Composer: Taran Carter (born 1980)
Date of Composition: 2005
Premiere: 28, November, 2007 – Barry Cockroft (alto saxophone), Adam Pinto (piano); Rolston Recital Hall, the Banff, Alberta, Canada.
Duration: 9 minutes
Difficulty level: 8
- Instrumental techniques include quarter tones, subtones, glissandi, flutter tonguing, slap tonguing, air noises, tongue clicks, altissimo register.
- Octave displacements, regular leaps of major 7th, minor 9th etc.
- Rhythmically complex, occasional irrational beat subdivision, syncopated pseudo-disco rhythms (an ability to dance like John Travolta would help!)
- Instrumentation: alto saxophone and piano
Publisher: Reed Music
Naked Hum (2006) is a virtuosic and atmospheric piece designed to explore texture, density, distorted repetition and disco rhythms. The work is dense and complex at times but has an inherent simplicity to its form and melodic material disguised through jagged octave displacements, extreme registers and irrational subdivisions of the beat. Naked Hum begins with the work’s unifying motif (played on the piano) while the saxophone glides around this motif (or riff) employing quarter-tones and glissandi to create an eery ambience. Hidden subtly in this texture the piano player is asked to click his tongue on the occasional backbeat. This is one of the works first, of many, references to Pop music. The music builds in intensity until about five minutes into the piece when the piano plays discoesque syncopated rhythms and a wild dialogue/dance between the piano and the saxophone begins. This section climaxes with a chaotic unison passage and, with a gasp, the music explodes into a kind of exhausted recapitulation of the original idea. Naked Hum was premiered by Barry Cockroft and Adam Pinto on the 28th of November 2007 in Canada.
About the composer:
Born in 1980 Taran Carter has been writing music since he realised that to be a Pop Star you either had to look good, sound good or write nice tunes. He chose the latter. Taran’s musical interests are diverse; they include Toru Takemitsu, Paul Simon, Iannis Xenakis, Augie March, Arvo Pärt, Tom Waits and Claude Debussy. Perhaps because of these varied influences Taran’s music often explores the common aspects between the pop and contemporary classical worlds. This approach has attracted performances by groups such as the Melbourne Symphony Orchestra and Opera Australia.
Taran has written music for film, television, theatre and in 1999 was asked to write two songs to which the Australian Synchronised Swimming Team swam at the 2000 Sydney Olympic Games.
Taran studied at the Victorian College of the Arts in Melbourne under the tuition of Mark Pollard, Julian Yu and Johanna Selleck but also found time to grab lessons from other influential composition teachers such as Michael Smetanin, Stuart Greenbaum and Laurie Whiffen.
Taran lives not far from Melbourne with his partner and two daughters.