CONTACT trianglebounce@sonispheric.net
Once a group of musicians has been assembled, this begins to develop, through working together on the music, a sonic community that may evolve the potential to grow beyond this particular gig.
But first, you have to introduce conditions that make this possible. Following the initial development of the concept and composition, funding for the players build the necessary bridge for all further developments.
Phase 2:Record
Recording the composition delivers the most milage out of such an investment of time, effort and cash.
The next best thing to a live performance is a recording; but a recording travels a lot further than any single performance can toward widening the music’s relationships with venues and listeners; and it can do this over and over and over again.
There’s a reasonable possibility that we may be able to involve a record label at this point, which could bring in additional outside streams of funding and promotion.
Phase 3:Get the sounds out to people
No sounds. No audience.
A CD release would make the sounds directly available to listeners. It would create a marketable product that could bring in resources as well as open doors.
A collaboration with an existing label would provide the optimal platform for this phase, with a backup option of independently releasing the recording.
Phase 4:Approach venues for live performance
Venues provide a funded platform for realizing the music’s 3-D component. There are 3 different market niches that can be approached:
1. The new music / classical world.
2. The jazz niche.
3. Galleries and museums.
And there may some even some more populist options, such as any gatherings dedicated specifically to the guitar.
Phase 5:Looking way ahead -
what could grow well beyond this
(But, but, but, just one step at a time,please! A whole lot has yet to come together before such extensions can be more than talked about.)
Perhaps this trio could develop into a quartet with the saxophonist/composer and more compositions -- or even a quintet with the addition of talking drum.
A quadriphonic / surround sound version of the recording would document the music best and act as a vehicle for remote versions of the sound installation.
Getting the score out to other guitar ensembles so that they can develop their own editions of the composition.
Some context & perspective:
Within my understanding, all musicians negotiate the crossroads of the the sonic and the human. But, in the case of what we could call the creative musician, where one specifically ushers what’s not-yet-heard into audibility, creative responsibilities have to lean (at the least) just a bit more toward these unheard sonic entities than toward what people already expect or notice. Given that the possible soniverses suggest so much more than can be included within any mainstream, it’s not really surprising that a lot of creative music finds itself marginal, fringe or very niche-specific.
But, without people, there isn’t any music. And, a lot of music depends on the inventions and executions of actual musicians -- in other words, on people, and often, very specific people.
Love, imagination and hard work can go a long way, but when it comes to supporting even a very tiny community of musicians through even a single project in our ever so market dependent economy, you’re going to need some money to give musicians an opportunity to realize that project.
With unique, new, “fringe” music, the music has to be cultivated and developed before there’s an interaction with any audience -- and any market that audience might come to constitute.
Phase 1:
Raise money to
pay the musicians appropriately
This is challenging music to play. It can’t played by just anybody, and even then, it’ll take some work. It’s not conventional stuff. It’s got to be done right in every respect
No musicians.
No sound.
No music.
Period.
With musicians on board, everything that had only been potential begins to enter the possible.
Some music (and this is one of those instances) requires such a degree of work that it’s important to provide special supports for the musicians -- such as paying them appropriately so that they can actually afford to dedicate the time necessary to bring the music into sound.
PROJECT PLAN