Toca is a piece under development, with the colaboration of and dedicated to Artur Miranda Azzi.

Working with the perspective of music as performance, the piece articulates three main intentions: (1) explore the guitar's weight and its manipulation as a guiding compositional material; (2) search for automatizations of the performance's visual, physical and spatial perception, using a blackout and an interactive system that projects spotlights at the hands of the performer and/or specific parts of the guitar, creating and playing expressively with "assemblages" of the guitar's and the guitarrist's bodies; (3) work with the idea of 'preparation of the performer's body' or of the space in the production of sonorities.

The registers and score here avaible are of the process, still in develpment. The video, recorded by Pedro Aspahan, is the first register of the piece. The photograms were taken from a rehearsal recording. Here you can find a bit of its documentation and the codes used in their production.

estante em posição ordinária is a piece composed in colaboration with and dedicated to Pedro Henrique Gilberto Alves de Souza.

The piece has the intention of dialogue with the traditional guitar performance practices as compositional materials. Approaching the contruction of musical discourses as performative, the piece focuses mainly in spatial, phisicality and corporeality relations. In that way, the movement of the arms, the direction of the gaze, the positioning of the guitar in relation to the performers body, for example, become key aspects in the expressive articulation of the piece.

piece composed for Sonante21

anesidora has the intention of exploring the instrument pandora, developed by Sergio Freire, with Obié, interactive music system in which I took part in the development during my undergraduation at UFMG, through a research initiation in LaPIS.

The piece explores the possibility of producing sounds in the pandora remotely, without any actions of the percussionists. Certain body gestures in the performance of the instruments are explored through that possibility. Using Obié, audio descriptions of certain sounds gestures feed algorythms that produced certain sonorities in the pandora. With those two main variables, the piece plays with the idea of action-reaction and physical/corporeal expectations of the performance in multiple ways.

piece composed for Hanatsu Mirroir

Focusing in the body and instrumental expressivity of the performers, the piece explores performer's mouth as composition materials. For that, it uses three cameras focusing in their mouths, together with explorations of their voices and, mainly in the case of two wind performers, in the materiality of the instruments. The piece happens almost intirely in blackout, using IR iluminators in the video capturing of the mouths.

piece composed for Ensemble Móbile, during the 40ª Oficina de Música de Curitiba

A final version of facePiece, a piece for faces. The piece was premiered in Cohen New Works Festival, with the support of GO! Grant. See miniatura1 for more information about the process of creation of the piece.

At the festival, two versions of the piece were played: a single video, played in a single screen in a public library; and an black box setting installation, with bigger faces. Documentation of both is avaible below.

In total, 11 performers performed the full piece and 4 the miniature (first 3 minutes of the piece). Among them are music composers, musicolgists, instrumentalists, dancers, poets, media artists, actors, social service workers... face performers!

Faces serve as powerful sources of expression across different performances, from artistic to everyday ones. This piece is an exploration of faces where facial muscles -with their complexities and limitations of movement- are the core materials of a composition performed in 'unison' across many faces, searching for new articulations of expression. Some of which may evoke a sense of musicality.

Although focused on facial expressions, this work challenges the traditional view of expressions as mere reflections of emotion, instead exploring a broader array of ways that faces can communicate expressively. Specifically, the piece aims to: (1) dissect the face into its components, analyzing each muscle’s material properties and movement capabilities, with attention to their ranges and movement qualities; (2) establish new connections between muscles, grouping them not only by spatial proximity but also through movement coordination; (3) introduce a sense of 'polyphony' in facial movement, engaging multiple muscle groups to express different intentions and movement qualities simultaneously; (4) explore differences between multiple performers' faces, using precise timing and synchronized movement to emphasize these distinctions; (5) investigate physical excesses in facial expressions, such as wrinkles, tension, and traces left by certain movements; (6) create opportunities for each performer to explore and highlight unique aspects of their own facial characteristics.

Each face will be individually recorded and projected in sync on the walls of an installation space. The recordings will be front-facing, showcasing each face’s full range of expressions, even if performers’ eyes look elsewhere. Played in a continuous loop with an estimated duration of 10 minutes, these videos will feature 12 or more performers. Arranged in the space to highlight individual differences, the projections will maintain a sense of a cohesive and complex performance, radicaly filling up the space with the face performances the will also be perceived as a single performance. The installation will be silent, any musicality will arise solely from associations with the facial muscle movements over time.

What is presented here is part of the documentation of its process: a 3 minute miniature, performed in three different occasions as both tests of notation of the score and technical aspects of the face recordings and its final version with 15 performers, in 2025.