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Toiling in Obscurity

by Ron Coulter

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  • Full Digital Discography

    10
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    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Media is the context for the exchange of content, Commissions 1, Concurrent Sentience, Toiling in Obscurity, Outsider In : chamber works for percussion, small axe, 300 SAVAGE, Xtensions, and 2 more. , and , .

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1.
Ratchet Musik #3 08:53
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2.
Duet for Vibes 07:01
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3.
more metal than you(rs) 10:41
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4.
LOST... 10:32
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5.
Composition #362 06:28
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6.
Looking into a faded life burning out. 11:36
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7.
Ratchet Musik #1 18:59
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about

Original compositions of percussion chamber music by Ron Coulter, first recordings.

Ratchet Musik #3 (concentration) (2021) is scored for one or more ratchet players. The ratchets may be of any type (wooden, the metal framed wood-tongue musical type, plastic or metal toys/party noise makers, or the metal hand-tool type). If performed as a solo the ratchet may be amplified to blend with the environmental sounds if outdoors, or extremely loud if indoors. The goal of this composition was to create complex rhythmic textures in the simplest way possible. Total duration is variable: 8"+

Duet for Vibes (2001, rev. 2019) has an imaginative, yet practical title. The work is a series of six vignettes, or dreamscapes strung together, some with development, some that simply are, each complete, even if in their incompleteness.

The composition presents extremes in many aspects: technical ability, tempo, dynamics (especially), style, and sound production; yet is a cohesive sound world bound by the musical materials. Recorded by Filament (DeLane Doyle & Aaron Gochberg).

more metal than you(rs) (2020) is a duo for two each of the following: snare drums, 12-14” china cymbals, styrofoam, threaded rods, bass bows, small 4-8” cymbals (jing, Paiste accent or cupchimes, etc.), bamboo skewers, plastic cards, pitch pipes, and mini harmonicas.

The work was composed in 2020 for Filament (DeLane Doyle & Aaron Gochberg) and premiered by them on March 27, 2021 at Wheeler Concert Hall (Casper, WY).

Despite how the composition may sound, it is entirely composed with elements of variability and performer choice, but no real improvisation. The compositional goal being to compose something that sounds improvised but is not, using a combination of traditional, graphic, and text notation, and extended sound-production techniques. The duration is variable, approximately 8:30-11:30 in total and was recorded by Filament (DeLane Doyle & Aaron Gochberg).

LOST… (2015) is composed for any number of bass clarinetists and any number of percussionists. The percussionists may utilize electronics in whole or part; each percussionist requires a lion’s roar, a “noise” instrument, and at least two resonant instruments.

There is no score, only parts for bass clarinet and percussion. These parts are only loosely coordinated temporally. Stuart Saunders Smith calls this “music of simultaneity” and it produces a recognizable composition of all iterations, yet is unpredictable and unrepeatable in its realization. Recorded by Red Desert (Katie Porter, bass clarinet; Devin Maxwell, percussion) and Ron Coulter (percussion).

Composition #362 (2019, revised 2021) for any number of performers, each with three woodblocks, one tom tom, one towel, one “idiomatic” sounding mallet, and one contrasting implement of any kind.

The composition was inspired by a solo drum set and electronics performance by Sean Hamilton.

Despite how the composition may sound, it is entirely composed with elements of variability and performer choice, no real improvisation. The compositional goal being to compose something that sounds improvised but is not, using a combination of traditional and text notation to provide exact musical materials and parametric controls, with options for performer choice. The duration is variable, approximately 5:45-6:45+. Recorded by Filament (DeLane Doyle & Aaron Gochberg), Shilo Stroman, and Ron Coulter.

Looking into a faded life burning out. (2007-2017) is scored for marimba, bass marimba, vibraphone, and bells/crotales. This composition was composed sporadically over a period of eleven years. It was premiered by the Youngstown State University Percussion Ensemble, directed by Dr. Glenn Schaft on October 24, 2018 at the Butler Institute of American Art (Youngstown, OH). Recorded by Filament (DeLane Doyle, vibraphone; Aaron Gochberg, bass marimba), Shilo Stroman (marimba), and Ron Coulter (crotales & glockenspiel).

Ratchet Musik #1 (amerCANTian) (2021) is scored for two or more ratchet players. The ratchets may be of any type (wooden, the metal framed wood-tongue musical type, plastic or metal toys/party noise makers, or the metal hand-tool type).

Speed and duration are the primary techniques in playing these instruments, with muting used to create subtle variations in timbre. The score uses a series of time brackets (similar to John Cage’s “time-bracket pieces”) with text instructions. There are elements of performer choice, which will make each performance of the work slightly different, from choice of ratchet, number of players, interpretation of speed, and performer decisions within the musical materials. Total duration is variable: 13'38"-20'01"+

credits

released August 1, 2021

All compositions by Ron Coulter and published by Kreating SounD.

Audio recording, mixing, mastering, and graphic design by Ron Coulter.

Recorded in Casper, WY March 2020, March 2021, and May 2021

Cover picture by Xauxa, “CuscoPiedra12angulo.jpg, License: CC BY 2.0

Red Desert is Katie Porter (bass clarinet) and Devin Maxwell (percussion).

Filament is Aaron Gochberg and DeLane Doyle (percussion).

Ron Coulter - percussion
DeLane Doyle - percussion
Aaron Gochberg - percussion
Devin Maxwell - percussion
Katie Porter - bass clarinet
Shilo Stroman - percussion

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Ron Coulter

Ron Coulter is a percussionist, composer, improviser, and educator. He has presented at 100+ universities internationally. Interests in noise, performance art, and interdisciplinarity have led to curating many experimental sound series, Fluxconcerts, and co-founding numerous experimental intermedia groups. As a composer, he has created more than 390 compositions for various media. ... more

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