab078%26e%3Db30dde6ae4&source=gmail&ust=1550057815777000&usg=AFQjCNFozMCI3ZAZdOjHiJr4--qnBv-oFQ" href="https://composersalon.us8.list-manage.com/track/click?u=5c7f8b293cc19d9bb2559bfbc&id=c6575ab078&e=b30dde6ae4" style="color: #235fa3; overflow-wrap: break-word; text-decoration-line: none;" target="_blank">Chapel Performance Space</a><br />4649 Sunnyside Ave N, 4th Floor<br />$5-15 suggested donation<br /> </td></tr>
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<table border="0" cellpadding="0" cellspacing="0" class="m_4134854502746264761mcnTextBlock" style="border-collapse: collapse; min-width: 100%; width: 100%px;"><tbody class="m_4134854502746264761mcnTextBlockOuter">
<tr><td class="m_4134854502746264761mcnTextBlockInner" style="margin: 0px; padding-top: 9px;" valign="top"><table align="left" border="0" cellpadding="0" cellspacing="0" class="m_4134854502746264761mcnTextContentContainer" style="border-collapse: collapse; max-width: 100%; min-width: 100%; width: 100%px;"><tbody>
<tr><td class="m_4134854502746264761mcnTextContent" style="color: #606060; font-family: Helvetica; font-size: 11px; line-height: 15px; margin: 0px; padding: 0px 18px 9px;" valign="top">The Seattle Composers’ Salon fosters the development, performance and appreciation of new music by regional composers and performers. At bi-monthly, informal presentations, the Salon features finished works, previews, and works in progress. Composers, performers, and audience members gather in a casual setting that allows for experimentation and discussion.</td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-91305328410674573972018-09-25T20:56:00.000-07:002018-09-25T20:57:59.054-07:00Salon Hiatus<span style="font-family: Trebuchet MS, sans-serif;">Hello Friends of the Seattle Composers' Salon,
I just wanted to put up this post for those who might visit this site... The Salon is taking a short hiatus, but will be back in 2019 with new events and some new ideas.
We appreciate all of your support over the years, and we want to thank John Teske for his wonderful curation for the past few years. John is stepping down as curator, and we will be working on a new direction for the Salon in the coming months.
</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-17832106308975052282018-05-01T10:56:00.001-07:002018-05-01T10:56:19.226-07:00May 2018 Previews<h2 id="jay-hamilton">Jay Hamilton</h2>
<p><em>My Muse, & Equal Temperament</em>, cello and pre-recorded dialogue</p>
<p>These two pieces are part of a work <em>The End and Then…?</em> presented on June 23rd at Velocity Dance Center Seattle. The show is mostly dance with music/dialogues begins with a funeral ends with a murder….and some of it funny. This is a one person performance (7 parts) I will be dancing during in the other 5 pieces sections.</p>
<p><a href="http://www.soundand.com/">soundand.com/</a></p>
<h2 id="gavin-borchert">Gavin Borchert</h2>
<p><em>Mazurka</em>, for piano<br />
<em>Berceuse</em>, for piano</p>
<p><a href=""></a></p>
<h2 id="peter-nelson-king">Peter Nelson-King</h2>
<p><em>The Magpie’s Shadow</em>, for solo piano</p>
<p><em>The Magpie’s Shadow</em> takes its inspiration from a poem sequence of the same name by Yvor Winters. Inspired by a line by Rimbaud - O saisons, o chateaux! - each poem is a single line of six syllables, a form invented by Winters. 28 poems are arranged in three sections, and my work has 28 aphoristic pieces based on each poem and grouped in the same section plan and same order. The poems depict mysterious, symbolic scenes in nature, possibly a dream landscape the narrator traverses with great wonder. I composed the pieces without a strict musical theory, but rather built them organically and following my instincts, allowing each piece to exist as its own entity while being drawn back to familiar material when dramatically appropriate.</p>
<p><a href=""></a></p>
<h2 id="jeremiah-lawson">Jeremiah Lawson</h2>
<p><em>Prelude and Fugue in G major</em>, for solo guitar</p>
<p>Part of 24 preludes and fugues, Set 2</p>
<p>From 2007 to 2012 I composed a cycle of 24 preludes and fugues for solo guitar. The project was so fun I decided to start working on another cycle of 24 starting in 2012. In this new cycle the aim is to employ more vernacular idioms and extended techniques and so the prelude and fugue in G major is in open G tuning, which allowed me to compose a three-voiced fugue that is to be played primarily through bottleneck technique. This prelude and fugue is an homage to Hiram King Williams (aka Hank Williams Sr) and the legendary pedal steel guitarist Don Helms. The fugue is in three voices and has fully invertible counterpoint.</p>
<p><a href="https://www.youtube.com/playlist?list=PLzYyzirE6u6OeJ5aHX7NTnmYSho7XmZ7k">youtube.com/playlist?list=PLzYyzirE6u6OeJ5aHX7NTnmYSho7XmZ7k</a></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-89648803375024667962018-04-09T21:14:00.002-07:002018-04-09T21:14:22.633-07:00Composers' Salon | Friday, May 4, 2018An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Jay Hamilton</li>
<li>Gavin Borchert</li>
<li>Peter Nelson-King</li>
<li>Jeremiah Lawson</li>
</ul>
<br />
Friday, May 4, 2018, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-61542646454476729242018-02-25T19:41:00.000-08:002018-02-28T06:41:07.563-08:00March 2018 Previews<h2 id="sarah-bassingthwaighte">Sarah Bassingthwaighte</h2>
<p><em>H20</em>, for soprano, flute, and guitar</p>
<p>My piece is called <em>H2O</em> and will be performed by the Ecco Chamber Ensemble: Sarah Bassingthwaighte, flute; Stacey Mastrian, soprano; Mark Hilliard Wilson, guitar. The piece is written in graphic notation in the shape of a circle and the players rotate the circle as they go through 6 different forms of water: Snow, Droplets, Rain, Storm, Frost, and Ice. There is a lot of guided improvisation used by all of the players. It will be performed on April 21st at SOMA Towers as part of KING-FM’s Resonance Series.</p>
<p><a href="http://www.sarahbassingthwaighte.com">sarahbassingthwaighte.com</a></p>
<h2 id="gavin-borchert">Gavin Borchert</h2>
<p><em>Three songs</em></p>
<ul>
<li>Sagrada noche (4’)</li>
<li>Cuando en el sol (4’)</li>
<li>Una vez (7’)</li>
</ul>
<p>Gavin Borchert, piano; Michael Monnikendam, baritone</p>
<p>Some time ago I discovered the song “Nacht und traume” by Schubert, which is now my favorite of all of his. Researching it I stumbled on a beautiful (anonymous) Spanish translation of Matthaus von Collin’s original German text, which itself seemed to beg to be set. To go with it I chose Spanish translations of the words of two other songs I love: “Beau soir” (Debussy/Paul Bourget) and “Mondnacht” (Schumann/Joseph von Eichendorff). All three, obviously, address the subject of night.</p>
<p><a href=""></a></p>
<h2 id="brooke-richey">Brooke Richey</h2>
<p><em>Nocturne no. 1</em> and <em>no. 2</em>, for piano; <em>Paradox for String Quartet</em></p>
<p>I write most of my music with white space. I don’t determine a key, time signature, let alone form, until I have a few phrases of melody transcribed. <em>Nocturne No. 1</em>, “Melodie” was written with a free hand. I wrote this piece, solely based off the tones and colors I wanted to hear. When I realized that the work was done was when I categorized it as a nocturne. And like the night, the music in "Melodie" is lead by itself, crawling through the dark until it finds sparks of light from the ground it encompasses. Just as the music comes to a close, night has found its way, and reached its end.</p>
<p><em>Nocturne No. 2</em> was written with the same design techniques as No. 1. Building from its first motif of triplets, the grace-notes serve as a foreshadowing for the abrupt bass line that will carry the second melody. Emphasized in this nocturne is the driving darkness quality of night as well as the peaceful quiet that comes with sleeping souls. Ultimately, the bass and "grace-note" theme take over to create a comically ironic ending. For those who work an 8–5, maybe you can understand why.</p>
<p><em>Paradox</em> is the first piece for strings I’ve ever written. It was created during a time of my life where my only focus was to better my skill at composing. Created from a tone-row that was written freely, the piece was given its name to be a testament of individuals overcoming differences to work together. You can hear that the start of the piece begins with each instrument playing in a different octave, free-bowing and a little jaded with time. By the end of the piece the music is very close. Intervals and rhythm bring the voices together, bringing about a paradox of an experience, given with where they first started.</p>
<p><a href="https://soundcloud.com/brookerichey">soundcloud.com/brookerichey</a></p>
<h2 id="s-eric-scribner">S. Eric Scribner</h2>
<p><em>Convergence</em></p>
<p>The piece is electronic, with no “live” performers. It is two realizations of a modal score without meter, played on the piano, and then multi-tracked with the second version starting at different time intervals. The time intervals grow closer together, so the piece gradually “converges”. There is also an interlude, made from multi-multi-tracking of the same score (originally played by Neal Kosaly-Meyer, guitar). Hundreds of separate multi-trackings are possible; at the Salon, I will play four of them plus the interlude.</p>
<p><a href="https://soundcloud.com/s-eric-scribner">soundcloud.com/s-eric-scribner</a></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-84927985849069501512018-02-13T20:22:00.001-08:002018-02-13T20:22:18.854-08:00Composers' Salon | Friday, March 2, 2018An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Sarah Bassingthwaighte</li>
<li>Gavin Borchert</li>
<li>Brooke Richey</li>
<li>S. Eric Scribner</li>
</ul>
<br />
Friday, March 2, 2018, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-11374938762722224912017-12-28T21:20:00.000-08:002017-12-28T21:20:01.870-08:00January 2018 Previews<h2 id="carson-farley">Carson Farley</h2>
<p><em>Film Music</em>, for piano, cello, and flute</p>
<p><em>Film Music</em> was composed for a commercial video project for sculptor R. Carlson. Originally scored for piano, string quartet, and synthesizer, this version has been arranged for piano, cello, and flute. Though I am usually a structural composer, this piece was written quickly and entirely from a visual perspective to conform to the visual content of the video project. It has a very simple surface texture with themes, transitions, and modulations from section to section.</p>
<p><a href="https://www.carsonicsproductions.com/">carsonicsproductions.com/</a></p>
<h2 id="aaron-keyt">Aaron Keyt</h2>
<p><em>Music for Wallace</em>, for piano</p>
<p>While living in Somerville, MA for a couple years, we adopted an old, neglected spinet piano. We named the piano Wallace. I wrote an album of short, mostly simple pieces for Wallace, a few of which will be played at the Salon.</p>
<p><a href="https://1.bp.blogspot.com/-J7NwdNGNotE/WkXQTiHZS4I/AAAAAAAAA_E/5e1JQAL4RakLT8eNOqVVcOXIvkssHWrBQCLcBGAs/s1600/Wallace.jpg" imageanchor="1" ><img border="0" src="https://1.bp.blogspot.com/-J7NwdNGNotE/WkXQTiHZS4I/AAAAAAAAA_E/5e1JQAL4RakLT8eNOqVVcOXIvkssHWrBQCLcBGAs/s200/Wallace.jpg" width="200" height="150" data-original-width="1600" data-original-height="1200" /></a></p>
<h2 id="ian-mcknight">Ian McKnight</h2>
<p><em>The Trees Awaken</em>, for alto flute, cello, and piano</p>
<p>This tone poem describes a sleeping forest that comes to life with dancing tree folk before returning to its slumber. I used a mostly traditional tonality with an emphasis on open 5ths and 6ths and a folk tune like melody in the middle. The low open double stops in the cello help to evoke the breathtaking size of the forest while the alto flute plays a mysterious sounding melody. The tremolo in the piano describes the restlessness of the trees as they come to life. The middle section of the piece is labeled “Heavy Footed Dance”. The loud, low, and heavy repeated rhythm describes the impact of their heavy roots/feet. The piece winds down with quieter repetitions of the dance theme before returning to the peaceful theme from the beginning.</p>
<p><a href="https://ianmcknight.bandcamp.com/releases">ianmcknight.bandcamp.com/releases</a></p>
<h2 id="patrick-okeefe">Patrick O’Keefe</h2>
<p><em>Morning Stroll (revised)</em>, for clarinet quartet</p>
<p>Programmatically this piece depicts a person with a very short attention span going for a walk. He intends to get exercise but is distracted by everything he encounters.</p>
<p>Musically tries to be traditional in both sound and form but immediately gets lost and never finds its way again.
This is a lighthearted work that never takes itself seriously. The listener should not, either.</p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-84043034897937835822017-12-17T21:03:00.000-08:002017-12-17T21:03:00.789-08:00Composers' Salon | Friday, January 5, 2018An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Carson Farley</li>
<li>Aaron Keyt</li>
<li>Ian McKnight</li>
<li>Patrick O'Keefe</li>
</ul>
<br />
Friday, January 5, 2018, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-12667597864646308162017-10-28T09:15:00.001-07:002017-10-28T09:15:10.880-07:00November 2017 previews
<h2 id="clement-reid">Clement Reid</h2>
<p><em>Realizations for Horn and Piano</em></p>
<p>I had written “Realizations” for a friend’s son, Carlin Krause, and
it began with the notion of seeing a particular circumstance a certain way
when young, and arriving at a different point of view after the passage of time. I had tried a technique of adding attacks, one after another for subsequent phrases, starting with three, and eventually arriving at twenty five.</p>
<h2 id="calvin-senter">Calvin Senter</h2>
<p><em>Colloquies: Moon, Rain, Sun, Wind</em>, for solo guitar</p>
<p>This is a work in progress to discover a serious conversation with a subject and guitar. I do this to create a tension between what I present and how it will become or relate to a subject such as the moon and then I go from there while playing my guitar to listen to what is there.</p>
<p>Here is a link to a video of me playing in the Seattle Guitar Orchestra, an excerpt of <em>Elegy for a church in Seattle</em> in 2017: <a href="youtu.be/9J4RcJPLMac">http://youtu.be/9J4RcJPLMac</a></p>
<h2 id="nicole-truesdell">Nicole Truesdell</h2>
<p><em>Ghost Story</em>, for piano four hands</p>
<p>The germ for my piece happened one morning when I found myself in Capitol Hill with a free hour. I ventured into Quest Bookshop. After browsing for a while, I settled on a book about ghosts by author and medium James Van Praagh. Upon reading it I became fascinated with his accounts of ghosts haunting people’s houses. Van Praagh claims he is able to communicate with the haunting spirits and convince them to leave their earthly haunts and journey to the spirit world. This led to me imagining how this scenario could be illustrated with music.</p>
<p>My composition, <em>Ghost Story</em>, is a programmatic piece about a ghost trying and eventually communicating a message to living human beings before it continues its journey to the spirit world. <em>Ghost Story</em> is the most scripted work I have written and I am really interested to hear what people’s experiences are listening to it!</p>
<h2 id="mark-wilson">Mark Wilson</h2>
<p>Kyrie eleison from the <em>God Helmet</em>; for guitar, soprano, and flute</p>
<p>I wrote this a piece a while back. The premise of the text is that a woman, a reporter doing a story on a device that gives you the sense of talking to God. As a skeptic, she is offered a chance to experience it. She doesn’t believe in God and is curious about this, tries it and in fact has a profound experience and is able to give other a people a sense of calm, peace and a sense of the divine. However for all of the good that comes from this ends as she starts to get seizures and is going to die, due to the increased neural activity and her inability to process it. So this song is her singing to this new found God saying that she is not ready to leave this realm, earth. This God must wait. She is a new mother and must attend to earthly matters, God must wait.</p>
<p><a href="soundcloud.com/mark-hilliard-wilson">https://soundcloud.com/mark-hilliard-wilson</a></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-88069396354177445742017-10-14T13:19:00.002-07:002017-10-14T13:19:58.642-07:00Composers' Salon | Friday, November 3, 2017An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Clement Reid</li>
<li>Nicole Truesdell</li>
<li>Calvin Senter</li>
<li>Mark Wilson</li>
</ul>
<br />
Friday, November 3, 2017, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-62191913163189767752017-08-21T21:09:00.000-07:002017-08-21T21:09:04.273-07:00September 2017 Salon previews
<h2 id="cole-bratcher">Cole Bratcher</h2>
<p><em>Transit Maps</em>, fixed media with projection</p>
<p>The series of pieces are called <em>Transit Maps</em> Basically I’m collecting transit maps from around the world and converting them into some form or another of parameters for the music, mostly form and instrumentation.</p>
<p>The two pieces presented on the salon will be “San Francisco BART” and “Copenhagen S-Train”.</p>
<p><a href="https://soundcloud.com/colebratcher">soundcloud.com/colebratcher</a></p>
<h2 id="blake-degraw">Blake Degraw</h2>
<p><em>Diler</em>, for strings</p>
<p>One of my favorite ways to produce variation in live performance is through orchestrated failure: providing the musicians with a clearly-defined objective, and then making it as difficult as possible to reach that objective. The music that I personally want to hear lies in the struggle to find, even if the objective is never met. <em>Diler</em> is the latest in my exploration of this concept. A group of violinists and violists is fed a series of wide-ranging pitches through headphones. Each chooses a single string on their instrument and is tasked with matching the reference-pitches, as they hear them, using only that string. Thus all are chasing the same goal, but the odds that they will get there the same way (or at all) are stacked against them. In the process, however, a wide array of chords can be generated. The result is different every time.</p>
<p><a href="https://soundcloud.com/blake-degraw">soundcloud.com/blake-degraw</a></p>
<h2 id="patrick-okeefe">Patrick O’Keefe</h2>
<p><em>Sonata for Piano</em></p>
<p>This is a piece for piano consisting of a recently written “Expression of 2nds and 4ths” followed by Bagatelles 4 & 5. As with my earlier Bagatelles, this is a somewhat tonal work relying on nonstandard harmonic techniques to establish and maintain a tonal coherency.</p>
<p><a href="https://soundcloud.com/patrick-okeefe-353713672">soundcloud.com/patrick-okeefe-353713672</a></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-32268679490833157992017-08-15T19:11:00.002-07:002017-08-15T19:11:51.060-07:00Composers' Salon | Friday, September 1, 2017An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Patrick O'Keefe</li>
<li>S. Eric Scribner</li>
<li>Blake Degraw</li>
<li>Cole Bratcher</li>
</ul>
<br />
Friday, September 1, 2017, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-78041815950006907162017-07-01T10:59:00.001-07:002017-07-01T11:02:20.304-07:00July 2017 Salon previews
<h2 id="clement-reid">Clement Reid</h2>
<p><em>Theater Piece #2</em></p>
<p>I’ve been putting a group of solo pieces for a program together, and the feeling of this piece is of a long journey, as shown in the first movement, “Narration”, where a
particular note series seems to define a road or path. The general sound of the instrument
seemed to suggest characterizations, especially in mvt. IV. “Side Shows”, which has a circus-like
environment. The piece has been performed on <em>Tacoma New Music</em> and on a concert, <em>At the Western Front</em>, a US-Canada composer exchange program.</p>
<div><img border="0" src="https://3.bp.blogspot.com/-jbiM4t-vdsY/WVfjUehq-JI/AAAAAAAAA6c/6dHWY_oqPDYBJ31HGntmG4N8hI3rWSfnQCLcBGAs/s200/Toy%2BPiano.JPG" width="200" height="150" data-original-width="1600" data-original-height="1200" /></div><br />
<h2 id="jay-hamilton">Jay Hamilton</h2>
<p><em>Out</em></p>
<h2 id="keith-eisenbrey">Keith Eisenbrey</h2>
<p><em>Ghosting Doubles (second sighting)</em></p>
<p>Earlier this year—having been dutifully plodding along, working out yet another overly ornate concept for yet another solo piano piece—I was brought up short by Amy Denio’s lovely solo accordion melody “Ghosting”. I immediately knew I wanted to work with it somehow. Amy graciously gave her permission (thank you thank you thank you!) so I ditched the overly ornate and wrote three separate pairs of not-quite-one-to-one counterpoints. Doubles, in the baroque sense: not so much variations as transformative screens or filters. Of those three I will present one: “Ghosting Doubles (second sighting)”.</p>
<h2 id="jessi-harvey">Jessi Harvey</h2>
<p><em>Eden Untamed</em></p>
<p>“Reforming the Recognizable” and “Still Here, Anew” are the final two movements of Eden Untamed, a piece dedicated to a fellow composer’s rumination on what it means to be and act as a composer. A short melodic idea of his was the basis of all the harmonic and motivic development to challenge myself to slowly exert as much control as possible over the piece. The third movement is the final condensation of the idea into a single point. The fourth movement is the amalgamation of the structure of the first three movements balanced with a release of, what can vaguely be called, the oppression of caprice.</p>
<p>The first two movements, “Themes Amuck” and “Pieces of the Puzzle”, can be found at: <a href="soundcloud.com/jessiharvey_composer">https://soundcloud.com/jessiharvey_composer</a>.</p>
<h2 id="jeremiah-lawson">Jeremiah Lawson</h2>
<p><em>Guitar Sonata in D minor</em></p>
<p>The inspiration for this work in-progress was waking up one Sunday morning in 2016 hearing what the tune “Restoration” from William Walker’s compilation Southern Harmony might sound like if performed by the great Texas Gospel blues slide guitarist Blind Willie Johnson. Movements 3 and 4 together form a traditional sonata form. However, drawing some inspiration from Hepokoski & Darcy’s concept of “rotation” (and some from cumulative form in the work of Charles Ives) I present “Restoration” as the basis for a ragtime theme in the sonata exposition (theme 2) that becomes the set of variations on “Restoration” as a slide guitar homage to Johnson in the recapitulation (aka movement 4), which can also be performed as a stand-alone movement. The third theme/coda material is derived from the subject of a fugue that will be the first movement.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-82226612047527125202017-06-21T21:37:00.001-07:002017-06-21T21:37:32.876-07:00Composers' Salon | Friday, July 7, 2017An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Keith Eisenbrey</li>
<li>Jay Hamilton</li>
<li>Jessi Harvey</li>
<li>Jeremiah Lawson</li>
<li>Clement Reid</li>
</ul>
<br />
Friday, July 7, 2017, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-47775202408901850812017-04-26T12:11:00.001-07:002017-05-05T14:35:34.281-07:00May 2017 Salon previews
<h2 id="patrick-okeefe">Patrick O’Keefe</h2>
<p><em>Morning Stroll</em>, a mostly tonal almost-rondo for saxophone quartet</p>
<p>There is an emphasis on quartal intervals and harmonies, some indeterminate and/or poly-tonality, etc., but common practice has not been left very far behind. All in all, it’s pretty typical of my music.</p>
<p>It’s not really programmatic, but you can picture someone with a very short attention span going for a walk—being distracted by anything and everything seen on the walk.</p>
<p>The work will be performed by the Emerald City Saxophone Quartet:
Barbara Hubers-Drake, soprano;
Molly Pond, alto;
Harold Rosenkrans, tenor;
Jim Glass, baritone</p>
<p>A computer generated version of this piece, along with other pieces of mine, are on <a href="https://soundcloud.com/patrick-okeefe-353713672">Soundcloud</a>.</p>
<h2 id="jeremiah-lawson">Jeremiah Lawson</h2>
<p><em>Guitar Sonata in A major</em></p>
<p>In 2015 I composed a set of guitar duets I called the <em>Zombie Sonata Rags</em>, where I transformed my favorite themes from the guitar sonatas of Carulli, Diabelli, Giuliani, Matiegka and Sor into the core of rags. Naturally if sonata themes can be transformed into ragtime why shouldn’t ragtime translate into sonata forms? So I’ve been exploring how ragtime can be explored in terms of the developmental procedures and syntax of sonata forms. My recently finished <em>Guitar Sonata in A major</em> is a tribute to the great ragtime composer Scott Joplin.</p>
<h2 id="john-kammerer">John Kammerer and Rebekah Ko</h2>
<p>new music for marimba + electronics</p>
<p>The piece has at this point evolved to include some percussion elements as well as marimba. The electronics used are sourced largely from vocal samples that are then chopped, pitched and stretched. It is percussive in nature, emphasizing a back and forth hocket-like relationship between the marimba and the electronics, with each part filling in gaps and creating pointillistic gestures that run throughout. Extended techniques on the marimba imitate and compliment the electronic sounds.</p>
<h2 id="john-teske">John Teske</h2>
<p><em>ad;sr (vectorscores)</em></p>
<p>I’ll be presenting <em>ad;sr</em>, a work originally for string quartet that was algorithmically generated and captured as a static score. I’ve recreated the score as a “vectorscore”, intended to be a full realization of the work—a generated score for any ensemble and any number of instruments.</p>
<p><em>vectorscores</em> is a series of new works to be viewed and performed via a lightweight website. The works are algorithmically generated so that each score and performance is unique and customized while still being shaped by the composition’s parameters.</p>
<p><a href="https://johnteske.github.io/vectorscores/projects/adsr/?parts=3">View <em>ad;sr</em> on vectorscores.org</a></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-84861528223374488682017-03-27T12:34:00.002-07:002017-05-05T14:35:18.696-07:00Composers' Salon | Friday, May 5, 2017An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Patrick O'Keefe</li>
<li>Jeremiah Lawson</li>
<li>John Kammerer and Rebekah Ko</li>
<li>John Teske</li>
</ul>
<br />
Friday, May 5, 2017, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-75456191615630249712017-02-26T19:45:00.001-08:002017-02-26T19:45:21.196-08:00March 2017 Salon previews<h2 id="command">ComManD</h2>
<p><em>Thaumaturgy</em></p>
<p>ComManD ensemble presents a composition of music and dance enhanced by technology.
Accelerometer information is used to digitally shape and alter acoustic music.
Movement, electronics, acoustics and improvisation blend together in both subtle and
obvious ways in this work seeking to define it’s own poetics and artistic statement.
It’s an attempt to present interdisciplinary work beyond the novelty of what the technology offers—
greater than the sum of it’s parts—while simultaneously geeking out on new tech and ideas!</p>
<h2 id="s-eric-scribner">S. Eric Scribner</h2>
<p><em>Tree and Stone</em></p>
<p>The piece I’ll be playing at the salon is an audience-participation piece called <em>Tree and Stone</em>.
Since the piece is aleatory, it would work with another piece at the same time, so I’ll play a preliminary version of <em>The Sherványa Nocturnal Music</em> (share-VAHN-yuh), which relates to my fantasy novel <em>Tond</em>.
I’ll hand out the scores and instruments for <em>Tree and Stone</em> and I’ll play the other piece on the piano.</p>
<p><a href="https://www.amazon.com/s/ref=a9_asc_1?rh=i%3Aaps%2Ck%3Atond+book+one&keywords=tond+book+one&ie=UTF8&qid=1486940708"><em>Tond</em></a> on Amazon<br />
<a href="https://www.youtube.com/watch?v=p3lcJBbTFS8"><em>Tree and Stone</em></a> on Youtube</p>
<h2 id="blake-degraw">Blake Degraw</h2>
<p><em>Electronic Quartet for Humans</em></p>
<p>One of my primary musical interests is in conduction. Over the last few years I’ve been exploring alternative methods of guiding musicians through performances outside of merely waving a hand or baton at them as they read notated music. I will be presenting a piece called <em>Electronic Quartet for Humans</em>, performed on four saxophones, which makes use of pre-recorded audio tracks that the performers listen to through headphones during the performance, guiding their interactions with one another through various aural cues, as well as providing material for them to interpret through mimicry and deep-listening.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-77326631829704283002017-02-17T14:45:00.003-08:002017-02-17T14:45:48.374-08:00Composers' Salon | Friday, March 3, 2017An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Ivan Arteaga</li>
<li>Sheila Bristow</li>
<li>Blake Degraw</li>
<li>S. Eric Scribner</li>
</ul>
<br />
Friday, March 3, 2017, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-77770214073157866922017-01-02T21:16:00.003-08:002017-01-02T21:16:57.712-08:00January 2017 Salon previews<h2>Tom Baker</h2>
<p><em> Three Movements</em></p>
<p>2017 marks 25 years since the first public performance of a piece of mine called "The Green Guitar" for solo guitar. In that span, I have written many works for solo guitar, including this piece to be performed on the Salon: "Three Movements". This piece is in 3 movements, each of which is a study of a different kind of physical movement: Slalom, Butoh, and R.E.M. It will be premiered by Satchell Henneman, a senior performance major at Cornish College of the Arts.
</p>
<h2>Andrew Olmstead</h2>
<p>Spooky Action</p>
<p>Taking inspiration from comics and musicals, draftsman Elk Paauw and composer Andrew Olmstead combine mediums to tell stories. All sound and art is produced by hand in real time. The combination of music and visual art is intended to communicate more effectively with the audience and in more precise ways. The pace of development is tightly scheduled, but there is some room for improvisation is the thematic material. Spooky Action's short set for the Salon will be a blend of audio-visual portraits, poetry, and theatrical illustrations.</p>
<p>On Instagram, Twitter, and Facebook: <a href="https://www.facebook.com/spookyactionart">@spookyactionart</a></p>
<h2>Nadya Kadrevis</h2>
<p>
it will be a trio, I'm doing an experiment on the fibonacci sequence along some lyrics I wrote.
</p>
<p>
essentially we will be improvising without leaving the fib sequence, so for example 112358 translates into aabcea or ggabdg the musician can start on any note they wish but staying in the form, meanwhile phineas will sing lyrics I wrote, musicans will also switch instruments during performance, this is not a collaboration albeit for the musicians improvising within the said constraints.
</p>
<h2>Jay Hamilton</h2>
<p><em>Impossible Thoughts</em></p>
<p>
This is an opera that will be presented as a live contemporary dance performance with prerecorded music and video projections all working together to tell the story. Music is by me (Jay Hamilton) with choreography in development by Erica Akiko Howard. We are looking for an Art Director. The singers you will hear are Emily Reisser, Sid Law, and me.
</p>
<p>
The story takes place on another planet, where alien beings have learned that an exploratory space ship from Earth is quickly approaching. These beings look mostly human, but they have wings, communicate telepathically, and have an intelligence superior to that of Homo sapiens. They need to understand who the people of Earth are and what their world is like...and decide whether to help them, or even to make contact at all. Frankly, they aren't impressed with Earthlings' ability to handle the technology they already have...
</p>
<p>
Meanwhile, the Space Ship Commander has a chronically ill childhood friend back on Earth who she communicates with across the reaches of space. The alien beings listen in on their transmissions.
</p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-44766985832225167832016-12-26T20:48:00.001-08:002017-01-02T21:18:06.753-08:00Composers' Salon | Friday, January 6, 2017An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Tom Baker</li>
<li>Jay Hamilton</li>
<li>Nadya Kadrevis</li>
<li>Andrew Olmstead</li>
</ul>
<br />
Friday, January 6, 2017, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-39576370431285355632016-10-28T09:23:00.000-07:002016-10-28T09:23:58.644-07:00November Salon Previews
<h2 id="keith-eisenbrey">Keith Eisenbrey</h2>
<p><em>Corollaries</em></p>
<p>A common trope of music criticism is the idea that the structure that generates, or that is presumed to generate, a piece should be perceivable and understandable by a listener. With new or difficult music this often arises in the form of a protest: “Nobody could hear that!”, followed by a detailed story of exactly how it could not be heard. The response is usually in the form: “I can”, followed by a detailed story of exactly how it could be, and of exactly how, presumably, it was, in fact, heard. Years ago, listening to some early Stockhausen or other, I realized that the least interesting aspect of it, for me, was the fact that it happened to be twelve-tone. I asked myself then why exactly it should matter that the generating structure (the chart) should be what we understand or perceive the piece to be.</p>
<p>One of the underlying points made by Benjamin Boretz, in <em>Meta-Variations: Studies in the Foundations of Musical Thought</em> is the notion that carefully analyzing our methods of thinking about music can reveal alternatives to those methods, and that in so doing new musical possibilities could be invented. I make no claim that I was the first to try this, but sometime in the 1990’s I asked myself what music might sound like if I redefined, for compositional purposes, the idea of the modular interval. In other words, what would happen if notes an octave apart weren’t treated as the same note, if some other interval were treated as generating matching pitch classes? Specifically I started inventing systems in which the modular interval (traditionally 12 semi-tones) was redefined to be 17 semi-tones (an octave plus a Perfect 4th). Since then I have written many of these “mod 17” pieces, using both content-determinate and order-determinate systems.</p>
<p>I have found that, in practice, thinking along these lines tends to loosen the ties between designed-in structures and my listening perception of what is going on in the music, often to the point where I doubt whether the chart could possibly be derived, even with careful analysis of the score, from the music itself. A problem, perhaps, just not my problem. For me it has been exhilarating. Among other things, it operates as a subtle fracturing of the idea of the note as the atom of musical thought, an exciting result.</p>
<p>In <em>Corollaries</em> I wondered what would happen if I took the 17 integer row I have been working with recently and, instead of applying it to the pitch-classes as a tone row, apply it instead to the intervals between pitches, as an “interval row”—ignoring, as it were, what the notes are as pitch-classes and shifting syntactic emphasis to the relations between them. Of course intervals, being relations and not objects, have some interesting qualities. Is it an interval up or an interval down? Is the inversion of the interval also fair game? For my first foray I decided to go as dirt simple as I could. For <em>(Up’s Up)</em> I present the interval row (in three interval-transpositions) as a series of intervals going up (flipping around to the bottom when I run out of keyboard). <em>(Down’s Down)</em> is the same but with descending intervals. <em>(Up’s Down)</em> are the inversions descending from top to bottom and <em>(Down’s Up)</em> are the inversions from bottom to top.</p>
<p><a href="https://soundcloud.com/keith-eisenbrey">soundcloud.com/keith-eisenbrey</a></p>
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<h2 id="daniel-webbon">Daniel Webbon</h2>
<p><em>St. Helena</em></p>
<p>St. Helena is a small and extremely remote island in the South Atlantic. It was used by the British as a waypoint during ocean crossings and is a prominent feature in Thomas Pynchon’s novel, <em>Mason & Dixon</em>. I have never visited St. Helena, and I probably never will, but Pynchon’s description left a powerful impression on me, particularly his line, “The Wind, brutal and pure, is there for its own reasons.” As I began to get a sense for this piece and where it wanted to go, this scene from Pynchon’s novel, this idea of constant wind, brutal and pure, resonated strongly with me.</p>
<p>In the piece, I deal with the issue of time as a constant, unavoidable parameter. I wanted to comment on the rather peculiar phenomena of the performer having a click-track which only they can hear and in doing so explore the idea of ever-present but rarely instantiated time.</p>
<p><a href="https://soundcloud.com/daniel-webbon/st-helena">soundcloud.com/daniel-webbon</a></p>
<h2 id="neil-welch">Neil Welch</h2>
<p><em>Exit Cycles</em></p>
<p>Saxophonist and composer Neil Welch will debut <em>Exit Cycles</em>—four brief compositions for tenor/soprano saxophones and mezzo-soprano vocalist. Neil will be joined by Danielle Sampson, a widely-acclaimed vocalist who recently moved to Seattle from San Francisco. <em>Exit Cycles</em> came to light while reading William Carlos Williams’ <em>Kora in Hell</em>, and Neil’s work here addresses the experience of entering into and exiting from the artistic process in day to day living.</p>
<p><a href="http://www.neilwelch.com/">neilwelch.com</a></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-65569132158992827222016-10-17T09:33:00.002-07:002016-10-17T09:33:50.709-07:00Composers' Salon | Friday, November 4, 2016An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Keith Eisenbrey</li>
<li>Jeremy Shaskus</li>
<li>Daniel Webbon</li>
<li>Neil Welch</li>
</ul>
<br />
Friday, November 4, 2016, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-8894137191960301162016-08-27T11:53:00.000-07:002016-08-27T11:53:03.346-07:00September Salon previews<h2 id="sheila">Sheila Bristow</h2>
<p><strong>"The Finding" and "Leap into Love", for mezzo-soprano, cello, and piano</strong></p>
<p>Two songs from a cycle-in-progress, using poems about ecstatic dance from many cultures. "The Finding" is a contemporary Canadian poet's vision of a Sufi dance experience; "Leap into Love" is from the writings of 13th century mystic, Mechthild of Magdebourg. Performed by composer/pianist Sheila Bristow, mezzo-soprano Melissa Plagemann, cellist Nathan Whittaker.</p>
<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/155459931&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false"></iframe>
<p><a href="http://www.sheilagailbristow.com">sheilagailbristow.com</a><br /></p>
<h2 id="carson-farley">Carson Farley</h2>
<p><strong><em>Contrasts</em> for piano, violin, flute, and cello</strong></p>
<p><a href="http://www.carsonicsproductions.com">carsonicsproductions.com</a><br /></p>
<h2 id="jessi-harvey">Jessi Harvey</h2>
<p><strong>"Pieces of the Puzzle"</strong> is the second movement of my piano work, <em>Eden Untamed</em>, inspired by a speech about the issues faced and burdens borne by the 20th century composer and dedicated to Scott Muller. Continuing on from the first movement, "Themes Amuck", one of the original themes is warped and split into multiple pieces, recombined, and put back together.</p>
<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/154788019&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false"></iframe>
<p><a href="https://soundcloud.com/masterjgeorge/">soundcloud.com/masterjgeorge</a><br /></p>
<h2 id="ian-mcknight">Ian McKnight</h2>
<p><strong><em>Airship Pirates!</em></strong></p>
<p>I composed my newest piece as if it were the score to a movie set in the steampunk universe. Steampunk is a recent fantasy and alternate history genre that imagines what would have happened if technology had progressed faster during the Victorian era. It is characterized by crazy inventions and flying contraptions usually powered by steam.</p>
<p>This piece imagines a flying pirate airship. The piece starts quietly at the dock as the pirates prepare the ship. The sounds of machinery and workers become louder as the ship becomes ready to take flight. When the ship finally breaks above the clouds there is a moment of peace as the airship floats through the air. The pirates come upon another unsuspecting airship. The music becomes increasingly intense as they approach the other ship and attack. At the end, the pirates celebrate their victory with a drunken dance.</p>
<iframe style="border: 0; width: 100%; height: 120px;" src="http://bandcamp.com/EmbeddedPlayer/album=435057892/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3548960366/transparent=true/" seamless><a href="http://ianmcknight.bandcamp.com/album/reborn-in-flame">Reborn in Flame by Ian McKnight</a></iframe>
<p><a href="https://ianmcknight.bandcamp.com/releases">ianmcknight.bandcamp.com</a><br /></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6033449461637037049.post-37647404805607323342016-08-17T15:23:00.000-07:002016-08-17T15:23:39.341-07:00Composers' Salon | Friday, September 2, 2016An evening of music and discussion with Seattle composers:<br />
<br />
<ul style="list-style-type: none;">
<li>Sheila Bristow</li>
<li>Carson Farley</li>
<li>Jessi Harvey</li>
<li>Ian McKnight</li>
</ul>
<br />
Friday, September 2, 2016, 8 pm<br />
<a href="http://www.waywardmusic.org/">Chapel Performance Space</a><br />
4649 Sunnyside Ave N, 4th Floor<br />
$5–15 suggested donation
Unknownnoreply@blogger.com