Gr@w£ix (Grawlix) uses loops in a similar way to DJs and other live performers. Material is played, recorded, and played back while something new is recorded on top of this loop. This process continues any number of times to stack material and create the effect of multiple players from just one person. The material of Gr@w£ix is inspired by electronic dance music fused with a contemporary percussion style. The term grawlix refers to a string of typographical symbols (such as %@$&*!) used in place of an obscenity, especially in comics.

Loops is an exploration of repetition at varying time scales

"Anything Worthwhile is Perishable" uses randomized echoes and manipulated repetitions to create a lush soundscape. Several notes on the vibraphone are “prepared” by placing various metallic objects on the keys. The buzzing this creates mimics the mbira, a traditional African instrument associated with the Shona people of Zimbabwe. This movement is based around a mbira solo and the scale used by the performer is based on the traditional Nyamaropa tuning of the mbira.

Inspired by the music of artists such as Squarepusher and Venetian Snares, Von Hansen's The Breaks has relentless energy and gritty break beats played on prepared drums (frying pans, tambourines, cymbals, etc. placed on the drums) cymbal stacks, marimba and vibraphone. The live instruments are accompanied by an electronic track that would fit in at a stadium full of glow sticks and a DJ with a psychedelic raccoon head.

Luminous Vortices - Von Hansen Performed by Rela Percussion Live at Central Michigan University October 2018 Instruments were created as part of Rela Percussion's GAPP residency at the Toledo Museum of Art. Commissioned and performed by RELA Percussion.

Suite for Prepared Vibraphone is a series of pieces composed for a vibraphone with various objects affixed to or placed between the bars.

The preparations include:
Coins taped to the top of the keys to create a sizzle effect.

Tambourine jingles placed on top of each other make an articulate “chick” accompanying the natural bar sound.

Guitar strings affixed to the bottom of several keys almost sound electronically altered.

Foil packets filled with rice develop a soft resonant fuzz.

Erasers placed between the low notes allow these notes to be dampened while the rest of the notes resonate.

------

ABOUT THE PIECE:

This composition was inspired by John Cage’s Sonatas and Interludes for prepared piano (1946-1948). Similar to Cage’s work I strived to make a multi-moment work in which the feel of each movement is a drastically different. The idea of creating angular, articulate music, introspective resonant music and intensely aggressive music from the same set of preparations was an exciting challenge.

I. Oblique is an introduction into the sound world of the preparations keeping the textures isolated within in each gesture.

II. Transcendent begins to combine the prepared sounds with the natural sound of the vibraphone using a constantly reoccurring 5 note row.

III. Incessant blends all of the preparations together in an intense, aggressive and persistent finale.

-Von Hansen

Suite for Prepared Vibraphone is available through C. Alan Publications http://www.c-alanpublications.com/sui...

The fourth movement of Suite for Prepared Vibraphone, Life is Sweet on the Edge of a Razor, is inspired by the Japanese, serialist marimba works by MIki and his contemporaries. Commissioned by John Brown. Performed by Enrique Morales

Vocal clips from Lebron James “Mic’ed up” from Game 2 of the 2015 Eastern Conference Finals are chopped up creating an athletic work for piano and electronics. Commissioned by Emily Grabinski.

Music: Von Hansen Choreography: Stan K. Rogers

Many cultures have a traditional style of singing used either in a religious setting, as a work song or for entertainment. Two such traditions are the Inuit and the Tuvan throat singing styles. In both of these styles the performers are able to create textures and harmonics that go beyond what one traditionally thinks possible using only the human voice. Tuvan throat singing is related to the practice of animism which believes that all animals, objects and places possess spiritual qualities. The performers, nearly always male, use a series of harmonics, whistles and guttural sounds to mimic these spirits. Inuit throat singing is performed by duos of women and originated as a game to pass the time while the males were hunting. The object of the game was to be the last to run out of breath. Breath uses samples of traditional performers of these styles blended with a series of electronic and natural sounds.

Music: Torin Andersen Arrangement: Von Hansen Choreography: Stan K. Rogers

Musicans

WC Quartet John Harrison: Violin, Rob Loren: Violin Elizabeth Wallace: Viola, Susan Mayo: Cello

Spirit of the Stairs Torin Andersen: Guitar, Zach Roach: Guitar Caleb Drummond: Bass, Will Erickson: Drums

VON HANSEN PERCUSSION