Grey Sky, Wet Sky

Sound Dialogue Series: Grey Sky, Wet Sky is a collaborative work between Bret Ellerton and Michael Andrew Doherty.  This work involves tonal music, ambient soundscape, and phonography. Both Bret and Michael explore elements of space and silence in order to create a sonic experience that fosters a balance between the recorded work and the naturally present sounds of the immediate environment.

 NOTE TO THE LISTENER: This work was created with the intention that it be listened to in silence.  Most of the recorded material is simply inaudible in contexts like driving, washing dishes, dinner parties, or sporting events.  However, once one has established a relatively silent environment, ambient noise should then be included as an enjoyable and integral element in the composition.  The volume should be adjusted accordingly to strike a harmonious balance between the recording and ones immediate sonic environment, with perhaps a slight emphasis on the volume level of the sound recording.  When a suitable volume level has been determined, let it remain at that level for the entire disc. 

CDR available via CDBaby and digital download via CDBaby and ITunes (soon), or CDR via Paypal ($8 + Shipping): email to inquire.

Listen to Track 7 below for sample.

1 Grey Sky, Wet Roads, Fall Colored Fields, and Electricity

Ellerton.  Description: Guitars recorded 09/10/05.  AM radio static recorded and manipulated with reverbs, other effects, and on board equalization 10/20/05.

2 Wet Sky, Forest, a Voice

Doherty.  Description:  Phonographic rain piece from forest floor near Chapel Hill, N.C. Nov 24, 2005.  Tile bells w/fx, dhol (drum), lap harp, and duduk, Recorded Dec 2005.

3 Alleyways Hold Hidden Beauty, the Pulse of a City

Ellerton. Description:  Ambient sound recordings of four different alleyways in Seattle, Washington -mid January 2006 - manipulated rhythmically via computer. Hand drums, xylophone, sequential circuits six track, as well as reintroduction of some chords from part one – Recorded late January 2006.

4 On Snowy Day, Elements of Sun-Drenched Desert and Rain-Soaked Forest

Doherty with additions by Ellerton.  Description:  Phonographic elements: Rain piece from forest floor near Chapel Hill, N.C., a piece recorded on the ruins of a late mid-Pueblo period site in spring of 2006 in central New Mexico, and a recording of cicadas, crickets, and other insects in Denver, summer 2006.  Turkish Ney, tuning forks, hand drums, dhol, pitched tile fragments, tile bells, and bass duduk.  Recorded November 29, 2006.  The part remained open after the 5 minute mark.  Ellerton added acoustic guitar washes and voice parts with a single drum hit and bass note.

5 Like Water Poured Into Water – Skin as Rain as Road as River

Ellerton.  Description:  Field Recordings from: The Green River, Washington Feb 23, 2007(manipulated to rise in surges). Spokane Falls Washington -2007 (manipulated by isolating various frequencies and composing them via computer).  Rainfall from a variety of places in Seattle recorded 2007/2008.  Water sounds from the Icicle Trail near Leavenworth Washington 2007.  Various alleyway activities recorded in downtown Seattle Washington 2007–08.  I-5 Highway at the Denny overpass in Feb 07 and March 08.  Other performance elements include: metal bowls, gongs, and voice. There is also reintroduction of segments from previous parts 2, 3 and 4 of above sound dialogue.

6 Suspended, Snow

Doherty.  Description: Phonographic elements from the Rio de las Animas Perdidas and Pinkerton Springs, north of Durango, Colorado in January 2009, digitally effected.

7 Circulation 

Ellerton and Doherty.  Description: Reprise of part one performed by Doherty on Armenian duduks (B, A, and Ab Bass).  Ellerton added acoustic guitar, synthesis and reworked phonographic recordings from part three.

Composed, performed and recorded by Bret Ellerton and Michael Andrew Doherty.  2005 - 2009 as a Sound Dialogue.

Copyright © 2009 Bret Ellerton and Michael Andrew Doherty

MUSICIAN’S RULES FOR DIALOGUE

1) Listen to the preceding part first before beginning your part.  Use the preceding part (or parts) as an inspiration or leaping point for your part (just like in conversation). Parts can be short – probably better to keep it simple - but do what you want.

2) Please determine whether your part is “closed” or “open” for additions in further exchanges.  “Closed” means that the part is finished and no additions can be made to it.

3) You may use any part of previous parts (e.g. notes or sounds) for your own part – like theme and variation, remixing, or other such recycling, regardless of the part’s status as “closed” or “open”.

4) Before sending it back, make sure your part is finished – mixed etc for final production – this will simplify the whole process.

5) Please keep notes on each part, and title them for lack of confusion (dated with instrument and process description).