Electric Seeds for Orchestra with Electric Guitar

for Orchestra with Electric Guitar

Boreal Bard Music

Copyright © 2012, 2020 Boreal Bard Music (ASCAP). All rights reserved.

ww.bryanschumann.com

Electric Seeds for Orchestra with Electric Guitar Duration: 9 minutes, 10 seconds Instrumentation: -Piccolo 2 Flutes 2 Oboes English horn 2 Clarinets in Bb Bass Clarinet 2 Bassoons Contrabassoon -4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba -Timpani (E, G#, C#, E) -3 Percussionists Bass Drum, Gong, Suspended Cymbal, Waterphone, Chimes Vibraphone Marimba -Electric Guitar w/ FX (delay, phase, overdrive, envelope filter) -Strings

Notations used in the strings: Dashed slurs designate phrases and gestures.

If the low C#’s in the contrabass (m. 60 & 176) are unavailable, these notes can be played up one octave (not ideal).

Extended performance techniques for guitar: Modified scratch/strum: m. 178-179 & m. 192-193 Mute all strings using the left hand. Place fingernails of the i, m, and a fingers on the guitar strings (fingers pointing toward the body of the guitar). Scratch from the bridge to the neck while using a rapid up/down strumming motion.

Use of the envelope filter: From m. 111 to m. 140 the output signal should remain below the envelope threshold most of the time and only break through for a few notes at the peak of each gesture/phrase. When playing the artificial harmonics during this section, the threshold should be broken on every note.

For the C#/G# power chords in m. 147 and m. 151 the output signal should hardly break the envelope threshold if at all.

From m.161 to m. 172 the output signal should break the envelope threshold on every note (especial on the C#/G# power chords).

From m.183 to m. 189 the output signal should easily break the envelope threshold for all glissandi.

Guitar FX processors: This piece of music was written with specific guitar FX processors in mind. Below are diagrams which show the settings to be used for those specific FX processors. Also listed are descriptions of the desired resulting effect for each processor. The performer should feel free to use a different FX processor (i.e. different brand or model) so long as the desired resulting effect can still be achieved. **Signal flow: Guitar to Envelope Filter to Phase to Overdrive to Delay to Amplifier.

The delay and phase should remain turned on for the entirety of the piece.

The overdrive and envelope filter should be turned on at m. 109.

Boss DD-20 Giga Delay

MXR Phase 90

**The delayed sounds should maintain the tone/timbre of the original sound and should decay over 7 to 9 repeats.

DOD Overdrive Preamp/250 **The overdrive should be harsh and dry sounding. The output volume should not be increase or decreased by this gain stage.

**The phase LFO should complete approx. one wave per 4 measures.

MXR Envelope Filter **The envelope should create a “WAH� sound. The signal should break the threshold around mezzo-forte volume.

(See the list of extended performance techniques for guitar on the next page for more info on the use of the envelope filter).

Copyright © 2012, 2020 Boreal Bard Music (ASCAP). All rights reserved.

ww.bryanschumann.com