Arnold Dreyblatt | Kings | Clubs & Concerts | Indy Week
This is a past event.
click to enlarge dreyblatt.jpg

Photo courtesy of the artist

Arnold Dreyblatt 

When: Wed., April 5, 9 p.m. 2017
Price: $12 - $15

A solo show by Arnold Dreyblatt is a relatively rare occurrence. Most of the time, his music calls for a larger ensemble with him and his bass at the center. Most of the time, that group is the Orchestra of Excited Strings, an ever-changing band of assorted string instruments and percussion, but sometimes he plays with other groups. His 2012 collaboration with Megafaun, Appalachian Excitation, was a particularly memorable change of pace, imbuing his minimalist practice with a bit of the trio's lilting Southern rock.

Dreyblatt's music is essentially an exploration of the overtone series, the fundamental mathematical underpinnings of all pitched sound. When you pluck a string or blow into a pipe, you not only get a sound at the basic frequency of the string, but you also get bits of the pitches that are multiples of that fundamental pitch, which are called overtones. You can't always hear the overtones directly, but their relative volume determines the difference in sound between, say, a violin, a clarinet, and a piano. The properties of the overtone series have guided Western music for millennia. What Dreyblatt did was devise a different way of getting to those overtones.

At some point in the late seventies, he discovered that if he strung his bass with piano strings and smacked them sharply with his bow at carefully chosen places, he could pull out all kinds of wild overtones. After the initial ping of bow hitting the wire, the ghostly ring of a much higher pitch floats up, an unruly penumbra that sits halfway between the sound of throat singing and a mouth harp. The approach is percussive and aggressive, and it felt right at home in the flexible sonic environment of the early-eighties New York City avant-garde. In the Orchestra of Excited Strings, Dreyblatt combined rock music and minimalism in a slightly more acoustic version of what Glenn Branca and Rhys Chatham were already doing with their guitar orchestras.

Solo, Dreyblatt has been content to let the overtones do most of the talking, teasing out gossamer landscapes and then gamboling through them. On this show, he'll alternate between his trademarked rhythmic smacking and bowed drone. And, in an intriguing twist, he'll present a relatively recent work based on recordings from an MRI machine played like an instrument. It's unclear what to expect from a stringless Dreyblatt piece, but chances are it will be equally engulfing. With Joe Westerlund and Tylake. —Dan Ruccia

Enter your starting address (include city or postal code):

(directions will appear below map)

Nearby

Reviews/comments

Subscribe to this thread:

Add a review

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Roll over stars and click to rate.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

© 2017 Indy Week • 320 E. Chapel Hill St., Suite 200, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation