Chin Ting Chan | composer
  • Home。主頁
  • About。簡介
  • Music。音樂
    • Large Ensemble >
      • Deform and Reform
      • Qing Ming
      • Dust Devil
      • Untitled
      • Falling Stars
      • Shadow Play
      • time, unfolding
      • Veiled Light
      • Apparitions - a fantasy for chamber ensemble
      • Fanfare for Brass and Percussion
      • Symphonic Movements
    • Chamber >
      • Invisible Canvas
      • flying ink, fainting light
      • Fracture
      • fuse V
      • fuse IV
      • fuse III
      • fuse II
      • fuse
      • In-pulse
      • Don't Look
      • Ictus
      • (dif)fused
      • Double Exposure
      • Flying Ink
      • Fractals
      • Double Waves
      • Drift
      • reaching up, touching down
      • Friction
      • Cross-strings
      • Thread
      • Axis
      • Mirage
      • re[sou]nding
      • Crosswind
      • Anemoi
      • ...and see it vanish
      • Icebergs
      • Moments
      • Haengma
      • Acoustic Field
      • Five Songs of the Von Seggerns
      • Saxophone Quartet
      • Elegy for Clarinet and Piano
      • Transfiguration
      • Caprice for String Quartet
      • Duo for Two Flutists
      • Trio for Violin, Clarinet and Marimba
      • Trio for Horn, Cello and Piano
      • Woodwind Quintet in C
      • String Quartet in A minor
    • Solo >
      • Ripple
      • Insight I
      • Flare
      • Postcards
      • Central
      • ...remembering Glenn
      • Cross-currents
      • Flurry
      • Shape of Wind
      • Shattered Wind
      • Five Etudes for Solo Piano
      • Suite for Solo Cello
      • Fantasy for Solo B-flat Clarinet
    • Electroacoustic >
      • Water Dust
      • Glitchdrops
      • Resonant Collision IV
      • Resonant Collision III
      • Resonant Collision II
      • Resonant Collision
      • 52 Blue
      • Mirror Sculpture
      • Shadow Objects
      • Stutter
      • Reel
      • Elements
      • Moment Studies
      • Static
      • Rituals
      • tempora mutantur
      • Whispers of Time
      • time, forward
      • Katachi IV
      • Stargaze
      • Katachi III
      • Katachi II
      • Katachi I
      • Awakening
      • Improvisations
      • Oceanus
      • Zone 23
      • Of Metals and Electrons
      • Three Episodes
  • Listen。聆聽
  • software。程式
    • mapping
    • matrixes
    • multiplication
    • pitch sets
    • set variants
  • Contact。聯絡

Random thoughts

10/21/2012

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Two weeks ago, I was able to co-compose a piece of music for cello and live electronics (Max 6) in merely hour and a half, and the piece lasts for five minutes (quasi-improvisatory). This makes me wonder, do I over-think most of the time when I compose? I often spend hours just to come up with materials for three to five measures, let alone polish and fit them into the large scheme. Should I think less and just let the music flow, or should I take an entirely new direction regarding my composition process all together?

Here I am again, in the midst of a fall semester--there is usually no time for an afterthought. Regarding my own composition, I saw a dramatic change in my approach, and somehow I became more "productive," or perhaps I should say, I could stretch my composition process for a long period of constant composing time. This "new" method produced pieces including Icebergs, ...and see it vanish, Anemoi and etc. I am very anxious to hear the results. Icebergs will be recorded by eighth blackbird on November 7th!

This semester, I also began as the studio manager of the IMPACT center; my duties include setting up concerts, maintaining the studios and such. Even more demanding is teaching the electronic music class, but I really enjoy every minute of it--getting to share something I love and designing this entire class is more than fun.

Usually, I really want a performance of my music. I understand I will get one performance of a piece and that's it, I'll still write a piece for anyone who asks me to. I care less now--I'll write whatever I want to write, if it doesn't get performed, it doesn't. Life is too short to worry about stuff like this--I enjoy composing, and that's the end of it.
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Recording project

5/22/2012

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Had so much fun last week at Las Vegas. The recording session in UNLV lasted for about two and a half hours. Mark recorded sections of the pieces in multiple takes before we go back and merge them together. After obtaining a clean raw recording of the saxophone part, then we feed it into Max/MSP for mixing with the "live" electronics. A rough mix version of Katachi IV (2012) can be heard here. I can't wait to hear it live!
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Recent updates

2/15/2012

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Still contemplating on my idea of starting the ALEA series. Perhaps I should just embed this idea into my Katachi IV, which will be a commission for saxophone and live electronics. It might be hard to justify having the live electronics completely aleatoric, but I'm sure that makes it very comfortable for the performer. The patch would be very easy to make basing on all these templates that I have developed lately. I just need to map out the range of the effects and their relative amplitudes to the raw input level.

I have also been toying with this idea of compiling my patches into applications and make them available for download. Max/MSP, however, did not like this idea and crashed my laptop, so that I could NEVER use the program again... There, perhaps, is a better way to do it. But isn't it awesome that others can make cool sounds with my patches?

#

Non-electronically, I am working on a commission for flute, cello, bass trombone and percussion , very slowly. Originally intended as a collection of five pieces, I might cut some and just make each one longer.
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Max-ing and such...

2/13/2012

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I have been quite busy, not composing, but patching with Max/MSP, just exploring different ways to route my signals and building instruments/effect modules. The results are couple patches that I can well use in the future, and I also generated a fixed media piece (Stargaze) with them.

I am expecting to write one new fixed media and two new interactive electroacoustic pieces with these patches. I will continue the Katachi series, and start a new series called ALEA.

#

And, having come back from the UAHuntsville New Music Festival this weekend, I feel fresh and inspired. It was a nice event with seven concerts and over 40 guest composers. Duo for Two Flutists (2008) was performed.
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Music Tech

3/18/2011

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There was this classic music technology panic tonight at the performance of my Awakening for trombone and live electronics (2010). Well, first of all, the freeverb~ object was not recognized at all. Then, there was this long sustained tone that wasn't supposed to be there. I was so glad that after two cues of events, it cut off... but nonetheless, I don't think anyone noticed, and that sustained tone actually fit the context. I was so afraid that it wouldn't cut off - in that case, I would have to "X" kill it... Anyways, it was a great concert, with the great trombonist - Kevin Fairbairn!

Having been so inspired, I just finished an electroacoustic piece: Katachi I for fixed media (2011). I have been processing these sounds, and now I finally get to use them! Guess what sounds I used? (Program notes will be posted soon!)
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    Patrick Chan

    Welcome! Please feel free to leave some comments. Also, check out the music page and many full audio samples!

    Picture
    @ IRCAM ManiFeste 2013

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  • Home。主頁
  • About。簡介
  • Music。音樂
    • Large Ensemble >
      • Deform and Reform
      • Qing Ming
      • Dust Devil
      • Untitled
      • Falling Stars
      • Shadow Play
      • time, unfolding
      • Veiled Light
      • Apparitions - a fantasy for chamber ensemble
      • Fanfare for Brass and Percussion
      • Symphonic Movements
    • Chamber >
      • Invisible Canvas
      • flying ink, fainting light
      • Fracture
      • fuse V
      • fuse IV
      • fuse III
      • fuse II
      • fuse
      • In-pulse
      • Don't Look
      • Ictus
      • (dif)fused
      • Double Exposure
      • Flying Ink
      • Fractals
      • Double Waves
      • Drift
      • reaching up, touching down
      • Friction
      • Cross-strings
      • Thread
      • Axis
      • Mirage
      • re[sou]nding
      • Crosswind
      • Anemoi
      • ...and see it vanish
      • Icebergs
      • Moments
      • Haengma
      • Acoustic Field
      • Five Songs of the Von Seggerns
      • Saxophone Quartet
      • Elegy for Clarinet and Piano
      • Transfiguration
      • Caprice for String Quartet
      • Duo for Two Flutists
      • Trio for Violin, Clarinet and Marimba
      • Trio for Horn, Cello and Piano
      • Woodwind Quintet in C
      • String Quartet in A minor
    • Solo >
      • Ripple
      • Insight I
      • Flare
      • Postcards
      • Central
      • ...remembering Glenn
      • Cross-currents
      • Flurry
      • Shape of Wind
      • Shattered Wind
      • Five Etudes for Solo Piano
      • Suite for Solo Cello
      • Fantasy for Solo B-flat Clarinet
    • Electroacoustic >
      • Water Dust
      • Glitchdrops
      • Resonant Collision IV
      • Resonant Collision III
      • Resonant Collision II
      • Resonant Collision
      • 52 Blue
      • Mirror Sculpture
      • Shadow Objects
      • Stutter
      • Reel
      • Elements
      • Moment Studies
      • Static
      • Rituals
      • tempora mutantur
      • Whispers of Time
      • time, forward
      • Katachi IV
      • Stargaze
      • Katachi III
      • Katachi II
      • Katachi I
      • Awakening
      • Improvisations
      • Oceanus
      • Zone 23
      • Of Metals and Electrons
      • Three Episodes
  • Listen。聆聽
  • software。程式
    • mapping
    • matrixes
    • multiplication
    • pitch sets
    • set variants
  • Contact。聯絡