Wild Ox

Page 1

WILD OX for violin, baritone saxophone, piano and EJ (electronics device jockey)

Ivรกn Ferrer Orozco

Madrid, 2016

This piece was written for Vertixe Sonora Ensemble.

Instrumentation: •

Violin (amplified)

•

Baritone saxophone (amplified)

•

Piano (amplified with two microphones)

•

EJ (electronics device jockey)

The score is NOT written in real sounds, therefore, the saxophone part is transposed.

COMMENTS ON PERFORMANCE TECHNIQUES: The most part of the indications are at the footnotes on the score.

TUTTI: −

The piece should be played always with a lot of intensity and energy, like a punk concert.

−

The piece is structured in several sections that can be organized in different ways. The only fixed sections are the initial EJ solo, and the two Hardcore Punk sections, they should always be the second (after the EJ solo) and the last sections. The rest of the so called Modules can be played as they are in the score, or even most interesting, based on a consensus among the ensemble members they can be switched to create alternative versions of the work with different internal structures.

−

Certain sections of the piece are senza misura (e.g. first section from page 4 until page 9, Modules V, VI and VII, and the last section of the piece) and the bar lines only indicate periods of 5 secs. The writing is spatial and approximate.

Random fingering along the line, very chaotic and faster as possible

= Higher possible note or position

= Repeat the events or actions inside the brackets along the wavy line

VIOLIN: −

All sul ponticello (S.P.) passages should be performed very close to the bridge (alto sul ponticello) = Overpressure = Normal bow pressure

= Glissando plus very wide vibrato

SAXOPHONE:

These multiphonics with a number inside a square correspond to the numbered multiphonic on Netti’s and Weiss’ book: The Techniques of Saxophone Playing (all fingerings are notated on the part)

These multiphonics with a number inside a diamond correspond to the numbered multiphonic on Kientzy’ book: Les Sons Multiples aux Saxophones (all fingerings are notated on part) Son fendu = distorted sound produced by changing the oral cavity and increasing air pressure. The graphic represents relative pitch and density.

PIANO: The next elements will be used along the piece: = A metal pod lid = One superball or pieces of the rubber inner tube of a bicycle tire = Some pieces of the rubber inner tube of a bicycle tire = One small singing bowl which can be easily manipulated with one hand = One guitar or bass pick = ID Card or credit card = Sex toy vibrator or similar made of rigid plastic, a bullet model with adjustable speed, an example:

= Chromatic cluster

Piano preparation only for Module VI:

Mute strings with blue-tack (or patafix) or gaffer tape.

Module VIII should be performed without piano preparation, normal sound on all strings.

OTHER INDICATIONS AT FOOTNOTES.

EJ (ELECTRONICS DEVICE JOCKEY) The electronics part of this piece requires a dedicated and accomplished performer of electronics. Besides to have a good knowledge of the technical elements, it is also necessary to be skilled in chamber music and improvisation. The EJ’s part contains barely few instructions more related with possibilities for performance than precise performing indications. Therefore, the EJ must as far as possible, to have a good command of the electronics device (Max/MSP patch + controllers), and know very well what is going on at every step of the work. His/her work is to create electronic events with the available resources which musically mix with the rest of the instruments. At the full score there are only few general indications, please refer to the EJ individual part to have the complete performing information. Comments on sections of the piece: −

I. EJ solo Gradual crescendo from mp to ff (same intensity than acoustic instruments at section II: Hardcore Punk). Increase in tension and intensity always. Sections of teh Max/MSP patch active at this section: o

WAFLE: create a noisy and continuous texture. FLO rate and depth (on/off) create an oscillation. Bass frequency controlled by Knob 3 should gradually increase until 100 hz at the end of the section. This section indicates the beginning and the course of a sound file reproduction which is send to:

o

PDELI: collection of effects determined by presets controlled by MIDI notes 48 to 59. EJ should practice and develop a good knowledge of the different sound results.

o

AUTOMATED NOISE: noise machine. Space bar on computer keyboard controls on/off of this device. The lower the noise frequency (controlled by Knob 4) noisiest is the result.

−

II. Hardcore Punk, brutal Electronics and acoustic instruments should create a very dense, intense and dramatic music along this section. While violin is the leading voice, piano and especially electronics should create a very tense and energetic accompaniment

that fills the entire concert hall with noisy textures and a feeling of flow until the end of the final crescendo leaded by the saxophone. −

III. Modules 1 – 8 These modules can be ordered in different ways or can be performed in increasing order as in the score. This decision should be dictated by the musical sense in order to create a dramatic and energetic discourse. Modules can be performed with small electronics interludes between all/some of them or not at all (attacca), although –some- interludes are desirable. In this regard, electronics has a very special role in the construction of the above. The EJ controls possible (and desirable) transitions between modules, creates connections between them, epilogues of the former or introductions to the next module; and should musically accompany and merge with the rest of the instruments in every module. Hence, a very good knowledge of what is going on at every step of the work is compulsory for the EJ to be able to be “in tune” and to improvise in consequence. The modules are divided in two subsections:

−

IIIa Modules 1 – 7: On modules 1 to 7 EJ with through the use of pads 1 to 5, reproduces samples from a playlist at MULTIPLE BUFFERS on Max Patch:

The next pads control these actions: 1. Continuous recording of multiple buffers (sound come out) 2. Stop buffers recording and reproduce buffers on loop 3. Random speed of buffers reproduction (different for every buffer) 4. Normal speed reproduction of all buffers 5. Reproduce from the beginning all buffers Different combinations of these resources in combination with the presets create different sound results; therefore, the EJ must practice with the device and develop a good knowledge of the possibilities. The factory presets controlled by Knob 5 are set from less to more density (determined by # of voices and buffer size -Factor controls differences of size between buffers). Presets can be changed and recorded as needed.

−

IIIb. Module 8: Piano and EJ duet. The electronics transforms the piano sound in real time, is a simple collection of different pitch shifters controlled by the presets (Knob 6). The EJ should freely switch between presets, varying the speed of these changes, but with a musical sense and in control at all times of the sound result. The EJ should take note of the appropriate time to switch of preset and to which of them –in relation with what is playing the piano-, which requires some rehearsal to be aware of the possible switching points.

−

IV. Hardcore Punk. [...] before me, the dead trees become alive This section is a kind of reprise of the section II. The musical sense is similar and the resources of the Max/MSP patch are the same. The end of the piece should be very tense and electrifying.

EJ score indications: The writing is approximate and related with the spatial distribution of the events on the score. All gestures and actions are open to interpretation. The indications correspond to those elements of the electronics device which could be used at every section of the piece, but this is not definitive. As far as technically possible, every element in the device can be used at any time, the own patch imposes some restrictions to the former that should not be altered. Besides this, everything is possible as far as it is musically justified. The aim of the next comments is to give a clearer idea of the nature of every section of the work.

Actions between brackets followed by a continuous line should be complete or partially performed without interruptions along the duration represented by the line. Actions between brackets followed by a dashed line should be complete or partially performed intermittently along the duration represented by the dashed line

The notes should be played in the written order.

All the notes within the shown register (in bass clef: between C sharp and B flat in this case) can be used in any order, all or some of them.

Notes (and actions) between brackets and followed by a dashed line indicate that they can be played (or not) at any order and at any moment along the time represented by the dashed line.

Notes between brackets followed by a dashed line, indicates that only the indicated notes (presets) should be used along the duration represented by the line.

The graphic between brackets indicates the changes on MIDI control (Knob 2 in the example).

All actions between brackets are approximately and subject to interpretation. Hence, they can freely varied.

A glissando between brackets and followed by a dashed line indicates a unique trajectory between the two extreme values by irregular steps: 80-87, 87-93, 93-96, 96-98.5 and so on.

Value of the Fader 2 = matrix preset 3.

Knob 5 can freely vary between presets 1 to 6 along the duration represented by the dashed line.

Numbers between diamonds represent MIDI Pads. Alternate between pads within brackets (all or some of them) along the duration indicated by the line.

Use all or some of the pads 1 to 5 along the duration indicated by the line.

Press on computer’s keyboard a number (numbers between 2 – 5 and 0 control Patch presets or stop processing), enter key, or space bar.

Max/MSP Patch:

A double click on [MIDI_Controller_Wild_Ox] opens this window:

1. Select MIDI controllers on menus. Double click on [p Knobs], [p Keys], [p Faders], [p Pads] allows to declare the corresponding CC numbers to each controller.

Midi controllers list:

Type of controller

Number

Action

Fader

1

Automated Noise volume

Fader

2

Change of matrix preset for section 2

Fader

3

Piano input volume

Fader

8

Main patch volume

Knob

1

FLO rate on Wafle patch section

Knob

2

FLO on/off and depth on Wafle

Knob

3

Bass frequency on Wafle

Knob

4

Frequency on Automated Noise

Knob

5

Preset on Multiple Buffers patch section

Knob

6

Preset on Pitch Shift patch section

Pad

1

Record buffer on Multiple Buffers patch section

Pad

2

Stop recording buffer

Pad

3

Random speed of buffers reproduction

Pad

4

Normal speed of buffers reproduction

Pad

5

Play buffers from beginning

Pad

6

Stop buffers reproduction (not to be used)

Keys (CC#)

48 - 59

Presets of PDELI patch section

Keys (CC#)

60 – 72

Reproduce samples 1 – 13 on Play list of Multiple Buffers patch Section (Modules I – VII)

PC Keyboard

1–5&0

Patch presets for each of the main 5 sections of the piece and final stop (0).

PC Keyboard

Space bar

Automated Noise on/off

2. Adjust faders 1 and 2, knobs 1, 2 and 3 to the next values:

Fader

1

-10 db

Fader

2

Matrix preset = 1

Knob

1

FLO rate = 9.0

Knob

2

FLO on/off < 0.25

Knob

3

Bass frequency = 80.0

3. To begin the performance follow the instructions of these section :

RIDER -

2 cardioid microphones for piano amplification (e.g. AKG C414, Neumann KM184 or similar).

-

1 cardioid microphone for saxophone amplification (e.g. Neumann KM184, Rode NT5 or similar).

-

1 pickup microphone for violin (e.g. DPA 4060, LRBaggs or similar).

-

Laptop with Max/MSP version 7 or later installed

-

Sound interface 4 in / out

-

Midi controllers:

-

Keyboard with 25 keys (e.g. Novation Launchkey 25 or similar) o

Pads: 6 pads needed (or buttons which send a value >= 0 when are pressed)

o

faders (4) and knobs (6) (e.g. Kork NanoKontrol)

o

(There are some kind of controllers which include all the above, e.g. Novation ReMote25)

INPUT LIST: Canal

Instrumento

1

PC Left

Main out L

2

PC Right

Main out R

3

Piano 1

AKG C414 or similar

4

Piano 2

AKG C391 or similar

5

Violin

6

Sax

-

Input

Pie

Observaciones

Boom Tall stand Boom tall stand

Insert compressor – Aux 1 + Main out Insert compressor – Aux 1 + Main out

DPA 4060 or similar

Clamp

Main out

AKG C391 or similar

Boom tall stand

Main out

Auxiliar 1 includes a mix of both piano microphones, must be send to audio interface for real time processing.

1

2

3

4

5

6

Inputs 1 2 Outputs SOUND INTERFACE

MIXER

Inputs 1

Aux 3

Aux 2 EJ monitor 1

EJ monitor 2

Aux 1

Stage plan

Left monitor

EJ

Right monitor

Main right speaker

Main left speaker

Public

WILD OX



Always increasing noisiness

p crescendo poco a poco

EJ solo (2:40)

ff

Noisy and always increasing tension

fader 2

varying between Presets 1 - 3

sin’al fine de la sezione

random order

2

ff sempre

1 40

Knob 4

varying freely

Knob 4 : 1

b

ff cresc. possibile

3

fff

Knob 5 Preset 5 - 6 sin’al fine del modulo

ff

1 - 5

sin’al fine del modulo

legato but well articulated, little portato

1)

1) EJ:

= Change ad libitum the sample played to create a contrast, or a connection between the former and next module (optional)

Knob 5 Preset 3 - 6

f

1 - 5

sin’al fine del modulo

sin’al fine del modulo

f

Vln & Sax: until this page the violin was the leading voice, from here on sax becomes the leading voice

Knob 5 Preset 4 - 6

ff

dim.

1 - 5

Knob 5 Preset 1 - 3

sin’al fine del modulo

pp

sin’al fine del modulo

Knob 5 Preset 1 - 3

p - pp

1 - 5

sin’al fine del modulo

sin’al fine del modulo

p cress. poss.

.

(cresc.)

F

dim. possibile

p

or/and:

1 - 5

dim. possibile

Knob 5 Presets 2 - 5 sin’al fine del modulo

ffp

1 - 5

sin’al fine del modulo

Knob 5 Preset 5 - 6

cresc. possibile

Knob 5 Preset 3 - 6

f

1 - 5

sin’al fine del modulo

sin’al fine del modulo

Knob 5 Preset 4 - 6

f cresc possibile

Knob 5 Presets 2 - 4

F

1 - 5

sin’al fine del modulo

Knob 5 Preset 5 - 6

ff

Knob 5 Preset 1 - 3

pp

4

Knob 6

Varying freely and musically with Piano

sin’al fine del modulo

dim.

p

3 sin’al fine de la sezione

fader 2

varying freely

sin’al fine de la sezione

1

5 1 40

Knob 4

varying freely

sin’al fine de la sezione

cresc.

ff

cresc.

fff

ff ben marcato

15’’

20’’

Knob 3

0

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