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piano 510
water -david cunninghamtrack by track breakdown
1 stars 5.17
A reworking of existing material, loops made from elements of the multitrack master of the track 'Glide/Spin' on the album 'Fourth Wall'. Originally made for '5 Closedowns', my series of television pieces made in 1983. The images are all of reflections on slow moving water in bright sunlight.2 the next day 2.23
See track 15 - an extension based on similar source material made, naturally enough, the next day.3 once removed 1.54
A more minimal version of the technique used on track 1, the source is one guitar multiplied about 10 times at 4 different pitches.4 the fourth sea 2.20
Made for Ashley Bruce's Fragile Earth documentary on the polluted Mediterranean. The fifth sea, recorded the same day, became 'the mirage' on the greaves, cunningham CD (piano 506).5 white blue and grey 4.58
A remix of an unused film soundtrack minus drums, bass, saxophone solo, etc.6 shade creek 2.33
The first of a series of multiple guitar pieces made in 1986 in which my main concern was to usefully employ the failures and idiosyncracies of my ability on the instrument.7 short winter's day 4.05
For Chris Rodley's 1992 documentary 'Naked Making Lunch' on William Burroughs and David Cronenberg.8 blue river 3.59
A reworking of material used in the Mediterranean documentary (see track 4). This forms the second release of an occasional series built around phasing repeating phrases; the first is 'one summer' on the greaves, cunningham CD (piano 506).9 beneath the vines 2.56
The fourth 1986 guitar piece, see track 6.10 yellow river 6.04
Again made for '5 Closedowns', for this sequence the water reflected a yellow so saturated that it reproduces differently on every television set.11 low sun 2.27
As track 7, for Chris Rodley's documentary, a slowed down remix of fragments of a song never mixed or otherwise used.12 only shadows 3.20
Made for a restaurant scene in a work for television by Robert LePage. Reworked from an earlier track (see track 5) using the elements left out of that version.13 a liquid hand 2.51
See track 3, a similar structure.14 dark ocean 2.07
Derived from a series of delay loops of which others provided some of the music for Ken McMullen's film 'Zina' (1985).15 the same day 7.01
Made for a gallery installation by Deborah King, within a 24 hour deadline, the theory being that it took less time to make a new piece than to search through old tapes for something suitable. On that particular day Grenville Davey was welding next door and his power drain affected the speed of my analogue tape recorders, creating a subtlety of tuning that would be impossible with digital machines.David Cunningham 1992
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