Sachs-Mishalanie_I if I

I if I for string quartet & electronics

I don’t mind if I have to pretend I don’t mind if I have to pretend I don’t mind if I have to pretend I don’t mind if I have to pretend I don’t mind if I have to pretend I don’t mind if I have to pretend I don’t mind if I have to pretend

by Jacob Sachs-Mishalanie 2017 (full score)

a note to the performers: strings: • vibrato: All passages should be performed with no vibrato.

• bowing: For sustained notes, change bow freely, but avoid synchronized changes between performers.

• air / noise: X note-heads indicate a muted airy noise sound with no specific pitch. While this sound is always notated on the highest string, it may be played on any string(s), or any part of the instrument, at the discretion of the performers.

• glissandi: Glissandi should be evenly spread throughout their duration. Stems count each passing quarter note, but do not otherwise indicate anything about the sound. Arrival points should be rearticulated with a bow change. performing the electronics: • All electronic sounds and amplification changes are automated to start & stop following cue points indicated in the score. Cue points are notated as boxed numbers on the bottom stave of each system.

• To trigger the next cue, press the computer space bar. All other controls are indicated in the software.

• All cues are to be triggered precisely on the downbeat or beat 3 unless otherwise indicated.

program note: I if I is the third in a series of pieces exploring the differences in our interpretation of meaning, expression, and genuineness in acoustic and electronic sounds. Acoustic tones are juxtaposed with amplified, pre-recorded, and synthesized tones, and string noise is put up against white noise and recorded water sounds. Here are a few related questions: Is a recording merely an image of a past sound? Is an amplified sound less ‘real’ if the speaker is separated from the instrument? If we interpret a sound as ‘artificial,’ do we take it less seriously? Is there some space between ‘real’ and ‘artificial’?

Commissioned by the VIPA Festival for the Mivos Quartet Premiered July 7, 2017 in Valencia, Spain

information on the electronics: I if I maxMSP project: Available directly from the composer: jsmishalanie@gmail.com equipment list: • Quadraphonic sound system (or Stereo) • Computer running the I if I maxproject • Audio interface (4x4 I/O) • 4 mics: preferably DPAs or other instrument specific clip on mics • All necessary mic stands, cables, mic clips, etc. electronics setup: • Standard Quadraphonic sound diffusion: Front R/L, Rear R/L (or Stereo, option in maxproject) • All strings should be close mic’d. If clip-on mics aren’t available, condenser mics should be set as close as possible to the instruments without impeding the movement or vision of the performers.

The sound should be close and artificial.

• All mics are run through the computer / audio interface for processing by the maxMSP patch.

• All four channel audio comes directly from the computer / audio interface. No direct amplification. amplification levels: • opening: Even & ‘natural’ mix between acoustic sounds, amplified sounds, & electronic sounds (with the exception of acoustic sounds being covered by electronic sounds where indicated.)

• a: String sounds are delicate & soft, and the amplification is increased. Amplification should overpower the acoustic sound, and should feel more artificial and oppressive.

• b: String sounds are now even more unstable, so the artificial / oppressive feeling of the previous section should be exaggerated even further with higher amplification levels.

• c: Acoustic. string samples to prepare: To maximize the confusion between amplified and prerecorded samples, please prerecord the following sounds for performance. The files should be named as indicated and placed in the “media” folder of the maxproject, replacing the original files. The files should be edited so that they can be looped forwards/backwards with minimal glitches and pops. Ideally, use the same instruments & microphones that will be used in performance. If samples cannot be prepared, the originals will be fine.

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Full Score

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