Udentity, by Denman Maroney, Ned Rothenberg, Dave Ballou, Reuben Radding & Michael Sarin

Udentity

by Denman Maroney, Ned Rothenberg, Dave Ballou, Reuben Radding & Michael Sarin

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	1.	Udentity I 13:13
	2.	Udentity II 07:22
	3.	Udentity III 14:49
	4.	Udentity IV 01:54
	5.	Udentity V 06:00
	6.	Udentity VI 07:42
	7.	Udentity VII 09:56

about

Everything is related, my mother used to say, and she could prove it, but that's a different story. She was mad, but she had a point, which I honor in Udentity and other works. Or I'm mad, too. If so, so be it. The idea is to treat musical time as relative. In this and indeed most of my music, there are at least two and more often three tempos going; the listener is free to choose which one(s) to relate to.

The word "udentity" comes from "Genesis of a Music" by Harry Partch. It means undertone identity, a correlative of the undertone series, the reciprocal of the overtone series, i.e. 1, 1/2, 1/3, 1/4, 1/5, 1/6... e.g. E7, E6, A5, E5, C5, A4... There's more to it than that, but that's all I care about.

More or less precisely, the undertone series defines the temporal and harmonic relations in Udentity. These relations are used most extensively in Part I, where the horns play 7:8:9 (F#:E:D); the piano, 10:11 (C:Bb); the bass, 12:13 (A:G). In Part II, the bass keeps a steady pulse, which the horns depart from and return to by leapfrogging on the series. Parts III, V, and VII explore the relation 3:4:5 (also expressed as A:E:C in Part VII); Parts IV and VI, the relation 5:6:7.

You don't have to know any of this to enjoy the music. We all keep our own times, and they're all related, in a way my mother would have appreciated.

Another salient aspect of this and indeed most of my music is my set of extended performance techniques, which I call hyperpiano. This involves playing the keys with one hand and the strings with the other using slides and bows of metal, plastic, and rubber, specifically copper bars, brass bowls, CD jewel cases, tape cassette boxes, and rubber sheets. Sliding produces complementary overtones that move in contrary motion, one down toward the fundamental and the other up toward infinity. Bowing produces clusters of overtones whose parameters vary with the tool used and the placement, pressure, and velocity of its application. The goal is to expand the piano's palette to include natural sounds as well as equal temperament, an artifice if ever there was one.

credits

released January 1, 2009

Ned Rothenberg - alto sax, clarinet, bass clarinet
Dave Ballou - trumpet
Denman Maroney - hyperpiano
Reuben Radding - bass
Michael Sarin - drums

Copyright 2007 by Denman Maroney, Mon$ey Music (ASCAP). Recorded Jan. 4 and 6, 2008 by Michael Brorby at Acoustic Recording, Brooklyn NY. Mixed and edited Jan. 22, 2008 by Michael Brorby at Acoustic Recording, Brooklyn NY. Mastered by Luis Delgado. Produced by Denman Maroney. Executive production by Trem Azul. Photos by Joao Silva (from the polaroid painting series).

Udentity was created with support from Chamber Music America's New Works Creation and Performance Program, funded through the generosity of the Doris Duke Charitable Foundation.

CD published in 2009 by Clean Feed Records (CF137CD).

license

about

Denman Maroney Durfort, France

Denman Maroney is known for his "hyperpiano" techniques (playing the keys with one hand and the strings with other using slides and bows of metal, plastic, rubber, and wood) and his “temporal harmonies” (composing and improvising in multiple tempos). He has recorded for Outnow, Porter, Innova, Clean Feed, Nuscope, Kadima, Cryptogramophone, New World, Mutable, Victo, and Erstwhile among others. ... more

denmanmaroney.com

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