marc!estibeiro! - staffordshire universityeprints.staffs.ac.uk/2994/1/the sea turns sand to stone...
TRANSCRIPT
Marc Estibeiro
The Sea Turns Sand to Stone
For Flute, Bass Clarinet, Piano and Live Electronics
Approximate Duration: 7’40”
Score at Concert Pitch
Guide to Notation
General marks
ord.
Ordinary articulation (cancels previous articulation)
Tremolo, always played as fast as possible
Trill, always to the indicated note
s.v.
Senza vibrato – no vibrato
Ordinary vibrato
Very wide vibrato
Crescendo dal niente
Diminuendo al niente
Flute
Jet whistle
Harmonic
Whistle tone
Tongue ram
flz.
Flutter-‐tongue
Bass Clarinet in B♭
Unpitched air notes
Flutter-‐tongue
Multiphonic (fingering indicated in example)
Tremolo between two multiphonics
Move freely between air note and half embouchure
Slap tongue
Piano
Bounce a brass guitar slide off the strings near the indicated pitch. Pedal as indicated
Scrape the brass guitar slide along the indicated string, then touch the indicated harmonic
Scratch the indicated string with the edge of the brass guitar slide around the node for the indicated harmonic
Play the indicated note with the left hand and touch the appropriate node on the string with the right hand to produce a harmonic at the indicated pitch
Guide to the Electronics
The electronic part consists of a three-‐channel granular synthesiser. A broad overview of the software performance environment is shown below.
The level of the electronic part should be balanced to match the level of the acoustic instruments. A small mixing desk is necessary in order to make minor adjustments to the levels during the performance. The acoustic instruments should only be amplified if necessitated by the size of the performance space. The electronic part requires a computer running Max v. 6 or above (www.cycling74.com), a suitable digital to analogue convertor, a mixing desk and amplification appropriate for the room. The Max patch is available from the composer on request.
Each of the three channels is followed by identical signal processing chains consisting of a delay modulation effect, a pitch shifter and a spectral delay. There is also a process which reorders elements within the soundfile (not shown in schematic). Each channel carries out real-‐time granulation of a soundfile. The soundfile is a pre-‐recorded gesture taken from the acoustic part. The first channel processes sounds from the bass clarinet, the second channel processes sounds from the piano, and the third channel processes sounds from the flute. These gestures should be recorded before the performance and edited to eliminate silence and discontinuities at the beginning and end of the recording. The recordings should match, as far as possible, the ambience of the room in which the performance will take place.
An example of the acoustic gestures used in the electronic part is shown below:
Pre-‐composed events are triggered manually from the software environment using numbered cues. These are indicated on the score as shown in the example above. Although the events are pre-‐composed, all processing takes place in real time and there will be subtle but significant differences between performances. The timings shown on the score are for guidance only.
The pre-‐recorded sound-‐files processed by the three channels of the electronic performance environment are shown below:
Bass clarinet Piano Flute
Bass clarinet F2 senza vibrato
Piano chord
Flute F#6 harmonic
Bass Clarinet F2 senza vibrato
Piano iterative gesture
Flute timbral trill
Bass Clarinet trill
Piano pushing agitated gesture
Flute ord. to flz
Bass clarinet slap tongue
Piano harmonic
Flute short staccato flutter tongue
Bass clarinet multiphonic
Piano harmonic and scraping gesture
Flute senza vibrato
Bass Clarinet high flutter tongue
Piano scraping gesture then harmonic
Flute tongue ram
Bass Clarinet unpitched air notes
Piano slide bouncing off strings
Flute pizzicato
Flute wind tone to ord.
Flute whistle tone
Flute high flutter tongue
Flute jet whistle
Guide to Notation (Electronic Part) A system of graphic notation has been used to indicate the electronic processes used and their resulting textures. Examples from the system are described below. The soundfiles are usually heavily processed and so any notated pitch references in the electronic part are for reference only. The processes are triggered automatically with the appropriate cue number so the graphics are representational only – they do not serve any performance function. A more detailed schematic appears after the main score.
Trigger cue number
Grain size. Changing from small to large in example
Play back speed – time stretching effect. Playback speed decreasing in example.
Reorder elements in soundfile
Grain density. Becoming less dense in example
Delay Modulation (comb filtering) effect
Pitch shift. Decreasing in example
Spectral delay effect
The figure below shows a broad schematic that was used during the compositional process to structure the composition. The acoustic part moves from a state of disorder (“dissonance” in the schematic) to a state of order (“consonance”). The electronic part mirrors the acoustic part by moving in the opposite direction. The acoustic part has been written using a hierarchy of gestures that move from “noisy”/disordered towards “pure-‐sound”/ordered. A similar hierarchy has been used for the source material of the electronic part. It is important to note that the terms “consonance” and “dissonance” have been used here in a very broad sense to refer to a sensory consonance and a sensory dissonance rather than the more traditional use of the terms in the context of tonality. It should also be noted that the timings shown are for guidance only and will vary between performances. They should be considered as approximations rather than absolute values.
Instruments Flute in C Bass Clarinet in B♭
Piano (with Brass Guitar Slide)
Live Electronics (Computer running Max 6 or higher, audio interface, suitable microphones where appropriate, mixing desk and amplification)
°
¢
°
¢
{
Flute
Bass Clarinet
in Bb
Piano
Electronics
B.C., Piano, Flute
mf mf
omf
q=60=60 Intenso, Espressivo
fmf
omf
o
°
°
o
mf
mp
q=60=60
Intenso, Espressivo
mf
o
5
4
5
4
5
4
5
4
5
4
5
4
5
4
&
flz.
Jet whistle
f fff f
flz.
flz.
∑
12:8y
0"
The Sea Turns Sand to Stone
5"
10"
15"
?
mf
Unpitchedairnotes
f mf
∑
mf
Unpitchedairnotes
flz.
&
∑
Bouncetheguitarslide
off
aclusteroflowstrings
neartheEbandtheF
∑ ∑ ∑
?
∑
mp p
.
>
.
>
.
>
.
>
.
>
.
>
.
>
‘“
∑
mp
sim
p
.
>
.
>
.
>
.
>
.
>
.
>
.
>
‘“
7:4y 7:4y
?
Cue 1
Time Stretch
Cue 2
&
Time Stretch
&
?
æææ
œ#
J
‰ Œ Ó™
Ó
œn
O
O#
O
O#
O#
OnOO
O#
O#
O
Óæææ
˙#
Ó
æææ
œ
J
‰
Œ¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿¿
¿
¿¿
Ó
¿
¿
¿
¿
¿
¿¿
¿
Œ Óæææ
˙
æææ
œ
6666666
‰ ŒÓ™
6666666
‰ Œ Ó™
Œ
œ ˙ œ
j ‰
˙ œ œ
j ‰
œ ˙ ˙ ™ ˙ ˙ ™
˙
˙
˙
˙
#
°
¢
°
¢
{
mf
o of f mf f
f
o o
mf f mf f
omf
fo o
omf
oppp mf ppp
omf
o omf
o
°
°
mp mf
°
mp mf
°
°
o
mf
o
&
flz.
∑
flz.
tongue ram
>
flz
.
flztongue ram
>
flz
flz
tongue ram
>
flz
flz flz
5:4y
6
6
20"
25"
30"
35" 40" 45" 50" 55"
?
flz.
flz
Movefreelybetweenair
noteandhalfembouchure
∑
&
∑
Quicklyscrapethe
edgeoftheguitarslide
ALONGtheEbstring
thentouchthestringat
the7thharmonic
∑
lv
∑ ∑ ∑ ∑ ∑ ∑
Quicklyscrapethe
edgeoftheguitarslide
ALONGtheEbstring
thentouchthestring
atthe7thharmonic
?
mp p
.
>
.
>
.
>
.
>
.
>
.
>
.
>
‘“ mf
Cue 3
f
‘“
o
∑
ScratchtheEbstringwiththe
edgeofthebrassguitarslide
aroundthepoint
ofthe7thharmonic
lv
∑
sim
lv
∑
sim
mf
f
‘“
o
7:4y
?
∑
&
Pitch
&
Time Stretch
Flute
Pitch
æææ
˙#
æææ
˙ ™
æææ
œ#
J
‰
œ
On
#
Ó™
æææœ
j
‰ Œ
æææ
œ
æææ
œ#
æææ
œb
æææ
œ#
æææ
œn
‰
œ
On
#
Œ
œ
j
æææ
˙#
æææ
˙ ™
Ó
æææ
œ
æææ
œ#
æææ
œ
æææ
œ#
æææ
œn
æææ
œn
‰
œ
On
#
Œ
æææ
œ
æææ
œ#
æææ
œ
æææœn
‰ Œ
æææ˙ ™
æææœ
æææ
œ#
æææ
œ
æææ
œ#
æææ
œn
æææ
œ
‰ Œ
œn
j
æææ
˙# ™
Óæææ
˙™
æææ
˙
Ó™
Ó
˙™
˙
Œ Ów
w
µ w
w
n
n
Œ Ó Œæææ
˙
YbYb
Œ
6666666
‰ Œ Ó™
wb
∏∏∏∏∏∏∏∏∏∏∏
O
˙
b
b ™
™
ŒŒ
œ
Ob
b
Œ Ó
œ
Ob
b
Œ Ó
wb
∏∏∏∏∏∏∏∏∏
O
˙
b
b ™
™
ŒŒ
˙ ˙ ™ ˙ ˙ ™
˙ œ
2
°
¢
°
¢
{
of
oppp pp mf pp pp mf pp
omf
mf
o o ppp pp
opp
omf
o
mf
°
mfmf
mf
°
o
p
&
harmonic
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1'00" 1'05"
1'10"
1'15" 1'20" 1'25"
?
flzord.
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
∑ ∑ ∑ ∑ ∑ ∑
?
∑
lv
‘“
lv
‘“
lv
∑
‘“
?Cue 4
&
Partials
Space
&
Pitch
œn
j
æææ˙#
Œ Ó Ó
˙ ™
˙
O
# ˙
O ™
™
Ó
˙
O
#
™
™
‰
œ
J
œ ˙™ œb
w
w
µ w
w
n
n
Œæææ
˙ ˙ ™ ˙
Œ
œ
j
œ
J
‰ Œ ‰
œ
J
œ ˙ ™ œb˙ ˙
Œ
O
˙
b
b
Ó™
Ó
O
˙
b
™
™O
˙
b
b
O
˙™
™
Œ Œ Ó™
3
°
¢
°
¢
{
mf
omf
o o omf pp
A
omf
opp mf pp
ppp
°
ppp ppp ppp
°
omf
omf
o
&
Ÿ< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
Ÿ~~~~~~~~~~~~~~~~~~~
1'30"
1'35" 1'40" 1'45" 1'50" 1'55"
?
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
∑
flz ord
&
∑ ∑ ∑ ∑ ∑
?
Cue 5
lv
“: ;
lv
6
6
6
?
Grain Size
Density
&
Time Stretch
&
Time Stretch
Space
Grain Size
?
Pitch
6
&
˙ ˙
Œ ‰
œ#
J
œ ˙™ œ
˙ ˙
Œ ‰
œ#
j
œ ˙œ
œ
j
‰
‰
œb
J
œ ˙™ œ
˙ ˙
Œ Ó Œ
æææ
˙
æææ
˙ ˙™
Ó™
Ó
œ
œn
œ#
œ
œ
œ
œ
œ
œ œ
j
œ œ
æææœ œ ˙
Ó™
Ó
œ
j
˙™
œ
œ
b
œn
œ
œ
b
œn
œ
œ
b
œn œ
j
œ œ
æææœ œ ˙
œ
œn
œ#
œ
œn
œ
œ
œn
œ œ œ œ ˙
Ó™
w
œ
œn
œ#
œ
œn
œ
œ
œ
œ œ œ œ
æææœ
4
°
¢
°
¢
{
ppp ppp
mp
mp mf mp pp mf pp
omp
omp pp mp mf mp mp mf mp mp mf mp
mp mf mf fpp
pp
°
mp mf
°
mf
°
omf
&
whistle tone
∑
whistle toneharmonic
2'00" 2'05" 2'10" 2'15" 2'20"
2'25"
?
molto vib.
¯¯¯¯¯¯¯flz
senza vib.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~
&
6:4y
œb œn
œ
œ œ
œœ
œb
?
∑ ∑
Cue 6
6
œb
œ
œ# œ
?
Density
Pitch
?
Pitch
&
Density
Grain Size
Pitch
œ
j
˙# ˙ ™œ
j
˙# ˙ ™
Œ
œb
œn
œn
œb œ ˙™
Ó
œ
œb
œn
œ#
œ œ ™
‰
w
~
#
Œ
Ó Œ Ó ‰
œ
J
œ ˙
Œ Ó
æææ
œ
J‰
˙
Ó Œ
œn
j
œb ™
‰
œ
j
˙b ˙ œn œb
J ‰
œ
j
˙n ˙œ
œ
J ‰
Ó Œ
˙
˙
˙
˙
#
˙
˙
˙
˙
˙
˙
˙
˙™™
™™ ˙
˙
˙
˙
˙
˙
˙
˙™™
™™
œb œn
œ
œb œ œ œ
œ
œ œn
œ
œb ˙
Œ Ó Œ Œ
œ
œb œn
œœ ˙
Ó
œ
j
˙# ™
‰
œb
j
œ œ
j
œ œ ˙
Œœ
œ
œ#
œ
œn
œ
œ
œ
œœ
æææ
œ œ œ ˙ ™
w
~
#
5
°
¢
°
¢
{
f pp mp mf mp p p p pp p pp pp
B
mp mf mp mp mf mp mp mf mp mp mf mp
mp mf mf f
pp
mp mf
°
mf
°
pp
°
o
o
mf
B
o
o
&
flz
.
tongue ram
>
harmonic
flz
.
ord.
flz
.
flz
.
flz
ord.
.
harmonic
flz
.
ord.
harmonic
∑
ord.
2'30" 2'35" 2'40" 2'45" 2'50" 2'55"
?
Ÿ~~~~~~ Ÿ
~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~
∑
&
”“loco
6:4y
œb œn
œ
œ œ
œœ
œb
?
6
œb
œn
œ# œ
?
Pitch
Time Stretch
Grain Size
?
Cue 7
Ÿ~~~~~~~~~~~~~~
?
Pitch
&
Density
Partials
Pitch
æææœ#
j
‰
œ
On
#
Œ
˙
O
#
æææœn
j
‰
œ
œb
œn
œ#
œb ˙™
‰
æææ
œ#
J
Œ
æææ
œb
J
‰
æææ
œn
J
‰
œ
O
#
Œ
æææ
œ#
J
‰Œ
œ
O
#
Œ Ó
˙ ™
œ
j
˙b ˙œbœ
J‰
œ
j
˙n ˙œnœ
J ‰
œ
j
˙b ˙ œn œb
J ‰ Ó
œ
œb
œn
œ#
œb ˙ ˙
Ó™
˙ ˙™
œn œb
œ
œn œ œ
œ
œ
œn œb
œ
œ ˙ Œ Ó Œ Œ
œ
œb œn
œœ ˙ ˙
Ó™
Ó Œ
˙
˙
˙
˙
#
˙<#> ˙ ™
‰
œb
j
œ œ
j
œ œ ˙
Œœ
œ
œ#
œ
œn
œ
œ
œ
œœ
æææ
œ œ œ ˙ ™ ˙
Ó™
Ó
œ
j
˙# ™
œ ˙ ™ œb
6
°
¢
°
¢
{
mp p pp pp mp p pp mp mf mp mf p
pp mp p pp pp mp p pp
mp fff
p pp pp mp
pp
° °
omf
o
o
mf
&
flz
ord.
.
flz
ord.
.
flz
3
3'00" 3'05" 3'10" 3'15" 3'20" 3'25"
?
flz
ord.
. flzord.
. slap tongue
.
>
&
”“loco
œ
œœœœ
n
#
#
™™™™™
?
∑ ∑
‘“
loco
∑
œ
?
Density
Cue 8
?
Space
Re Order
6
:
4
y
& Grain Size
Space
&
ord flz
Density
æææ
˙ ˙ ™ œ
J
‰ Œ Ó™
Ó
˙b™
æææ
˙ ˙™
œ
J
‰ Œ Œ Ó
œ
œb
œn
œ
œ# ™®
œ
œbœn
œn
J
‰
æææœ# ™
‰
Ó
˙b™
æææ
˙ ˙™
œ
J
‰ Œ
˙b ™
æææ
˙ ˙ ™ œ
J
‰ Œ Œ Ó Œ
œœ
œbœ
œ#™®
gb
Ó
˙
˙
˙
˙
<#>˙
˙
˙
˙™™
™™ ˙
˙
˙
˙
b
˙
˙
˙
˙n
n
#
™
™™
™
Ó
œ
œ
œ
œ
#
#
#
n
˙
˙
˙
˙n
#
n ˙
˙
˙
˙
˙
˙
˙
˙ ™
™
™™ œ
œ
œ
œ
J
‰ Œ
œ
œ
œ
b
œ
œœ
œœ#
# œœ
˙
˙˙˙˙
˙
˙˙˙˙
Œ
œ
j
˙b ˙ ™ ˙ ˙ ™ œ
j
‰ Œ Ó
œb
œ
œb œn
œ
œb œ œ œ
œ
j
œ
œ œ
æææ
˙
7
°
¢
°
¢
{
mp p mf p
mp p mf p mf mf mf p mf pppp
mp p fff mf p fff mp mf p p mf
o o
mp p mp p
pp
mp p pp
° °
pp
°
o
&
ord.
.
flzord.
∑
.
flz
ord.
..
.
flz
ord.
.
whistle tone
3 3
5:4x
3'30" 3'35" 3'40" 3'45" 3'50" 3'55"
?.
slap tongue
.
>
flz ord.
slap tongue
.
>
flz ord. flz
.
3
&
3
3
œb
œ
œ
œ#
œ
œœœœ
n
#
#n
™™™™™
œ œ
œ
œœœœ
#
# ™™™™™
?
∑
&
?
∑ ∑
‘“
œ
œ
œ
œ
b
œœ
œœ#
# œ
?
?
Time Stretch
Space
&
Partials
œb
œb
œœn
J
‰æææ
˙# œ
J
‰
œb
œbœœn
J
‰æææ
˙ œ
J
‰
œn
R
≈
œ
R
≈
œ
œb œn
œœb
RÔ
≈®æææ
˙™
œb œn
œnœ#
œn
Œ Ó™
Ó
œ
j
˙n ™
Œ Œ
œb
œbœn
œn
J
‰
gbæææ
˙# œ
J
‰
œn
œb
œn
œ
‰
gn
Ó Œ Œ
œn
œb
œ
œ
œ# ™
r®
æææ
˙ œ
J
‰Ó
æææ
œ
J
‰ Œ Ó™
w
w
wµ
Bb
µ
Œ
œb
œb
œnœn
J
œ
œœ
œ
n
#
#
™™™™
œn
œ
œ
n
b
œ
œœ
œœ##
œœ#
#
˙
˙˙˙˙ ™
™™™™ ˙
˙˙˙˙
Œ
œœ##
œ
œœœœ
˙
˙˙˙˙ ™
™™™™
œb
œb
œnœn œ
Ó Ó
˙
˙
˙˙
˙
˙
˙˙
b
b
b
b
b
b
™™™
™™™™™
Œ Ó Ó™
wb
œ
j
œœb
8
°
¢
°
¢
{
oppp
oppp
oppp
oppp
oppp
oppp
C
omf
o omf
o omf
o omf
o omf
ppp
pp
pp
ppp
°
fff
mf
o
C
o
mf
o
o
mf
&
whistle tone whistle tone whistle tone whistle tone
whistle tone
4'00"
4'05" 4'10" 4'15" 4'20" 4'25"
?
&œ#
œ
œb
œb
œœn#
?
“: ;loco
l.v.
loco
‘“
∑
œb
œ
?
Cue 9
slap tongue
.
>
Time Stretch
?
lv
‘“
Time Stretch
&
timbral trill
Time Stretch
Partials
Off
˙
Œ
œ
j
˙# ˙
Œ
œb
j
˙ ˙
Œ
œn
j
˙b ˙
Œ
œ
j
˙# ˙
Œ
œn
j
˙b ˙
Œ
œ
j
˙#
w
w
w#
b
Œ
w
w
wµ
Bb
µ
Œ
w
w
w#
b
Œ
w
wn
B
Œ
˙
˙
˙
˙µ
Bb
µ
™
™
™œ
œ
œ œn ˙™
˙
˙
˙˙
˙
˙
˙˙
<b>
<b>
<b>
<b>
<b>
<b>
˙ ™
œœ# ™
œb
œ
œbœn
œœn#
˙˙
˙˙
˙˙ ™
™
Ó
˙
˙
˙
˙
˙
˙n
n
#
#
™
™
™™
™™ ˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ ™
™
™™
™™
œœ
˙˙ ™
™
˙˙<b>™™
Ó Œ Ó Ó™
Ó
w
œ
j
œœb
˙˙
˙˙
™™
Œ
gb
Œ
~
w
b
b
w#wb
9
°
¢
°
¢
{
o
mp mf mf f mf mp mp mf mf f mf
ppp mf f p
mf
mf mp p mf
mp
°
mp
°
o
&
.
flz
ord.
flz
6
6
4'30" 4'35"
4'40"
4'45" 4'50"
?
.
∑
flz
.
flz
&
œ
œ
œ
œœ
œ
œ
œ
œb
œœ
œn
?
∑
6
6
œœ
œ
œ
?
Cue 10
?
&
œ<#>
J
‰ Œ Ó™
Ó Œœ
œ#
œb œn
œ
œn œ œ
æææ
˙
æææ
˙ ™
œ
œ#
œ#
œ œ œ œ
œn
œ#
œb
œn
œ
œ œ œ æææ
˙
æææ
˙™
œ
J‰ Œ Ó
™Ó Œ
æææ
˙
æææ
˙
œ#
œ
œn
œ#‰ Ó Ó Œ
æææ˙
˙˙<#>
Ó™
Ó
œ
œ
œ
œ#
œ#
œ œ œ
œn ˙ ™ ˙
Ó
œ
œ
n
Œ Ó™
œ
œ#
œb œn
œ
œn œ œ
Œ Œ Ó Ó™
Ó
œ#
œb œn
œ
œn
œ œ œ
Ó Ó™
10
°
¢
°
¢
{
pp mp pp p pp
D
f mf p pp mp pp
pp mp pp
p
pp
p
pp
mp
°
p
°
°
p
°
omf
D
o
omf
mf
o
o
&
∑ ∑
Ÿ~~~~~
flz
.
∑
ord.flz.
.
∑
4'55" 5'00" 5'05" 5'10" 5'15" 5'20"
?
Ÿ~~~~~ flz
.
∑
ord. Ÿ~~~~~
flz
.
ord.
&
∑ ∑ ∑
.
∑
œbœ#
œ
œn
œb
œn
œ ˙n
œ
œb
œ
?
∑ ∑ ∑
6 œb ˙b
œb
œ
œ#™
?
Grain Size
Cue 11
Space
Cue 12
?
Pitch
?
&
Pitch
&
>
Œ ‰
œ
J
˙œb
æææ
œ
J
‰
œ
œb
œ
œb
œ
œ ™˙ ™ œ
j
‰
æææ˙
Ó™
Œ
œ
œb
œ
œb
œ
œ# ™˙ ™
‰
œ#
j
œ ˙œ
æææœ
j
‰ ‰
œb
J
œ ˙ œn
æææ
œb
J
‰ Œ
œ
œb
œ
œb
œ
œ#™˙™
Ó
˙
æææœ œ œ
j‰
œ#
œb œn
œ
œn
œœ œ œÓ
œb
œn
œb
œ
œ
œ#™œ ˙
™œ ˙
™
w
w
w#
b
œ
Ob
b
˙
On
#
™
11
°
¢
°
¢
{
pp mp pp pp mp pp pp mp pp pp mp pp pp pp ppp
o
pp mp pp pp mp pp pp mp pp pp mp pp pp ppp
p mp pp p mp pp
p
° °
p
°
pp
°
&
ord.Ÿ~~~~~~
flz
.ord.
Ÿ~~~~
flz
.
ord.Ÿ~~~~~~~
flz
.
ord.
Ÿ~~~~~~ flz
.
flz
.
ord.
.
whistle tone
5'25" 5'30" 5'35" 5'40"
5'45"
5'50"
?
ord.
Ÿ~~~~~~
flz
.ord.
Ÿ~~~~~~
flz
.
ord. Ÿ~~~~~~~
flz
.
flz
.flz
Ÿ~~~~~~~
.
∑
&
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~
.
Ÿ~~~~~~~~~~~~~~~~~~~~~~
.
∑ ∑ ∑
œ
œ
œb
Æ
œ
J
?
∑ ∑
œb
œ
Ϫ
?
Density Pitch
?
Partials
Pitch
&
Partials
Pitch
‰
œ#
J
œ ˙œ
æææ
œ
J
‰ Œ ‰
œ
j
˙œb
æææœ
j
‰ Œ ‰
œ
j
˙œb
æææœ
j
‰ ‰œn
j
œ ˙ œ#
æææœn
j
‰
æææ
œb
J‰
æææ
œ
J
‰ Œ
œn
j
˙b ˙ ˙ ™
Œ ‰
œ
J
˙œb
æææ
œ
J
‰ ‰
œ
J
œ ˙œb
æææ
œ
J
‰ ‰
œn
J
œ ˙ œ#
æææ
œn
J
‰ Œ
œœ
œ
œ
œbœ™œ
æææ
œ
æææ
œ
J
‰ Ó
˙œ
æææ
œ
J
‰
œœ
œ
œ
œb
œ# ™ œ ˙œ
œ
J ‰
œœ
œ
œ
œb
œ™œ ˙
œbœ
J‰
œn
œn
œn
œ
œb
œ# ™ œ ˙ ™œ ˙
™˙n ˙ ™ ˙ ˙ ™
12
°
¢
°
¢
{
mp mf mp p mp mf p mp mf p mp p pp
mp p mf mp p mf mp p mp pp
mp
mp
mp
° ° °
ppp
°
o
omf
o
o
&
Æ
Æ
Æ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Æ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Æ
flz
.
.
.
3
6
6
5'55" 6'00" 6'05" 6'10"
?
Æ
Æ
Æ
Æ
Æ
'
Æ
Æ
Æ
'
Æ
flz ord.
'
5
:4
x
33
œ
&
∑
?
∑ ∑
‘“
?
Cue 13
flz.
&
œb
œ#™
œ
œn
œb
œn œœn
œ
œb
œœb
œ
œ
œ# œ œœ
˙ œ
J
‰
œb
œ
œb
œ
œ
œ# œ œ œœ
œ œ
J‰
æææ
œn
J
‰
æææ
œn
J
‰ ‰
æææœ
j
Ó
Ӝ
œ# œœ
œ
œ
œb
Œ
œ
œn
œb
œ
J
‰œ
j
œn
j ‰ Œ Œ
œ
œ
œb
œ
j‰
œ
jœ
J
‰ Œ ‰
œ
jæææœ ˙ œ
j ‰
˙
˙˙
˙
˙
˙b
b
b
n
˙
˙˙
˙
˙
˙
™™™™™
™
˙
˙
˙
˙
˙
˙n
b
n
b
#
b
˙
˙
˙
˙
˙
˙
™™™™
™™
˙
˙˙
˙
˙
˙b
b
b
n
n
˙
˙˙
˙
˙
˙
™™™™™
™
Ó™
Ó
˙
˙
˙
˙
˙
˙
b
#
b
b
˙
˙
˙
˙
˙
˙
œ
œ
œ
œ
œ
œ
j
‰
æææ
˙
æææ
œ
™
13
°
¢
°
¢
{
p mf mp p mf mp p mf mp p mf mp mp pp mp pp
mp mf mp mp mf mp mp mf mp mp mf mp p pp p pp
mp p
p
pp
pp
°°
pppp
°
pp pp
°
o
mf
o
°
omf
o
omf
o
&
ord.
s.v.
vibrato
Æ
s.v.
vibrato
Æflz
s.v.ord. vibrato
Ævibrato
s.v.
Æ
vibrato s.v.
Æ
vibrato
s.v.
Æ
6'15" 6'20" 6'25" 6'30" 6'35" 6'40"
?
vibrato
'
vibrato
'
vibrato
'
s.v.
'
s.v.
'
s.v.
'
&
?
∑ ∑ ∑ ∑
Cue 15
?
Cue 14
Pitch
?
‘“
Density
Space
Partials
Pitch
&
flz.
Partials
Space
Density
‰
œ
J
œ ˙ œ
J‰ ‰
œ
J
œ ˙ œ
J‰ ‰
æææ
œ
J
œ ˙ œ
J‰ ‰
œ
J
œ ˙ œ
J‰ ‰
œ
J
œ ˙ œ
J‰ ‰
œ#
j
œn
J
œ ˙ œ
J‰
Ó
˙ œ
j ‰ Ó
˙ œ
j ‰ Ó
˙ œ
j ‰ Ó
˙ œ
j ‰ Ó
˙ œ
j ‰ Ó
œ
œ#
œ#
œ
˙n œ
j ‰
‰
œ
œ
œ
œ
#
j
œ
œ
œ
œ
˙
˙
˙
˙
™
™™
™
˙
æææœ œ ™
‰
œ
œ
œ#
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
™
™™
™
˙
æææœ œ ™
‰ ‰
œ
œ
œ
#
J
œ
œ
œ
˙
˙
˙ ™
™™
®
œ
œn
œ œ
œ
œ
œ
œ
œ
˙
˙
˙ ™
™™
‰
œ
j
œ
æææœ ˙
‰
œ
j
œ
æææœ ˙
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿¿
¿
¿¿
wb
∏∏∏∏∏∏∏∏∏∏∏
O
˙
b
b
Œ
æææ
˙#
14
°
¢
°
¢
{
p mf mp ppp
o oppp
oppp
oppp ppp
o oppp
pppo o
ppp ppp
p mf mp pp
oppp
ppo
ppp ppp
oppp
oppp
pp
pp
ppp
°
o
°
mf
o
mf
o
&
s.v.
vibrato
Æ
whistle tone
s.v.flz
.
ord.
whistle tone flz
ord.
.whistle tone
flz
ord.
.whistle tone
flz
.
ord.
.
6'45" 6'50"
6'55"
7'00"
7'05" 7'10"
?
s.v.vibrato
'
s.v. flz
.
flz
. .
&
?
‘“
?
?
.>.>.>.>.>.>.>
‘“
7:4y
&
jet whistlePartials
Pitch
12:8y
‰
œn
J
œ ˙ œ
J
‰ ‰
œ
J
œ œ
Œ
æææ
œ
J
‰ ‰
œ#
j
œn
J
œ œ
Œ ‰
æææ
œ
J
‰
œ#
j
œn
J
œ
Ó ‰
æææ
œ
J
‰
œ#
j
œn
J
œ
Ó ‰
æææ
œ
J
Ó Œ
œ
J
‰ Œ
‰
œ
j
œ ˙ œ
j ‰ Ó
˙
æææœ
j
‰ Ó
œb
j
˙
æææœ
j
‰ Œ
œ œ
Ó Œ
œ
Œ Ó Œ
œ
j ‰ Œ Ó
®
œ
œ
œ œ
œ
œ
#
œ
œ
œ
˙
˙
˙™™
™œ
J æææ
œ
J
œ
æææ
œ ˙
æææ
œ
J
œ
J
œ œ œ œ œ
æææ
œ
J
œ
J
œ ˙
æææ
œ œ
æææ
œ ˙ ˙ œ
Jæææ
œ
J
˙
‰
œ
j
œ
j
œ
æææœ ˙
æææœ
j
œ
j
œ œ ˙ œ
j
œ
j æææœ œ
æææœ œ œ œ
j
œ
j æææœ ˙ œ
æææœ œ ˙ ˙ œ
j
œ
j
˙
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿¿
¿
¿¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿¿
¿
¿¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿¿
¿
¿¿
66 66 6 6 6
œn
O
O#
O
O#
O#
OnOO
O#
O#
O
15
°
¢
°
¢
{° *
o
o
&
∑ ∑ ∑ ∑
U
7'15" 7'20" 7'25" 7'30" 7'35"
?
∑ ∑ ∑ ∑
U
&
∑ ∑ ∑ ∑ ∑
U
?
∑
lv
sempre
∑ ∑ ∑ ∑
U
?
Cue 16
∑
U
?
∑
U
&
∑
U
Ó Ó™
Ó Ó™
16
Detailed Schematic for Electronic Part
The following pages show a more detailed overview of the electronic events triggered by the cues in the score. The schematic is for information only – all the events unfold autonomously when the appropriate cue number is selected.
The table below shows a list of the abbreviations for the electronic processes used, together with an explanation where appropriate:
Fd
Fade level (dB)
Pbs
Play back speed (1 = normal speed)
Gs
Grain Size (milliseconds)
Gd
Grain Density (milliseconds)
Pitch
Transposition (Hz)
Partials
Add partials to source
Spectral Delay
Add spectral delay to source
Reorder Elements
Reorder elements in sound file
0” 10” 20” Cue 2
30” Cue 3
40” 50” 1’0” 1 10” 1 20” 1 30” Cue 1 Cue 4
Channel One (Bass Clarinet)
pbs 0.1 gs 30 gd 1000
pbs 1 gs 100 gd100
fd -25 fd -90 fd -15
Channel Two (Piano)
pbs -2
pitch -200
fd -15 pbs 1 gs 100 gd100
fd -90
Channel Three (Flute)
pitch -500 spectral delay 0.4
pbs 0.1 pitch -400
fd -15 pbs 1 gs 100 gd100
fd -30
partials
70” 20”
Electronics Frame 1
order disorder
90”
1 30” 1 40” 1 50” 2’ 0” 2 10” 2 20” 2 30” Cue 6
2 40” 2 50” Cue 5
Channel One (Bass Clarinet)
pbs 0.1 gs 30 gd 1000
fd -90 fd -15 pitch -600 gd 4000
Channel Two (Piano)
gd 2000
spectral delay 0.3 fd -90
pbs -0.4 fd -15 pitch -800
gs 250 pitch 200
Channel Three (Flute)
gd 3000 gd 1000
pitch 100 fd -90 partials fd -15
gs 600 pitch -800
54” 27”
Electronics Frame 2 81”
order disorder
2 50” 3’ 0” 3 10” 3 20” 3 30” Cue 8
3 40” 3 50” 4’ 0” Cue 7
pbs -0.1 Channel One (Bass Clarinet)
gs1 1500 gd1 2000
fd -15 fd -90
Channel Two (Piano) reorder elements
pitch 100 pbs 0.5
fd -15 gs 1000 gd 5000 spectral delay 0.2
spectral delay 0.4
Channel Three (Flute) gs 100
gd 5000 fd -90
partials
fd -15
pitch 0 spectral delay 0.2
32” 40”
Electronics Frame 3 72”
order disorder
4’ 0” 4 10” 4 20” 4 30” 4 40” Cue 10
4 50” 5’ 0” Cue 9
Channel One (Bass Clarinet) pbs -0.4
gs 100 gd 100
pitch 0 fd -15
fd -90 reorder elements off
Channel Two (Piano)
partials off pbs 0.2
gs 100 gd 100
pitch -400 fd -20
fd -90 pitch 0
Channel Three (Flute)
gs 100 gd 100 pbs 0.1
partials off pitch 400
fd -20
fd -90 pitch 0
28” 35”
Electronics Frame 4
63”
order disorder
5’ 0” 5 10” 5 20” Cue 12
5 30” 5 40” 5 50” 6’ 0” Cue 11
Channel One (Bass Clarinet) gs 200
pitch -800 fd -15
gd 4000 fd -90 spectral delay 0.4
Channel Two (Piano) pitch -200
fd -90 fd -15
partials
Channel Three (Flute)
pitch 200
fd -90 pbs -0.1 fd -15
partials
18” 36”
Electronics Frame 5
54”
order disorder
6’ 0” 6 10” 6 20” Cue 14
6 30” 6 40” Cue 13
Channel One (Bass Clarinet)
fd -15
gs 100 gd 100
fd -90
Channel Two (Piano)
partials (balance 0.4) gd 2000
pitch 200 (balance 0.4)
spectral delay 0.4
gs 800
fd -15
fd -90
Channel Three (Flute)
partials (balance 0.4) gd 4000
pitch 200 (balance 0.4)
spectral delay 0.4
gs1000
fd -15
fd -90
35” 10”
Electronics Frame 6 45”
order disorder
6 40” (7’ 30”) 6 50” 7’ 0” 7 10” Cue 15 Cue 16
Channel One (Bass Clarinet)
fd -90 fd -15
Channel Two (Piano)
gs 100 gd 100
fd -90 fd -15
Channel Three (Flute)
gs 100 gd 100
partials (balance 0.4)
fd -90 fd -15
pitch -1000 (balance 0.75)
32” 4”
36” Electronics Frame 7 order disorder
