Piano and synthesizer works by Olea Nova develop through improvisation, repetition, and the gradual transformation of musical material. Rather than treating improvisation as an open-ended surface, these pieces use it to make structural decisions in real time.
Across acoustic and electronic instruments, recurring figures establish temporary stability while changes in density, register, articulation, harmony, and timbre redirect the form. The works range from exposed piano pieces built around spacing and resonance to layered electronic compositions in which independent processes overlap, interfere, and alter one another.
01
Recorded as a live improvisation, Resonance develops from repeating harmonic figures whose internal emphasis gradually shifts. Rather than moving through conventional sections, the piece changes through density, register, articulation, and the accumulation of resonance. Repetition provides continuity while small deviations progressively alter the musical space.
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A live-improvised synthesizer work in which repeating harmonic material is progressively altered by changes of register, density, and articulation. Vocal material enters as an additional layer, shifting the relationship between electronic texture and melodic line without turning the piece into a conventional song form.
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03
Approach uses repetition and harmonic continuity as a framework for gradual transformation. The work remains deliberately restrained: structural change emerges through phrasing, spacing, register, and subtle rebalancing of recurring material rather than through abrupt sectional contrast.
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04
A synthesizer work organized through recurring material and evolving texture. Its form is carried by gradual changes in density, balance, and harmonic pressure, allowing the musical field to transform without relying on conventional verse-and-chorus or sectional organization.
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05
A live improvisation performed on Minimoog Model D with effects, centered on phrasing, hesitation, and the unstable physical character of electronic sound. Repeated gestures establish continuity without becoming fixed loops; subtle shifts in timing, articulation, and timbre continually reshape the phrase.
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06
Layered electronic processes create an ambiguous sound field in which individual sources repeatedly merge and separate. The work emphasizes changing relationships between texture, register, and resonance rather than a stable foreground/background hierarchy.
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07
A hybrid electronic work in which vocal and theremin material become part of a layered, unstable sonic identity. Rather than assigning fixed roles to voice, instrument, and electronics, the piece allows these sources to overlap and transform one another.
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08
Electronic layers and theremin occupy the same shifting field rather than separating into melody and accompaniment. The work develops through changes of density, timbral overlap, and the movement between more exposed and more saturated states.
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09
Built in a DAW from recorded violin, voice, theremin, and software instruments, Sea is organized through the interaction of distinct sonic identities. Sources move between recognizability and fusion, producing a layered composition whose form emerges from their changing relationships.
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A live improvisation performed on grand piano with effects, shaped through spacing, interval, resonance, and decay. Silence functions as an active structural element; the form emerges through the placement and duration of events rather than through continuous figuration.
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A live improvisation performed on grand piano with effects, built from repeated patterns and shifting harmonic fields. The material remains clear while its internal balance gradually changes, emphasizing recurrence, perception, and subtle transformation rather than dramatic contrast.
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A live improvisation performed on grand piano with effects, organized through recurring material, restraint, and gradual shifts of emphasis. The piece focuses on timing, duration, and the changing resonance of repeated notes, allowing small variations in articulation and spacing to shape the form. The linked video is a live performance recording on YouTube.
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A composed work for piano, written and performed for this recording. Repeated figures function as a flexible structural framework, while small shifts in articulation, spacing, and harmonic emphasis redirect the material and preserve a concentrated, continuous surface.
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2016
An early work in which rupture, conflict, and abrupt transformation become structural events rather than surface effects.
Listen ↗2018
An electronic work from the period in which layered processes and changing density became increasingly central to the development of form.
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A work built around several field recordings and electronic sound, treating them as interacting sonic identities whose boundaries repeatedly shift between separation, interference, and fusion. As the materials overlap and transform, distinctions between individual sound sources become increasingly unstable.
Listen ↗Earlier work
Part of the album WORLD, which brings together modular synthesizer, acoustic instruments, voice, and field recordings to explore the interaction between deterministic processes and chance. In Between Chance and Necessity, controlled material and unpredictable interactions produce structural changes in which local events alter the larger musical state, preventing a simple return to the initial condition.
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