The Four Pillars Appearing from The Resonating Discs invoking The 72:81:88 Confluence

2017 | Three Percussionists and Harmonic Resonators | 81 Minutes

Presented in a setting of Quadrilateral Starfield Symmetry ATS4 Base 6:81


Read The Program Notes


Reviews

| 2017

The Four Pillars Appearing from The Resonating Discs invoking The 72:81:88 Confluence
Seth Colter Walls profiles Randy Gibson for The New York Times

″As is sometimes the case with outwardly unvaried Minimalist music, the texture emerges from the overtones, the frequencies that sound above fundamental notes (in this case, those seven Ds on the piano). Mr. Gibson’s electronic design for the piece highlights these naturally occurring acoustic phenomena, making their ghostly quality more easily perceived.″

Read More...
Commissioned by Avant Media
For TIGUE

World Premiere: Wild Project, New York City - April 11th, 2017
Premiered by: TIGUE:
Matt Evans
Amy Garapic
Carson Moody

Read The Program Notes


Reviews

| 2017

The Four Pillars Appearing from The Resonating Discs invoking The 72:81:88 Confluence
Seth Colter Walls profiles Randy Gibson for The New York Times

″As is sometimes the case with outwardly unvaried Minimalist music, the texture emerges from the overtones, the frequencies that sound above fundamental notes (in this case, those seven Ds on the piano). Mr. Gibson’s electronic design for the piece highlights these naturally occurring acoustic phenomena, making their ghostly quality more easily perceived.″

Read More...

The Four Pillars Appearing from The Resonating Discs invoking The 72:81:88 Confluence brings a new level of conceptual rigor and complexity to The Four Pillars world. In this work, the three percussionists of TIGUE perform sustained tones on unpitched instruments, filtered into the tones of The Four Pillars, within a completely enveloping environment of pure blue projected light.

This is the first work I created utilizing new concept called Harmonic Time wherein the performer is charged with not affecting change to the entirety of the performance situation for slowly evolving durations beyond what would traditionally be perceptible. These time units are based on the same numeric elements as the rest of the work: structure and pitch reinforce each other creating an immersive ecosystem where time stands still, if only for a moment.


Part of the Constellations:

Harmonic Time Constructions | 2017 - Present

72:81:88 | 2016 - Present


Presentation History
Resonating Apparitions | New York City : April 11th, 2017

See Also:
Apparitions of The Four Pillars in The Midwinter Starfield Symmetry under The 72:81:88 Confluence | Ensemble and Symmetrical Harmonic Sine Waves | 2014 - 2016
72:81:88 | | 2017
The Third Pillar in Primal Imperfect Palindrome with The Souvenir of The Second Pillar, The Floating Cirrus over the Pumping Slush, and The Highest Moving Chordal Motif from Apparitions of The Four Pillars | Live Performance, Trombone, Sine Waves, Harmonic Delay Structures, Time | 2011-12, revised 2018
The Eternal 27:28 Triple Octave Displacement under The 72:81:88 Differential Apparition | Sine Waves | 2016
Dual Resonance in Harmonic Time | Two Gongs | 2018
The 72:81:88 Meridian Descent | Sine Waves timed to the Position of The Moon | 2017
Apparitions of The 27:28 Symmetry under The 72:81:88 Differential Cirrus | Symmetrical Ensemble and Sine Waves | 2016