Tag Archives: free jazz improvisation

Rushing Spirit Breath details

Rushing Spirit Breath
for Taegŭm and Percussionist (voice, crotales, Filipino kulintang [8 bossed gongs], suspended cymbal, 2 Peking Opera gongs [high, medium], Korean ching and k’kwaenggwari, Japanese Temple bowl [high] (with bead striker), 2 tom-toms [middle, low], bass drum) (2017)
duration: 7′ 01″
publisher: Australian Music Centre

score available from Australian Music Centre

film sample

Bruce Crossman introduces Rushing Spirit Breath’s spiritual and colour concepts

program note
Rushing Spirit Breath explores the Korean Sanjo concept of scattered melodies that gradually accrue tension, in my case, to express the Judeo-Christian idea of the Holy Spirit presence as being something that rushes into being. The work is structured as a series of accruing segments. It emerges from breath-like stillness of fluctuations of taegŭm breath and emergent percussive colours into fast, wild ranging register colour and upper emergent membrane excitations of the flute together with percussive barrages at the climax. The final segment keeps this momentum with high long-breath phrases on taegŭm, shrill and fluctuating, over metal and skin percussion punctuations to recapitulate the quieter low breathed opening as a more tension filled, ecstatic atmosphere coda to the work. Symbols of Judeo-Christianity open and permeate the work through whispered sprechstimme utterances as transcriptions of glossolalia—speaking in tongues—that gradually merge with the Korean words of joy and inner spirit rhythm connection in “chŭlgyŏyo, möt.”

dedication note: Hyelim Kim and Claire Edwardes

Bruce Crossman, Rushing Spirit Breath (bars 1-4)

first performance:

It was first performed by Hyelim Kim (taegŭm) and Claire Edwardes (percussion) as part of the Creativity Unlimited Music Festival 2017, on the 11th August 2017, at Western Sydney University with support from the School of Humanities and Communication Arts.

Hyelim Kim (taegŭm) and Claire Edwardes (percussion) in action at Creativity Unlimited Music Festival 2017 (photo: Petar Jovanov)

Strange Invisible Perfume details

Strange Invisible Perfume
for Guzheng, 1 Percussionist (voice, crotales, kulintang [6 bossed gongs], hi-hat cymbals, suspended cymbal, 2 Peking Opera gongs [middle, high], Korean ching, 3 bongos [high, middle, low], 2 tom-toms [middle, low]) (2017)
duration: 11′ 46″
publisher: Australian Music Centre

Chiu Tanching (guzheng) & Claire Edwardes (percussion) – Hong Kong-Sydney synergy

film sample: 

Poetic Energies Across Sonic Space – Night Concert (last work)

score available from AMC

program note

Invisible Perfume explores the drifting sense of time and moment as expressions of spirit through subtle timbre graduations of the guzheng with muscular colour resonances of sonority and driving percussion qualities to suggest the sensualities of texts from Shakespeare, Tang Xianzu and Song of Songs. The form the work takes is of opening and closing sections with subtle changes of tone colour from wriggling string possibilities on guzheng and sharp Chinese opera percussion and lingering crotales sounds as types of perfumes of sound of stirring ‘invisible perfume’ of the sensuality of Cleopatra. Inside these frames, are balanced muscular sections with the guzheng’s full string arpeggios and skin and metal percussion barrages to express the sensual and joyful suggestions of the Biblical ‘I arose to open for my lover’ and ‘fingers with flowing myrrh’. The ‘strange perfume’—a central image from the Shakespeare—is explored as a central section of the musical structure and expressed through trembling strings and half-spoken whispered voice amidst guzheng chordal resonance; these are intended as evocations of an invisible sensuality and spirit which ‘hits the sense’ in a Shakespearean bold-moment and Daoist quivering nature of ‘sun rouged blush, damp with rain’.

dedication note:

Strange Invisible Perfume is dedicated to Chiu Tan Ching (guzheng) and Claire Edwardes (percussion)


Poetic libretto: from English title translations by Lindy Li Mark with Romanisations of the Chinese script by Milky Shan Man Cheung from the Young Lovers’ Edition Peony Pavilion, original play by Tang Xianzu; Romanisations of the Chinese script by Jocelyn Chey of Shakespeare’s Anthony and Cleopatra; Romanisations of the Chinese script by Jocelyn Chey of Song of Songs

Bruce Crossman, Strange Invisible Perfume (bars 139-57)

first performance:

Chiu Tan Ching (guzheng) and Claire Edwardes (percussion) premiered Strange Invisible Perfume as part of the Night Concert at Poetic Energies Across Sonic Space, on 20 July 2017, at Western Sydney University with support from the Australia-China Institute for Arts and Culture

Chiu Tan Ching & Claire Edwardes – sensuous sonic synergies in Poetic Energies