David Moore

Notes from the Composer

Tuesday, June 15, 2010

Put Your Weight Into It

Performed by David Moore, piano; Becca Stevens, voice; Jean Rohe, voice; Myk Freedman, lapsteel; Jeremy Viner, clarinet; Patrick Breiner, clarinet; Greg Heffernan, cello; Leigh Stuart, cello; Jeff Ratner, contrabass; Mike Effenberger, tape delay.

The two pieces included here, Put Your Weight Into It and And Then It Rained, were written with a similar set of guiding principals. As with the majority of my output for the last few years, the instrumentation and orchestration remain relatively undefined. The songs give license to a bandleader far beyond that of a traditional score, defining parts by their range, not their instrument. In Put Your Weight Into It, the score specifies only three parts: rhythm, drone, and low. Each section contains guidelines for instrumentation, but the ensemble leader ultimately has the freedom to assemble the written material from an orchestration of his or her choosing.  Both of these pieces have been performed with equal effectiveness by a traditional chamber ensemble, a rock band, and an experimental electronic group. As with the vast majority of my compositions, both imperfect intonation and tasteful deviation from the written parts are strongly encouraged.

And Then It Rained

Performed by David Moore, piano; Becca Stevens, voice; Jean Rohe, voice; Myk Freedman, lapsteel; Jeremy Viner, clarinet; Patrick Breiner, clarinet; Greg Heffernan, cello; Leigh Stuart, cello; Jeff Ratner, contrabass; Mike Effenberger, tape delay.

This compositional structure was born out of necessity.  My large ensemble Bing and Ruth is the primary performer of these works.  The scheduling complications of keeping a band of 11 fantastic musicians together made it necessary for the compositions to be flexible enough to adapt to whatever instrumentation happened to be available. As I continued to write this way, I came to realize that by using this process, the pieces could be adapted not only to whomever happens to make a gig but to whatever group wishes to perform them.

As for the actual story and meaning behind these pieces, as always I prefer to let the listeners come to those conclusions on their own.

 

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Comments [12]

Marcos from Atlanta

Moore is such an amazing pianist. I listened to Book of Days and Neighborhood Shifts repeatedly. His sense of harmony is unbelievable and I've been recommending his work for years.

Sep. 14 2010 02:14 AM
Solomon Dorsey from NYC

Mr. Moore's music is some of the most honest music in existence, especially in this period of obtuse, unintelligible bleeps and blurps that so often passes for "new music". His music is highly conceptual, yet it still manages to stay firmly rooted in heart, holding an amplifying mirror to the emotions of all involved, both listener and performer. In fact, this music is so gorgeous and evocative that it is often difficult for me to listen to. It brings up things inside of me that I'm not yet ready to explore.

Jun. 28 2010 10:33 PM
Sorcerer Jones from Hot Tamale, PA

Dr. Scott Giles... What are you talking bout? David Mooore is not a commercial artist at all, really, though he could be if he wanted to. He just does his thing. And by what standard are you holding his music up to be judged for 'originality'? Sounds like he's keeping it pretty real to me.

Jun. 28 2010 06:34 PM
Dr. Vega from Berlin, Germany

I agree in general with Dr. Scott Giles from Sacramento. I add one more positive thing- this composer sounds refreshing.

Jun. 26 2010 06:08 AM
Brian Bender from Brooklyn

I have the pleasure of calling David Moore a friend and collaborator, both. He and I co-produced the record from which these pieces are excerpted. I also enjoyed the individual pleasure of seeing this process through as the recordist and mixer. The entirety of the ensemble for this record was magnetized by the love for his music and by it's authenticity. If I may respond to Dr. Giles comment, a large amount of the detail and sophistication comes from the overtone series generated by the proximity of the fundamentals of the instruments David selected and the way they are orchestrated. These interactions are simultaneously crucial for these compositions and sorely lacking in this playback media, which may be partially what you are perceiving. I invite you to reserve judgment on the detail of this material until you hear the vinyl... This guy is a genius and a good human being, to boot. You oughta hear him play banjo.

Jun. 25 2010 08:04 PM
M Lunardi from Holland

I listen and listen again... I can't get it out of my mind. Not only the notes, but it puts an atmosphere which is really beautiful. It makes me feel floating, flying, falling... this music is powerful in the emotions that it brings.

Jun. 24 2010 10:55 AM
Feast of Music from Park Slope (aka, The Promised Land)

This man writes music that feels like you're drowning in the shallow end of a pool. Bring water wings.

Jun. 22 2010 08:50 PM
Peter Max Lawrence from San Francisco

I trust no other composer with the ability to make work of there own accord that perfectly suits a variety of my film and video projects. David's work always matches the music in my head and I quite like that. Top notch stuff by the buckets full. Bring forth more 'Bing & Ruth.'

Jun. 22 2010 03:48 PM
matthew from Rochester NY

I accidently came accross David Moore and his band Bing&Ruth 2 years ago. I couldn't believe what I was hearing. The sounds being produced so beautiful from 8+ people had me floored for months. I drove 9 hours to see Bing&Ruth play a 30 min set and it was adsolutely worth it. Not only because of the Binf&Ruth so, but because there I purchased one of his solo piano albums Neighborhood Shifts. This album will forever be in my top 5 albums of my live.

Jun. 22 2010 09:32 AM
Dylan Mattingly from Berkeley, CA

Gotta tell you, I've listened to everything on this site now at least (I'm pretty sure), and your music is what I most want to listen to again.

Jun. 21 2010 04:34 PM
Lilith Beitchman

I had an immediate swelling in my limbs upon hearing David's work for the first time. I find the unceremonious tremors as he palpates his listener. As if to meld with us, You listen with other than your usual hearing as the notes present themselves to you, almost timid at first, then with a great awakening. My mind is torn, shattered to bits and pieces. This is a man rapt in his volatile passion and it is reflected in the event that is David Moore's gift.

Jun. 21 2010 02:33 PM
Dr. Scott Giles from Sacramento, CA

And then it rained is the superior of Moore's two pieces here. Although it is not a very original work it is a sincere one. It has the quality of being composed by a professional but lacks enough detail and sophistication so one may relegate it to the pigeonhole of "commercial art."

Jun. 21 2010 01:02 AM

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