Sachs-Mishalanie_Daisy, Hold Into by JSMishalanie

Daisy, Hold Into solo for piano & electric piano by Jacob Sachs-Mishalanie 2017

equipment list: • 1 or 2 powered speakers (behind the audience) • 1 small powered speaker (inside the piano) • Computer • Audio interface with at least 2 outputs • MIDI keyboard with at least 61 keys software: • Electronics may be customized by the performer, or a MaxMSP patch could be provided by the composer. Email: jsmishalanie@gmail.com • Any software piano (not a Rhodes type electric keyboard.) The performer may choose a more “real” or “fake” sounding software instrument, depending on their interpretation. o Suggested: Iowa Piano: http://www.vst4free.com/free_vst.php?id=2294 • For the sustained sounds: o Suggested: use low C# & D# to trigger these sounds. Alternatively, other buttons on the MIDI keyboard may be used. o Measures 74-5: Chord notated in grey should match the sound of the electric piano with an unlimited sustain. This will sound from the speaker in the piano. o Measures 112-3: Chord notated in grey should sound just like the previous sustained sound. This will sound from the speaker in the piano. High C should be a sine wave. This will sound behind the audience. Output soft, muffled noise with randomized amplitude from both speakers. electronics setup: • Place the electric keyboard inside the piano, above the piano’s keyboard, making sure the notes are lined up (i.e., middle C on the electric keyboard should be right above middle C on the piano keyboard. • One speaker should be placed inside the piano. • One or two speakers should be placed behind the audience. sound levels: • The levels of the electric piano should match the acoustic piano as closely as possible. • The levels of the sustained sounds should also match the acoustic piano, or could possibly be a bit louder, at the discretion of the performer. program note: (by Matt Sandahl) Daisy, Hold Into takes as its starting point the aesthetic tensions that emerge between electronic and acoustic sound or more precisely, between pre-recorded material sounding from speakers and live material produced by traditional instruments. Rather than try and reconcile these two worlds, this piece lays bare the ontological differences between the two categories by means of simple juxtaposition. Extremely spare and austere musical material is distributed between an acoustic piano and an electronic copy of the same instrument, in a manner that foregrounds nuances of timbre and spatial diffusion. This technique of letting musical properties reveal themselves through juxtaposition becomes an operative principle of the piece in general, working across several parametrical registers. Contrasting musical states are not negotiated alongside any sort of continuum. Rather, they are placed plainly beside each other, interwoven into a kind of mosaic. There is no discursive logic or linear process guiding the music along, but instead an intimate sense of free play. This is music that encourages a child-like reencounter with the world, with all of the freshness, sensuality, and strangeness that such an experience entails.

Daisy, Hold Into solo for piano & electric piano Jacob Sachs-Mishalanie

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