--PANORAMA (performance version) for piano, live and prerecorded electronics, video, and installation environment alican çamcĹ 2018-19 ---
NB: The current version of the score is only a loose framework and guideline for the performers to communicate and play from. As such, various details and nuances of the music are left out from the written parts, such as specific extended techniques, details of live digital signal processing, etc.
PANORAMA
g
ca. 1'
° & Piano
¢
Electronics
1
start dragging the transducer vertically along the strings in the lowest octave of the piano. explore different places of resonance, pausing, continuing to move again. use pedal to create reverberation inside the piano, but make sure to 'clear' the sound by changing pedals occasionally
∑ Tape: Puccini "Senza Mamma" Diffusion: Speaker inside the piano
g
ca. 50"
° & 4
Pno.
¢
° &
◊œÿ
œ
œfij
œ
œfi œ
(crescendo throughout, gradually replacing the tape as it disappears)
(ped. ad lib)
<◊> fij œ
g
(Puccini cuts off, only construction sounds remain)
œ
œ
(subtle tape loop of construction)
g
ad lib.
ca. 50"
continue in a similar manner UNTIL MEASURE 9.
? /
g
ca. 1'
continue in a similar manner UNTIL MEASURE 9. pay attention to responding to the tape.
p
7
¢
™™™ ™ ™ ™ ™ ™™™ ™ ™ ™
™™™™™™™ ™ ™ ™ ™™™ ™
(drag the guitar slide on the tuning pins, changing speed, loosely following the jackhammer sound)
(Tape: Construction sounds quietly enter [diffused to the panels], Puccini continues)
El.
(set transducer aside, making sure it's properly in contact with the metal frame of the piano)
/
El.
Pno.
listening cue: when Puccini cuts off
(continue as before with the transducer)
?
g
ca. 1'
q
g
alican çamcı (2018-19)
ca. 2'
listening cue: with violins taking the melody
∑
? /
(version for piano and electronics)
(construction recording starts to disintegrate; granulation)
(reaching a constant stream of clicks, continuous sound, loud)
° (tape ends)
q = 72
#œ œ
senza misura, ad lib.
q
(fast scrape along the pins)
é
sfz
&
mf
œ bœ ™ œ™
Ϫ
œ
œ
q = 72
◊ÿ œœ œ œ œ
senza misura
2
3X
#œ ° °™ œ & ™
œ
12
Pno.
& ™™
? ™™ ¢ ¢
Ϫ
7X
#œ ° °™5 #œ & ™4 19
5 & ™™4
Pno.
? ™™5 ¢ ¢4 6X
œ ° °™5 œ & ™4 25
◊ÿ n œfij
#œ œ™ nœ ™
Ϫ
°5 / ¢™™4
El.
¢
? ™™5 ¢4 °5 / ¢™™4
œœ œ œ Ó
i œ
œ
◊ÿ
™™ †
66fij
œ
6
#œ ™™ ü43 #œ ™™ 43 ™™ 43 †
6 œœ œœ i œœ Ó
œ
i
œ œ™ œ
#œ œ™ nœ ™
i
œ œ™ œ
™™ ü†43
∑
™™ ü†
2
n#n œœfiœ
◊ÿfij
# œœœ œœ œœ œœ Ó
24 œ
24 24
nœ 24 nœ
œfij
24 b œ ™ bœ ™
bœ ∑
#œ œ ™™ ü43
œ ™ œ 43 œ™ œ œ œ œ œ œ nœ#œ sim. œœ b œœ œ œ ™ 3 œ œ #œ ∑ 4
œfij
™™ 43 b œ ™ œ ™ œ œ ™ œ™ nœ sim. ™™ 43 ∑ †
f
œ
™™ ü†43
43
œœ œ œ œ Ó 45
45 45
œ
subito a tempo ◊jÿ n#n œœfiœ # œœ œ œœ œœ œœ
∑
3 4 œ œ œ œ œ œ nœ #œ
mp
34 œœ
b œœ œœ œ ™ #œ œ
66fij #6
™™45
œ
™5 ¢™4 °™™5 ¢4
45
45
œ
7X
#œ 66 œœ œœ œœ #6 °™5 œ Ó ™4
subito a tempo
45
45
43
∑
◊ÿ
œ œ™ œ
œ
no ped.
meno mosso
43
i œ œ
i
meno mosso
24 43
œœ œ Ó
nœ
24
66 œœ œœ œœ # œ n œ #6 24 nœ Ó
66 #6
œ
°™™5 ¢4
Tape: İlber Ortaylı kaydı Diffusion: Panels
◊j ÿ
◊ÿ
™™45 b œ ™ œ ™ œ™ mp ™™45 ¢
œ
™™ 43 b œ ™ b œ ™ œ œ ™ bœ ™ œ ™™ 43 †
#œ °™5 œ ™4
œœ œ œ œ
œ
œ ™ bœ bœ ™ bœ ∑
™™ ü†43 œ ™™ ü43 œ
œfij
5X
™™
f
œ
5 bœ ™ & ™™4 b œ ™ b œ ™
Pno.
™™ ü
œ
° / ¢™™
El.
El.
bœ ™ œ™
◊ÿ
œ
◊ÿ
66fij 66 6
Ϫ Ϫ Ϫ
i
45
66 œ œ œœ 66 ™™ ü43 Ó ™™ 43
œ
™™ 43 † ™™ ü†43
#œ ° 3 œ &4 Pno.
El.
3 &4
Ϫ Ϫ
Ϫ
œ œ
œ
32
i
œ ™ œ #œ ™ #œ
?3 ¢ 4
∑
3 /4
∑
œ ∑
° & 38
Pno.
El.
El.
œ 24 b œ
¢&
bœ
24 œ ™ #œ ™
43
∑
34 œœ
24
∑
43
sim.
∑
bœ œ™ #œ ™
#œ ™
°™™5 ¢4
∑
∑
∑
g
∑
∑
(single hammer hit)
ff
°
g
q
slow
?
^r b œœ “‘ sfz
Tape: Valens Aqueduct Diffusion: Panels
ca. 17"
◊ÿ œœ ff
°
(glitch+reverse hammer hit)
™™ ü ™™
™™ ü†
∑
3
3
™™ †
g
∑ ◊ÿ œœ
66 œœ œœ œi œ 66 Ó
∑
∑
ca. 12"
66 66 6
œ
∑
∑
Tape: Transition Diffusion: Panels
nœ
™™45
™5 ¢™4
∑
◊fiÿj
g
g
4
œœ œœ ™ #œ
b œœ
œ °™5 b œ ™4
g
ca. 8"
¢&
subito a tempo ◊ÿ66fij 66 œœ œœ œœ 66 66 6
ca. 3'
(tape ends)
° &
∑
3 #œ œ 4 œ œ œ œ œ nœ #œ
24
/
/
meno mosso
∑
41
Pno.
◊6fijÿ 6 œœ œœ œœ 666 666 6 Ó
9X
g
g
ca. 14"
4
° &
q
listening cue: with glitch
¢
? /
El.
(hammer hit+granulated jackhammer)
◊œÿœ œ
/
g
œ
fast
(three hammer hits, granulated)
q
° &
listening cue: until jackhammer enters
mp
œœ
œ
œ
œ b œœ
œ
nœ
œœ
œœ ™
g
ca. 16"
#œ
°
(granulated hammer hit)
œ œ
° (vinyl hiss ends)
ÿ œ◊œ
^r b œœ ° “‘ (glitch)
œ
#œ
(granulated jack hammer disolves to vinyl hiss)
g
ca. 26"
sfz
? /
g
(same tempo as before)
q
slow
(reverse jackhammer)
ca. 30"
f
50
¢
(single hammer hit)
ca. 16"
slow
El.
°
sfz
(imitating the hammer hits)
?
œ
mp
^r b œœ “‘
sfz
(reverse jackhammer)
Pno.
El.
^r b œœ “‘
∑
(glitch)
° &
Pno.
listening cue: within the reverse jackhammer sound
œ
°
47
¢
ca. 16"
moderate, changing speed
44
Pno.
g
ca. 13"
j œfiœ
œ
fmp
∑
Ó
° & 52
Pno.
¢
œ œ
mp
∑
° & 56
Pno.
El.
¢
? /
nœœ nœœ °
œœ œœ
#œ ###œœœ
nœ nnnœœœ
œœ œœ
bbb œœœ bœ
bbb œœœ bœ
œœ nœœ
etc.
g
?
g
ca. 14"
ca. 20"
∑
start dragging the transducer vertically along the strings in the lowest octave of the piano, as before.
? /
El.
b œœ œœ °
#œ ###œœœ
5
(glitch+TV hiss)
° & ¢
# œœ œœ
&b
(continuous hammering)
54
Pno.
# œœ œœ
listening cue: continue until the jackhammer sound; stop immediately (even if mid-pattern) when the jackhammer starts sounding.
f
°
? /
El.
◊œÿ œ œ œ
g
(matching the rhythm of the hammering)
ca. 16"
g
ca. 16"
∑
°
(reverse jackhammer)
listening cue: until the glitch
(ad lib.)
(hammer hit+fedback Puccini)
g
ca. 20"
œ œœ œœ ° (glitch+continuous hammering)
œ &
œœ œœ °
œ
œ
œœ œœ °
œœ œœ
œ
œ
ca. 7"
g
ca. 8"
g
∑
∑
∑
∑
(vinyl) (granular hammer hit)
(reverse hammer, granulated)
6
° & 59
Pno.
El.
∑
¢& /
◊œÿ œ œ œ œ
g
listening cue: after you hear the Dufay entering
ca. 40"
mf
∑ 5
œ œ œ œ œ œ ∑
° & Pno.
El.
∑
(Dufay enters)
Tape: Distorted Dufay Diffusion: Panels
g
g
ca. 40" 62
œ œ œ œ œ
always trying to match the rhythm of the hammering, entering and dropping out ad lib.
°
(continuous hammering)
g
ca. 30"
ca. 40" (continue after the hammering ends, remembering how it was, trying to recreate it)
(continue in a similar manner through this measure)
q
always changing speed, exploring isolated grains as well as a continuous stream of clicks
¢&
°
/
(ad lib.)
g
(hammering ends, Dufay continues, granulated)
ca. 1'
° & Pno.
El.
¢& /
g
ca. 8"
listening cue: until Dufay ends
66
start dragging the transducer vertically along the strings in the lowest octave of the piano, as before.
° (fedback Puccini)
(ad lib.)
(tape ends)
∑
22
∑
?2
∑
22
2
° 2 &2 w w
Pno.
7
h = 80
68
w w
?2 w ¢ 2
2 /2
El.
ẇ
˙˙
w
w ∑
˙
∑
˙˙
w ∑
(by itself, no tape)
84
/
∑
∑
° & w w
˙˙
w
∑
° & ˙˙ ™ ˙ œ œ̇ œ œœ ™ œ œ œ œ ˙˙ J ˙ Pno. w ? w ˙ ˙ ¢ El.
˙˙
˙ ˙ b˙
∑
ẇ w
∑
∑
˙ ˙ ˙
œ œ ˙ w
∑
Pno.
? ẇ ˙ ¢ /
El.
° &
∑
˙
˙
ẇ ˙
∑
∑
∑
Ó
∑
w
Pno.
El.
¢
? /
˙ œ œ œ œ ∑
˙
w
˙
˙
˙
w ∑
∑
˙
∑
ẇ
˙ ˙ ∑
ẇ
˙ ˙ ∑
˙˙
ẇ
Ó ˙ ˙ ∑
˙
∑
∑
∑ ˙ ˙ ˙
˙ b˙ b˙ ˙ b˙
∑ ˙
ẇ
∑ ˙ ˙
∑
˙
bw w
˙
∑
ẇ ẇ
∑
w
∑
∑
˙ ∑
w
w œ ˙
w ∑
w w Ó
w w ∑
˙
˙
∑
∑
w œ w
w w
w w
w w ∑
∑
w
∑ ˙
w
ẇ ˙
˙
∑
˙ n˙ w #˙w™ nœ w
˙
b ẇ
˙
∑
w
∑ ∑
w
˙
w
œ œ ˙ œ bw œ ˙
∑
ẇ
∑
∑
b˙
˙ ˙
w ˙™ œ œ w ˙ ˙
˙™ ∑ w
w
∑
∑
˙ ˙ ˙ w ˙ ˙™ œ ˙
∑
w ∑
∑
ẇ
ẇ™ b œ ẇ ˙
œ œ ˙™ œ n˙ ˙ ˙ ˙ œ ˙˙ ˙ ˙˙ ˙™
∑
∑
∑
˙
œ] ẇ b ˙
˙
∑
w
116
˙
w w ∑
w w [w
w
w
∑
∑
n ẇ ˙
∑
œ nœ ˙ ˙ œ w w˙™ w w˙ ™
w ẇ œ œ w bw w
∑
˙
˙
100
˙ ˙ bw w
˙ ˙ w ˙ ˙
b˙
∑
∑ ˙ ˙
˙ ˙
∑ ˙ ˙
∑
∑ ẇ w w
˙
∑
° & w w Pno. ? ˙ ¢ w 128
8
/
El.
° & w w Pno. ? w w ¢ 141
/
El.
° &
151
Pno.
El.
¢
? /
w w bw w
w w w w
˙ ∑
∑
3
˙
∑
Ó̇ ˙˙
w w w w
Ó̇ w w
∑ ˙ ˙ ˙˙
∑ ˙ b˙ ˙˙
∑
˙˙
w w
ẇ
w w
˙ ˙
˙˙ ∑
n˙
w w
∑
∑ ˙ ˙ w w
n ˙˙
w w
w ẇ
w w
∑
∑ ˙
∑
˙w™ w w
œ
∑
∑
∑ w w w Ó
˙ ∑
ẇ w w ∑
˙
∑
w w ww
w w ww ∑
g
∑
w ˙ ẇ
˙ ˙
ẇ
b˙
w w
∑
∑
∑
∑
∑
∑
∑
∑
ca. 1'30"
∑
∑
∑ ∑
w nw w w
∑
g
ca. 1'30"
5
Tape: Construction with Emel Sayin Diffusion: Panels, (Puccini through piano)
&
listening cue: start a little bit after the Puccini loop enters
9
senza misura e tempo, start slowly, gradually accelerating, constantly changing speed. Approach the notation proportionally, with each system lasting around 30-35".
## œœ œ
° &
153
Pno.
El.
¢& /
œœ œ
El.
p legato
° &
bb œœ ¢& b œ
# nœœ #œ
/
El.
bb œœ bœ
° &
#œ #œ œœ nœ
n œœ œ
œ œ
# œœ œ œœ nœ
#œ œ bœ œ
# œœ œ
nb œœ nœ
bb œœ bœ
/
/
b n œœ bœ
bb œœ bœ
¢&
¢&
(create dynamic variations, swells freely throughout)
# œœ œ
162
Pno.
œ œ
(ped. with every chord change)
° &
El.
#œ œ
œœ nœ
(cresc.)
159
Pno.
œœ <b> œ
bb œœ bœ
156
Pno.
n n œœ bœ
b œœ bœ
#œœ #œ
nb œœ nœ
## œœ #œ œ nœ
nn œœ nœ #œœ œ
nb œœ bœ
10
Pno.
° &
¢& nnœœ nœ ° &
168
El.
œ œ
¢
?
/
nœ bœ
b œœ bœ nbnœœœ
nœ bœ bœ bœ
/
El.
Pno.
#œ nœ
165
œœ œ œœ nœ
X ad lib.
°™ #œœ ™ œ ™ ¢™ °™™ ¢
b œœ œ
œ getting softer and slowing down with each repetition, fading out °
?
#œœ œ
# œœ #œ
™™ ü #œœœ b œœ ™™ œ † œ ™™ ü†
g
ca. 1-2'
g ∑
23
∑
∑
23
∑
g
ca. 1-2'
(vinyl and TV hiss)
6
Tape: Construction from Chicago Diffusion: Panels
23
° 3 &2 w 173
h = 80
˙
? 3 ˙™ ¢ 2 3 El. / 2
Pno.
œ ˙
w
˙
˙
bœ œ w
˙
w
˙
œ œ b˙™ ˙ w
˙
œ ˙™
˙ bw
Ó
œ œ œ w
w™
˙ b˙™
œ ˙
w
˙
˙
˙
˙
w
˙
˙
˙
˙
w
œ œ ˙
11
˙™ ˙
j bœ œ™ œ œ
œ ˙ ˙
˙
Œ œ
˙
(tape continues underneath)
° j & œ œ™ œ ˙ 184
Pno.
El.
¢
? œ b˙
Ó
œ w™
Ó
[ w™ ˙˙ ™ ˙ œ ˙˙ ˙˙ w w
œ ˙
/
˙
ẇ™
œ œ ˙
˙™ ˙ bw ˙™
° & ˙
˙˙
w™ w™
195
Pno.
El.
¢
j œ j j Ó ˙ ˙ œ œ œ ™ œ œ œ œ œ œ œ nœ #œ ˙ œ nœ œ ˙ nw ˙ bœ œ œ ™ ? Œ ˙ #œ w J ? ˙ /
° & ˙ ˙ ? Pno. 205
¢ El.
˙™ w
? ˙ bw /
˙
œ œ ˙
˙
œ œ ˙
œ ˙ Œ ˙ œ ˙ w w ˙ w™ ẇ
w
˙
˙˙
w w
œ œ ˙
˙ w w™ ˙˙
˙™ w
˙ ˙
w™
˙
ẇ
œ̇
w w ™™
˙ ˙ œ œ ˙
[w
˙
˙ ˙ ˙
˙
Ó̇
w w
ẇ
˙
˙˙
w w
œ ˙ œ œ ˙™ ˙ ˙ w œ ˙ Ó
j œ™ œ œ œ œ ˙ ˙ w w™
œ œ ˙ w™ w™ w
˙
w w ˙ ™™
˙
∑
∑ ˙ b ˙™ ˙
œ ˙™
œ œ ˙
œ œ ˙
˙˙
Ó
œ œ œ ˙˙
œ œ œ bœ œ œ ˙ ˙ ˙ œ ˙ œ ˙
˙™ w
b˙ ˙
˙˙
˙ ˙
˙˙
w w
∑ ∑ ˙ ˙ ˙ w ˙ œ ™ ] w™ w ™ w bw w™ w™
˙ ˙
Ó
˙ ˙
˙
˙™ œ̇ œ w] b w
œ œ œ w™ ˙ ˙™ w w
w™
w ™] w Ó
œ ˙
Ó œ ˙ Ó ˙
˙
[w w
˙™ ˙
w™ w™
w™ w™
ww ™™
ww ™™
˙
œ
˙ ˙
22 22 22 22
12
Pno.
° 2 &2 w w 216
w w
?2 w ¢ 2
ẇ
˙
˙˙
w
w
˙˙
w
˙˙
˙˙
w
ẇ w
° & ˙˙ ™ ˙ œ œ̇ œ œœ ™ œ œ œ œ ˙˙ J ˙ Pno. w ? w ˙ ˙ ¢ 232
˙ ˙ ˙
˙ ˙ b˙
œ œ ˙ w ˙ ˙
° & w w 248
? ¢ ẇ
ẇ
˙ ˙ ˙ w ˙ ˙™ œ ˙
˙
∑
˙ ˙ ˙
ẇ w
b ẇ
˙
w
˙
ẇ ˙ ˙
˙
w w [ w
n ẇ ˙ w
w
∑
w
ẇ™ b œ ẇ ˙ w w
˙™ ∑ w
w ˙™ œ œ w ˙ ˙ w w
w œ ˙
w œ w w w
∑
∑
w
w w w w
˙
˙ bw w
˙
˙
˙
œ nœ ˙ ˙ œ w w˙™ w w˙ ™
ẇ ˙
Ó
œ œ ˙™ œ n˙ ˙ ˙ ˙˙ ˙˙ ˙˙ œ ˙™ ˙
w
] œ ẇ b ˙
˙ ˙ ˙
b˙
˙ b˙ b˙ ˙ b˙
œ œ ˙ œ bw œ ˙
˙ n˙ w #˙w™ nœ w
˙
ẇ ˙ w w
w
w
˙ ˙
˙ ˙
/
El.
° &
264
El.
w w
∑
/
El.
Pno.
w ẇ œ œ w bw w
2 /2
El.
Pno.
˙ ˙ w ˙ ˙
b˙
¢
? /
˙ ˙ ˙ ˙ œ œ œ œ w
˙
w
˙
˙
ẇ
˙ ˙
˙
ẇ
˙ ˙
˙˙ ẇ
Ó ˙ ˙
∑ ˙ ˙ ẇ ˙
∑ ˙ ˙ bw w
ẇ ˙ ˙ ẇ
w w w
˙
w w ˙ Ó
w w ˙ ˙ w
w w w w
w w bw w
w w w w
° &
13
280
Ó̇ Pno. ? w ¢ w ° &
290
El.
w w w w
ẇ w w
n˙
w w w w
w ẇ
˙
w nw w w
ẇ
˙
w w
w ˙ ẇ
˙ ˙
/
El.
Pno.
˙˙
∑
¢
Ó̇
? ˙˙ /
˙ ˙
˙˙
˙ b˙
˙˙
˙ ˙
˙˙
˙ ˙
w w
n ˙˙
˙w™ w w
œ
w w w Ó
˙
w w
ww
w w
ww
b˙
ẇ
w w w w
w w
g
˙
g
ca. 10'
∑
∑
TACET
∑ (tape continues)
3
∑
7
Tape: Annemle konuşma Diffusion: Panels