glass darkly
DESCRIPTION
…glass darkly… is highly structured in terms of form and harmonic content yet contains moments of quiet reflection that are contrasted with episodes of dramatic peaks. The harmonies are derived from an electronic music technique called Ring Modulation, a process whereby two or more audio signals are multiplied and the sum and difference tones are the result of the operation. Oftentimes the result of this operation produces various microtones. Each of the instruments, because of their mechanical limitations, plays these harmonies as best suit their instrument. The result of this is that there are three layers that are incomplete reflections of the each other, in other words we are seeing these harmonies through a glass darkly. For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known . I Corinthians 13:12TRANSCRIPT
...glass darkly… for alto flute, piano, and electronics
Mark Chambers, 2006
Performance Notes Alto Flute: B.T. = Breath Tone: notated blow across the blow-hole while fingering the given pitch without producing a discernable tone. ord. = ordinario: resume normal playing.
slap tongue = notated with the notehead as an accent: tongue ram = notated:
¼ tones = Notation convention is: = ¼ tone sharp;
= ¾ sharp (sharp and a ½)
= ¾ flat (flat and a ½)
Fingerings for all ¼ tones are given in the score and the alto flute part. Numbers that appear in parenthesis, e.g. (5), indicate that the particular trill
key is to be only partially opened. An upward or downward arrow indicates that the angle of the instrument will need to be adjusted in order to reach the desired pitch.
wide vib. = Notated pitch is played with an undulation a ¼ tone above and below the given pitch. Starts slow then speed increases.
Created by closing the mouthpiece with the whole mouth, and then making a big and very rapid movement with the tongue, against the teeth. The easiest way is to say "HOT!" or "HT!". The tone produced will sound a major seventh below the fingered one.
It is produced by puffing short tones with the tongue, without any air pressure from the lungs. Similar to a string pizz.
glissando = amplification = detailed instructions on set-up for performance with electronics are available from the composer.
Piano: amplification = detailed instructions on set-up for performance with electronics are available from the composer. Computer: A Macintosh G4 or faster running Cycling 74’s Max/MSP or Max/MSP Runtime is required. Max/MSP Runtime is included with the enclosed CD. Copy the contents of
the CD to the desktop of the computer. Double-click the icon labeled glass darkly – INTERFACE to launch the program. Click the green button labeled Audio On to start the DSP. (Make sure your audio system’s volume is set at a low level when running for the first time until levels can be set.) Press the space bar to advance to Event 1 and each subsequent event. The timing for each event is noted in the score. Most events do occur on the downbeat of the given measure but some start on other beats. All must occur on the time-point noted in the score. For most of the work rhythms within the electronics are not noted in the score. However in Mvt.’s II and III some referential accents are given. These notations are to facilitate the synchronizing of the players with the electronics.
Transitions marked as seamless must be timed so that the audio file being played does not end before the next event is triggered. For rehearsal purposes separate events may
also be selected via the Event Presets. To reset the program press the number key 0 on the computer keyboard or press the reset button on the interface with the mouse. Once the interface is advanced past Event 31 it will automatically reset. Additional details are available from the composer.
Most glissandi should work but in some instances a “true” glissando may not be feasible. For example the glissando between ms 12 and 13 in Mvt. I may need to be “faked” by the player.
q = 60
...glass darkly...
Copyright © 2006 Grady Dodd Music, ASCAP
IMark Chambers (b. 1969)
Alto Flute
Piano
Computer
5
A. Fl.
Pno.
Comp.
B.T.
ppppp
B.T. ord.
p
B.T.
36
n
n
ppp p
n
3
pp
6
1
ppp
B.T. ord.
p
B.T.
p
ord.
3 7
mp
(5)
6(T)
mf
6
6
7
6
p
3
3
35
3
2 3
Aq = 6610 q = 76 q = 60 rall.
q = 44
A. Fl.
Pno.
Comp.
B q = 6015
A. Fl.
Pno.
Comp.
fp 3
mf f p3
(5)
mf poco a poco cresc.3
start undulation slowly
then increase speed
9
f3
ff fp
Wait until soundfile stops to cut off note, then wait for delay to end; then proceed
5f p
(T)(ord.)
ppp
7+9B.T.
20" Soundfile
53 3
6
20" Soundfile
4 5 6 20" Soundfile
ppp
B.T.
poco a poco cresc.
6
ord.
p
(T)7 6 5 6
mf
poco a poco dim.6
7 6
ppp
ppp
pp
3
5
7
2
17
A. Fl.
Pno.
Comp.
C21
A. Fl.
Pno.
Comp.
pp
7
9
6mf
75
7
f mf6
p
5
ppp
3
7
5 6
5
8
ffp
7fff ffff
ffp ff
5 3
3
6
ffffmf
67
ff
ff
6
3
65
9
3
23 DA. Fl.
Pno.
Comp.
27
A. Fl.
Pno.
Comp.
pp mf mp pp3
3
ff ppp
3 3
p
3
10
f mf poco a poco dim.
3 3 6 7
pp
mf
3
73
pf
f
pp
p
3
3
11
4
30
A. Fl.
Pno.
Comp.
9
ppp
ppp
Wait for sound to dissipate before proceeding
6
12 Wait for sound to dissipate before proceeding
5
q = 50
q = 50
II
Alto Flute
Piano
Computer
4
A. Fl.
Pno.
Comp.
fffppp mf
ppp mf
pp
36 7
6 5
3
13 Do not allow sound file to end;Transition to Event 14 should be seamless.
mf ff mf fff n
3
6
fff
6
p fff 6
3
14
8
A. Fl.
Pno.
Comp.
11 A
A
A. Fl.
Pno.
Comp.
pp
mp
p7 5
ppp
6 6 6 6 6 6
p 6
6
pp
freely
p mf fp
(5)
mf
7
7
Wait for sound to dissipate before proceeding
3
pp6
ppp
6
Wait for sound to dissipate before proceeding
6
6
15
Wait for sound to dissipate before proceeding
2
B
B
18
A. Fl.
Pno.
Comp.
20
A. Fl.
Pno.
Comp.
pp p
p
pp 6
p
3
16
mp
B.T.
pmf
ppp
6
pppp
6
pp
6 6
ppp6
pppp
3
C
C
q=60
q=60
poco a poco accel.
poco a poco accel.
q=66
q=66
23
q=70
q=70
A. Fl.
Pno.
Comp.
26 rit.
rit.
q=50
q=50
A. Fl.
Pno.
Comp.
f poco a poco cresc.
ff
6 5 5 6 5 6
poco a poco cresc.
6 7
7
f
ff
66
17
fff
pp
3
più dim. f mp
fff
3
18
4
D
D
31
A. Fl.
Pno.
Comp.
35
A. Fl.
Pno.
Comp.
8
mp p
freely
mf
7
mf
56
f
7
Bb
(5)
36
19
6
B.T.
n
Wait for sound to dissipate before proceeding
p
pp
Wait for sound to dissipate before proceeding
20
Wait for sound to dissipate before proceeding
5
IIIq = 60
q = 60
rit.
rit.
Alto Flute
Piano
Computer
q = 60
q = 60
poco a poco accel.
poco a poco accel.
3
A. Fl.
Pno.
Comp.
HT!
ffp
HT!
HT!
7
f
B.T.
3
f p f p f p
dim.
pp
36
7
6
mp
6
5
21 Transition to Event 22 should be seamless.
ff mf
ff
3 7 66
f mf
35
6
7 6 5
ff
3
22 Transition to Event 23 should be seamless. 23
q=76
q=76
rit.
rit.
5
q=60
q=60
15"
15"
A
A
q=50
q=50
A. Fl.
Pno.
Comp.
11
A. Fl.
Pno.
Comp.
mf
pp
9
7 (5)
Bb
5
mp
3pp
3
15"
24
p
8
mp pp pp
ord. B.T.
p pp
3
p ppp
25
2
B
B
rit.
rit.
q=44
q=44
accel.
accel.
17q=50
q=50
A. Fl.
Pno.
Comp.
20
A. Fl.
Pno.
Comp.
p
6
(T)
6
mp
7
mf ff
p
pp7
6 5
26
B.T B.T.
pp nppp
B.T. ord.
p6
mp poco a poco dim.
6
ppp6 6
6
6
6
6
3
24
A. Fl.
Pno.
Comp.
27
A. Fl.
Pno.
Comp.
B.T.
n3
fp
8
fp
mf
7p
pp
p
3
3
f
3
5
3
5
mp
fp fpmf
3
ff
6
7
7 3
mf
f
ff
35
3
5 66 7
27 Transition to Event 28 should be seamless
4
C
C
q=60
q=60
30 rit.
rit.
A. Fl.
Pno.
Comp.
q=50
q=50
32
q=72
q=72
A. Fl.
Pno.
Comp.
Te!
ff mf
Te! Te!
7
ff
35 6
ff mf
3
67
5
ff
3
6
7
6
28 Transition to Event 29 should be seamless
fff
Te! Te!
fp
Te! Te!
67
6 6
fff
fp
6
76
29 Transition to Event 30 should be seamless
5
35 34
A. Fl.
Pno.
Comp.
molto rit.
molto rit.
36
A. Fl.
Pno.
Comp.
ff fff mf
ff
76 5 5 6
ff3
poco a poco cresc.
5
67
5 6
ff
mp
3
3 5 3
30 Transition to Event 31 should be seamless
fff
7
7 6
fff
7 6
7
6
6
6
D
D
q=50
q=50
37
A. Fl.
Pno.
Comp.
39
A. Fl.
Pno.
Comp.
ffff
f
7
fff
f
6
56 6 7
ffff
6
5
6
ff poco a poco cresc.
6
5
31
ffff
6
f ffff
3
7
ffff
3
3
Do not release until sound completely dissipates
3
Do not release until sound completely dissipates
7