Fredy Vallejos

This video is an extract from the final part of the work without its performance component. Through different texts (Guambo: Andean Nuclear Spring, Lema: Ñuka hatunmamata pachaka imata kan nishpa tapukpika, BIPM: The International System of Units), the work explores the concept of identity, from Time as a transversal axis of reflection, and of sound as a temporary phenomenon par excellence.

TEMPUS / PACHA then plays with the limits between a discursive and cyclical temporality. Between a narration and a kind of ritual performance where the flow of existence gives way to a continuous present, to a diffuse temporality accentuated by the multiplicity of sensory experiences of the proposal.

Improvisations - Piano / Laptop (excerpts)

Piano: Holman Alvarez

Laptop and digital percussions: Fredy Vallejos

Recorded live on May 1, 2019 in * matik-matik * by Benjamin Calais

Bogota (Colombia)

Vórtice en Suspensión is the fruit of a rhythmical analysis of traditional music of oral Afro-Colombian origin. The material will be used to construct a mechanism originating in the opposition of contrasting timbres which evolve and attain a complex polyrhythm –calculated entirely which the aid of Open Music– and also an almost imperceptible transformation of the durations which make up that polyrhythm. The result follows a process of vague periodicity by way of complex polyrhythms which remain ever mobile.

Improvisation - Cercles 2b

Live Recording

Festival Ecuatoriano de música contemporánea

Teatro Variedades 

Quito - Ecuador

Septiembre 2017

Suicide in Guayas (IGM - 015), the new album by composers Susan Campos-Fonseca and Fredy Vallejos, was presented in Guayaquil Ecuador on June 23, 2017, during the II Encuentro Internacional de Arte organized by the Instituto Latinoamericano de Investigación en Arte (Universidad de las Artes, Ecuador). The presentation was at the Museo Antropológico de Arte Contemporáneo - MAAC, in sound installation format. Campos-Fonseca, Vallejos, and Arsenio Cadena from the production team were present, accompanied by art curator Norberto Bayo Mestre.

www.irreverencegroupmusic.com/

available on iTunes

The Variations evolve around a concept for which I have had a certain affection for sometime, i.e. what Grisey calls "hazy periodicity". The title of the piece refers to a specific type of writing. The  Variations correspond to 4 processes, all based on a pool of rhythmical, frequential and dynamic patterns while the 7 lines are connected to the number of beats (virtual or not) in the patterns.

It follows therefore that all the material stems from the structuring of time values of Afro-Colombian music of the oral tradition. The formal conception of time remains however different: it evolves around cyclic, linear or discontinuous directionality and the role of the beat in the perception of the different polyphonic strata.

"As a percussionist he works on very elaborate structures by way of computer-assisted composition (Openmusic).He has developed for IN VIVO DANSE a rhythmical sound spiral: rhythms, emerging from a texture, intermingle and vary imperceptibly. Together with Thomas he has worked a lot on signal systems and pre-signals in order to find bearings within the spiral. Thomas organised a battle of solos in which each dancer is connected to a rhythmical stratum. When the stratum moves towards a unison, every dancer also moves towards that unison."

Conversation with Thierry de Mey

In "Mouvement" 20/07/2012

Dedicated to my brother, Camilo, Divergence/Convergence is a 'perpetual variation' in which I attempt to exploit three types of time perception. In the first part the listener fixes on the instantaneous. Focus is given to timbre and material, and consequently time becomes static. The second part juxtaposes sound objects which although they are contrasting, retain a musical direction. The result is a time-oriented and not a linear direction. However the third and last part highlights the actual writing impetus of the piece, i.e. the variation. Thus the development of the musical discourse results in a type of temporality which could be called linear orientation. The title of the piece suggests not only a process of progressive transformation going from one object to another, but also the opposition of different types of writing.

Gerard LOCOINTE : Voyage

pour vibraphone solo

Vidéo: JuanFcano

Vibraphone: Fredy Vallejos