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Sonata for tuned Metal nos. 2 & 3

by Julian Broadhurst

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about

Sonatas for Tuned Metal nos. 2 and 3 - Metal Percussion music, MPm 7 - my 67th album. Metal percussion with Electronics of varying degrees.

Quite experimental, they follow on from the 1st such piece in the previous group, on my Album MPm 4. I adopt the word ‘Tuned’ here - to mean polytonal - the electronics shining up the klang. They stretch the notion of a sonata almost to breaking point - but they are not Electronic music, because they remain live performances - they remain percussion works on metal with added electronics to enhance their natural voice, not to transmute them into something they're not. It is Metal percussion music. There is a Fourth Sn for Tuned metal away off at album MPm 22 - my 142nd album and God help me my last.

Sonata for Tuned Metal no 2 - Rh 252 - Dark broodings, a performance on highly resonant metal pans is blown about by an electronic headwind - in a foggy storm of force and resolve.

“A dark dithyramb - overtones that explode from the textures with an aural perspective that when close up is maniac, when distant, cloaked yet still maniac. Notable in its muscularity and kinetic impact. "- Ken Hesketh - Composer - Pr of Composition at the RCM and Dear friend - twitter - 25. 10. 2020.

Sonata for Tuned Metal no. 3 Rh 253 A harsh Metaliqe of metal textures is being straphed or ground between - in three deeply ‘Textured’ movements.


An early reorganization of my music research interests had defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Metal Percussion music, MPM. Percussion on anything other than Drums. Percussion as a Generality as opposed to Drums as a Speciality. By Convention MPm.

Beginning as a percussionist my first 7 albums are for Drums of various kinds, Drum music or Dm, my first area of research interest or Tranche. I soon realised there was a second area of percussion, as a generality over a specialism - percussion on anything other than Drums, Metal Percussion music, or MPm. The third of five is the Phase music, realised by tape looping and timing, Phm. The fourth, a genre of Electro Acoustic composition, Music for Strings, Electronics and Percussion, or MSEP. The last genre is Electronic music, Em, taking the longest processing detour from an original acoustic source.

Album numbers 59 to 75 form my third ‘Group - a 3rd time division across my Genres. A band of gold to my eyes - hence the 'Golden Band group.' This builds on both the foundational 'Blue Cherry Group' [where I had introduced my 5 areas of research interest] and the big 'New Horizon Group' - [where I explored to see where these five genres were leading me]. There then seemed to be a ‘band of gold’ across my discography. They mark a particularly successful time for me. Each being a huge statement in itself - which I thought, lifted me higher than ever before - hence a ‘Band of Gold.’ Dr Tom Hewitt coined the phrase ‘Sea of Symphonies’ for it. Not Symphonies but symphonic in scale and intent. The albums that follow that, 76 to the end, are a ‘Blue Horizon’ - after the phrase’ blue sky research’ - the ‘Blue Horizon Group.’ For convenience, I divided this Huge Group into the Inner and the Outer Blue Groups.

As there are no Drum music albums in the Golden Band Group to take precedence - we dive straight in with MPm - my Percussion as a Generality genre.

There are three Metal Percussion music albums in the Golden Band Group - MPm 7, 8 and 9.

[] Album MPm 7, is the ‘Sonatas for Tuned Metal nos. 2 and 3.’ They are difficult and complex pieces for Arrays of electronics and live metal percussion. The live element designates them as MPm and not Electronic music, by the definition above - no. 3 being more difficult than no. 2.

[] Album MPm 8 is the set - ‘Inventions for Steel Vessel.’ Seven acoustic pieces for a heavy grade steel Kitchen vessel, about half a metre high - bought especially for music. I used it on both MP8 and 9 for its rich, lustrous tone and resonance. They contain some of my densest Passagework - Invention no. 7 is for its ‘door knob’ handle alone. I proudly announce it as “handle music.”

[] Album MPm 9, Codal - is a 30-minute adventure for that same Steel Vessel together with two ‘Canticles’ - for Mark and Connor - my Brother and his Son.

Golden Band Group - MPm []

DCM 059 - Em 21 - XAU
DCM 060 - MSEP 14 - Symphony SEP
DCM 061 - MSEP 15 - Bela
DCM 062 - EM 22 - Modular reflex
DCM 063 - MSEP 16 - Elegy
DCM 064 - Em 23 - Popenstrung
DCM 065 - Em 24 - Integral Shining
DCM 066 - Em 25 - Einzstuck

[] DCM 067 -MPm 7 - Sn for Tu. Met. 2 & 3 []

DCM 068 - Phm 7 - Mech. Clock m. 3 - 5
DCM 069 - MSEP 17 - Never Not Ac. Ar.
DCM 070 - Em 26 - Coventry Canticles

[] DCM 071 -MPm 8 Inv. For Steel Vessel []
[] DCM 072 -MPm 9 - Codal []

DCM 073 - MSEP 18 - Curve
DCM 074 - Em 27 - Solar
DCM 075 - Em 28 - Cold Outer Worlds


The DCM album numbers list volumes in a [for the most part]
chronological edition - the ‘DCM Broadhurst Edition’ - Prepared for the British Library in 2020. The volumes or albums themselves were actually released as and when it was possible. The Edition though, was planned from the start to stand on the 'foundation Stone' of the Blue Cherry group.

The Rh catalogue, numbers my individual works in order of Completion.

credits

released August 27, 2013

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