Satchel Henneman | August 11
Hello, fans of new music!
This Sunday at 8pm, we will be presenting a set curated by guitarist and friend of the session, Satchel Henneman. Satchel Henneman is a skilled classical and improvising guitarist, performance artist, and composer. Satchel, who was raised in the Seattle music community and graduated a few years back from Cornish College of the Arts, is home on break from his graduate studies at Yale and we are delighted to take advantage of this opportunity to reunite forces! We love Satchel for his consistent drive to play new works and compositions by living composers, as well as his lightheartedness on and off the stage.
Satchel will be joined by Simon Henneman (guitar), Ebony Miranda (cello), and Troy Schiefelbein (bass). This will be a great evening, so please don’t miss it! Their set starts at 8pm, with an open session to follow. Read on for some words from Satchel, as well as the prompt that you will be applying to your improvisations.
/*…is a presentation of*/
/*a fragment of*/
*X, a collection of solos toward de/construction. I am grateful to Ebony Miranda, Simon Henneman, and Troy Scheifelbein for playing EBONY MIRANDA, SIMON HENNEMAN, and TROY SCHEiFELBEIN, respectively.
*X is the compresence of contradiction. Compresence is the state of existing together. Contradiction is things which are opposed.
*X is movement between poles. Poles form the boundaries of a distance.
*X moves from synchronic to diachronic. Diachrony is the viewing of objects with the consideration of time. Synchrony is the viewing of objects with the consideration of non-time.
/*The movement of*/
*X from synchronic to diachronic is digital and by degrees; it occurs suddenly but not all at once.
/*The pieces of*/
*X are syntagmatically identical and paradigmatically equivalent. Syntagm is a set of forms that are related sequentially. Paradigm is the function of a unit in said set. Paradigmatic equivalence occurs when a unit outside the set has an equivalent function to a unit within the set.
I would ask the improvisers, in our collective improvisations to follow, to consider the application of these principles to something they find familiar or dear.
The application of:
Poles, distance, and movement