The source of the first musical writings is the experience and the memory of a certain sound world (melodies). As in poetry, that writing progressively becomes a form of domestication of that memory, until it replaces it or makes it an object of study. In the case of poetry, it always exceeds that crystallizing function of writing, to work on the edges of language, widening the limits of the nameable. As language is the means by which we access the world and position ourselves in it, poetry configures the possibilities of establishing new existences, available only virtually until they are indicated by the word, but with that indirect, bordering modality, characteristic of poetry. The vector present in every score towards a realization that is based on that writing, a vector that is the sediment of the use of the score, gives the score the possibility of also establishing new existences: weaving a matrix (or a clipping of the infinite fabric of sounds, acts and even words) from which something can happen or "be happened", actualized. Thus the score turns to poetry.
This music was written, which does not mean that it was composed. Its writing is a field of possibilities and what sounds is the discovery of them. They are like counterpoint exercises, overlapping melodies, in the manner of the “species” of the old musical pedagogy. But to play them, the melodies must burst and regroup in small harmonic fields, suspended in melodic time. Those groups, those little bouquets of notes, we put them together by playing, as if choosing herbs, spices from a garden.
released November 30, 2020
'especies de basilea' written by Tomás Cabado, in five parts (incisos)
Recorded in Espacio Ceibo,
Buenos Aires, Argentina (September 2019)
Tomás Cabado: electric guitar
Catriel Nievas: electric guitar
Sergio Merce: EWI 4000S
mixed by Sergio Merce
mastered by A.F. Jones, Sergio Merce