Mark Engebretson
SaxMax
2006
Saxophone part and explanations General instructions: 1) SaxMax requires a complex interaction between the saxophonist, computer (running a Max/MSP patch) and the computer performer. 2) There are 5 sections to the piece. In each section, the patch will behave somewhat differently and different ways of manipulating the computers actions are necessary. 3) Although some exceptions are described, generally information in boxes may be treated somewhat improvisationally. This material may be repeat, fragmented, returned to, omitted, transposed, combined with other material, etc. ad libitum. The main exception is Section 3, which should be played more orless top to bottom. 4) For each section, a shape is given, which corresponds to the intensity of the section. While it is true that the intensity may be related to dynamic, it could also be understood as relating to other aspects pitch to noise ratio, pitch level, dynamic, rhythmic activity, etc. 5) In Sections 1, 2 and 4, the saxophonist can choose to record what he/she plays by means of a footswitch. See technical directions elsewhere for information on how this is to be implemented. When the saxophonist presses the switch, the patch will "listen" for a short period of time and then begin playing back altered versions of the recording. 6) In sections 2, 3 and 4 the saxophonist (and in 3 and 4 also the computer performer) can affect the behavior of the patch by means of a footpedal. Note that in the score, the terms "footpedal" and "footswitch" have different means. The switch sends out a single "on" signal that causes the patch to record. The pedal is a volume-type MIDI controller that sends out continuous data. The heel-down position will create less transpose and harmonization, the toe-down position will create more. 7) The following is a representation of the intensity flow of the entire piece--this is a formal diagram. The picture may be related roughly to volume, but also to activity, intensity, range, etc.: Section 1
2
3
4
5
8) The saxophonist and the computer performer must always work together to shape the sections. This is especially true in the transitions from one section to the next. Generally a cue or idea is given, but the performers will have to work out strategies for communication in these areas.
copyright Š 2006 by Mark Engebretson
SaxMax
2
Section 1 1) Generally, read down the page. Start with Box #1; after that, performer may choose succesion. 2) Boxes may be repeated, material may be treated improvisationally within the box, and boxes may be connected to other boxes. 3) Once boxed material has been presented, it may be referred to later on. 4) Tempi are ad libitum; can and should vary. 5) Play espressivo always: dynamics may be used improvisationally to this end. 6) Use space/silence as desired: it’s always OK to incorporate rests within boxes. 7) Vertical brackets show additional pitches that may be treated by a similar gesture (see box #2). 8) Multiple dynamics suggest varying interpretations. Others are also possible. 9) Dynamic: generally free, attacks and releases good.
to ,
range.
10) Create this shape overall:
11) Record elements as desired (use foot switch). Record function is triggered immediately when switch is pressed. About 5 seconds of material will be recorded and played back.
SaxMax, Section 1
3
start here, then move freely to other boxes.
2
1
5 3
steady, erratic spead up, slow down
4
vibrato/tone color changes (
6
)
8
7
noises, key clicks 5 1 2 3 B 4 5 6 C
9
1 2 3 B 5 6 C
10 +/- ta
( )
( )
( ) back and forth
13 11
12
improvise
15 14
16 +/- ta
slap
(
)
Section 2
4
sax stops
Guidelines for this section: 1) Create this shape:
electronics fade to niente 2) Saxophonist still chooses cells to record (via foot switch). 3) Saxophonist can change behavior (transpose and harmonization) of computer’s granulation via foot pedal. 4) Transpose, fragment, repeat cells
Jazzy 1
2
gliss.
3
bend ( )
4
fast; play as is; or improvise with these shapes; rhythm even and/or ad lib.
7 5 gl.
6 gl.
gl.
gl.
gl.
gl.
5
8
9
10 gl.
gl.
5
SaxMax Section 2, continued
5
12
11
13
gl.
gliss.
gl.
bend
3
14
15 gl. ( )
( )
5
16 Use this box to end Section 2 (end loud)
fast; play as is; or improvise with these shapes; rhythm even and/or ad lib.
Build to climax (following general shape for Section 2); crescendo to forte; stop; allow electronic resonance to continue for a while. Sound will fade to niente. Then begin Section 3 material.
6
SaxMax
Section 3
Guidelines for this section: 1) Create this shape: start in silence 2) This section should be performed more or less in the order shown, from top of the page to the bottom. 3) Computer will be set to record continuously and granulate continuously. Therefore, footswitch is not used. 4) Both saxophonist and computer performer are able to change behavior of the patch. Saxophonist uses the footpedal. Computer performer has numerous control devices, affecting a variety of parameters. Saxophonist’s footpedal controls amount of transpose and harmonization. 5) There are no pre-loaded samples in the computer patch for this section. The only sound will be live saxophone and manipulated (granularized) saxophone based on the live input. 6) The footpedal may be used while playing and during G.P.’s (double barlines). 7) Generally, the breaks between phrases should get progressively shorter, building momentum. Begin here: Noises, active but 1) wind cresc.
, growing to 2) wind/key noise and pad pops
3) wind/key noise/pads/trills/tremolos
Gradually work into notated section that follows. Noises may or may not be recalled later on, as appropriate.
= ca. 100, Ballad rests may (should) be inserted at the double barlines. phrasing: supple, espressivo, tempo may vary
= ca. 112
= ca. 100 5
3
= ca. 100
= ca. 112
(
rit.
=
)
SaxMax Section 3, continued
7
slow
cresc.
accel.
= ca. 112
cresc.
accel.
8
SaxMax, Section 3, cont.; Section 4
cresc.
cresc.
,
( )
cresc.
segue to Section IV
cresc.
Section 4 Shape: 1) Computer records continuously. Saxophonist and computer performer can affect granulation (saxophone: via foot pedal). 2) Build to a climax. As end nears, samples from Section 1 return. Section 4 samples and granulation will fade out. 3) Gradually, sounds from Section 1 take over. When things have calmed down, proceed to Section 5. 4) Repeat, vary, fragment, transpose, improvise on the boxes ad libitum.
2
1 (
4
3
( )
)
SaxMax
9
Section 4, cont. 6
5
3
7
8
9
interjections ( )
(
) (
)
trill and/or bisbigliando
Use for end of Section 4: Like a wall of sound.
3
10
SaxMax
Section 5
1) Shape:
2) Player can use foot switch to record. 3) Allow electronic sounds from Section 4 to fade before entering. 4) Ending: fade out either before, with or after electronic sounds.
2 1
3
8
vibrato/tone color changes
noises, key clicks
10 +/- ta
( ) 1 2 3 B 4 5 6 C
1 2 3 B
( ) back and forth
5 6 C
Piece ends with fade out. Duration: 10 to 12 minutes.