By & For Caballito Negro
Compositions by Caballito Negro:
That Which Colors The Soul (2015) – Tessa Brinckman & Terry Longshore; fl/tabla/electroacoustics/bottles/waterphone
Phantom Canyon (2018) – Tessa Brinckman & Terry Longshore; fl/melodica/toy piano/hand percussion/waterphone
Night Hunter (2018) – Tessa Brinckman & Terry Longshore; bass fl/vibraphone
Edge of Alchemy (2018) – Tessa Brinckman & Terry Longshore; prepared piano (4 hands)
Compositions commissioned by Caballito Negro:
Ivan Trevino – This is Like Jazz (2015) – flutes/percussion/vocals
Wally Gunn – Bare White Bones (2017) – flutes/percussion/vocals
Upcoming: Eric Griswold – Timbuktu Stories – flutes/percussion/vocals
Upcoming: Alex Shapiro – TBD – flute & percussion
Workshops & Masterclasses
While on tour we are offering students any of the following workshop topics (singularly or in combination), which are both hands-on and theoretical.
1) traditional masterclasses – for flute and percussion singularly or as chamber music (which can include other instruments also).
2) performance interpretation of works composed by students and/or faculty by performing them during the workshop, and leading students through solutions to orchestration problems commonly arising in flute and percussion repertoire
3) composition, with “That Which Colors the Soul” by Tessa Brinckman/Terry Longshore as an example of marrying traditional forms with modern aesthetics.
4) arranging, with “Music for South Africa” by David P. Jones as an example of a creative arrangement, and recreating sound beyond the page.
5) intra-cultural theory, practice and issues arising in the use of Asian Indian, Indonesian, Japanese, and African music within Western contexts. Focus can be on specific rhythmic or modal traditions.
6) the use of improvisation and/or graphic notation in order to compose, or as a final compositional form. Different systems of improvisation (eg. Cage vs. Zorn vs. Partch vs. Indian vs. African vs. jazz vs. baroque) can be contrasted and utilized. The workshop directs important questions concerning a) how these forms serve performers best b) issues that arise over control of the performance and its consequent perceived value by both performers and audience and c) how performers communicate ie. the what and how or conversation through music.
7) composition for theater which may be incidental, through-composed and/or improvisational,
leading to individual working theories on how
text and music intersect. What musical languages have worked in theater so far, and what new territories are possible in professional theater practices? This would be best if the student demographic came from both music and theater worlds.
8) extending the technical palettes of flutists and percussionists