__MAIN_TEXT__

Page 1

Pole, Steam, Tree, Glass for violin & electronics Jacob Sachs-Mishalanie 2016


a

note to the performers:

Violin: The outer movements (i. Pole, iv. Glass) should be static & mechanical, and the inner movements (ii. Steam, iii. Tree) should be dynamic & expressive. In iv. Glass, in the last system of the piece, notes marked with an X note-head should be nearly inaudible string noise, almost as if they are mimed. Electronics: The electronic part is not fixed, and the engineer should follow the violinist. All electronic sounds are triggered with the computer keyboard. Specific instructions included in the software.

Program Note: Pole, Steam, Tree, Glass is the first in a series of pieces exploring the differences in our interpretation of meaning, expression, and genuineness in acoustic and electronic sounds. Here are a few related questions: Do sounds from a speaker flatten or expand space? Are electronic sounds expressive in the same way as sounds made by a person on stage? When a recording is played back, is it a statement or a restatement? What characteristics make a sound feel real or artificial, and is there something between? Premiered by Miranda Cuckson on November 28, 2016, 8pm, at Lang Auditorium at Hunter College, 695 Park Ave, New York, NY 10065. More Info: http://jsmishalanie.com/music/pole-steam-tree-glass/ Contact: JSMishalanie@gmail.com


setup:

Pole, Steam, Tree, Glass maxMSP project: Available directly from the composer: jsmishalanie@gmail.com Electronics: • Stereo amplification • Computer running the Pole, Steam, Tree Glass maxproject • Audio Interface (2x2 I/O) • 2 microphones: o Close: DPA or other instrument specific clip-on (or, substitute Condenser) o Far: 1 condenser • All necessary mic stands, cables, mic clips, etc. Samples to Prepare in Rehearsal: 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.

nœ œ & œ

bœ œ B3close.wav B3far.wav

D4close.wav Eb4close.wav A4close.wav D4far.wav Eb4far.wav A4far.wav

E5close.wav E5far.wav

Stage: The Violinist should be close to the left speaker to allow maximum blending, and maximum difference with sounds from the right speaker. Close and far microphone distances may vary, as long as they are timbrally distinct. When amplified, the close mic should sound unnatural to the audience, and the far mic should sound roughly like the acoustic sound. The engineer should be offstage.


q = 60 mechanical 1

V.

6 Ó™ œ œ œ œ œ &4 œ œ œ # œ œ œ œ œœ œ œ œœ # œ œœ œœ # œ œœ œ œ œœ œ # œœ œ mp

i. Pole E.

6 & 4

Ó™

œœ # œœ œœ

Far mic, Panned L. Amplified sound should subtly support violin's acoustic sound without overpowering it.

Sine waves, Panned R. Match violin dynamic.

5

V.

& Ó

Œ œ œ œ œŒ # œ œ œœ œ # œœ œ œ # œœ œœ œ œ œœ ∑

E.

∑ #œ œ

Œ œ œ

& # œœ œ œ

œ

œ

# œœ œœ

œœ

œ

9

V.

& # œ œ œ œ œœ œ œ œ

™™ œ œ œ œ œœ œœ # œœ # œ œœ œ œ œ œ

™™

attacca

ΠE.

™™ # œœ œœ

& œ

œ œ

œœ

™™

œ œœ œ

Far Mic to silence.

q = 60 expressive

#w

œ

13

V.

4 œ œ œ &4 œ >

œ œ™#œ œ œ œ œ œ #œ œ œ™ œ

œœ œ

œ™ œ

œ œ œ™ p

p

p

f

ii. Steam f E.

4 & 4

mf

‰™ œ œ

Ó

w

˙

œ ‰ Œ

Ó

Ó

Sample: Close Mic'd Violin, Panned R. Match violin dynamic.

#œ 19

O œ™ œ œ œ ™ œ œ œ

œ V.

& œ

#Oœ

Oœ œ œ œ

#œ œ œ œ

œ p

p

mf

mf

∑ E.

O˙™™

Ó

ŠϪ

Œ

˙™ Œ

& Sample: Close Mic'd Violin, Panned L. Match violin dynamic.

#œ 24

#œ œ ™ œ œ

œ

œ

V.

#œ œ Œ

Œ

œ

œ Œ

& œ™ œ

œ mf

p

p

mf

˙ ∑ E.

w

Ó

& Sample: Far Mic'd Violin, Panned L. Match violin dynamic.

Copyright © 2016 Jacob Sachs-Mishalanie / JSMishalanie Music

w

Ó


q = 80 expressive 28

V.

6 &4 œ œ ˙ #œ œ

œ™ œ œ™ œ#œ ™ œ

6 4 œ˙ œ œ #œ

œ ˙ œ # œ # œ™ œ œ œ œ œ ˙ mp

œœ œœ

œ mp

p p

mp mf

iii. Tree E.

mf

6 & 4 ∑

6 4 Œ ˙ œ

Œ

Ó™

Œ

Œ

œ Ó™

œ œ

˙

˙

Randomized: Sine Wave / Sample: Close Mic'd Violin / Sample Far Mic'd Violin Also randomize panning L or R (nothing in-between) Match violin dynamic

32

#œ ™ œ œ™ œ V.

& œ

#œ ™ Œ

œ œ #œ œ

œ œ œœ ˙ n œ œ œœ # œ œ n œ œ

œ™ # œ œœ œœ œ

œ œ p

p

mp p

mf

mf mp

mp

mf

mf mp

Ó™ E.

œ Ó

œ

& ˙

œ Ó

œ

Œ

Ó

Œ

˙

˙ ˙

œ

36

<#>œ œ ™ œ œ ™ œ V.

&

œ

mp p

mp

ΠE.

#œ ™ œ œ™ œ œ ™ œ

œœ œ œ ™ œ #œ nœ œ ˙ mp

œ ˙™

p

Ó

œ

Œ

œ™ ˙

œ p

Œ

mp

Œ

œ

p

mp

Ó™

Œ

Œ

& ˙™

˙

˙

˙

˙

˙

40

V.

œ™ œ œ™ œ œ ™ œ & œ œ œ p

mp

˙˙

œ bœ

mp p

Ó œ

& ˙

œ

˙ bœ

˙˙

p

Ó™ E.

œ œ

Ó

˙

mp

p

Ó

Œ

œ

bœ ˙ œ mp

œ

p

Œ

Ó

mp

Œ œ

˙

˙

œ

44

V.

œ™ œ#œ ™ œ œ™ œ

œ™ œ œ & œ œ p

E.

& Ó

mp

p

Ó™ œ

œ œ™ œ

œ

bœ œ œ™ œ bœ ˙

œ™ ˙ œ

mp p

mp

Œ

Œ

˙

p

mp

Ó

Œ

˙

Œ ˙

47

V.

œ & bœ œ œ œ œœ œ b˙ ™ bœ bœ

œ ˙ œ bœ œœ œ

p

Ó E.

Ó

mp

Ó™

Œ

p

œ œœ b œ

bœ œ ˙

mp

Ó™

Ó

p

Œ

Œ

Œ

& œ

œ

œ

œ

œ

˙

œ


51

œ#œ ™ œnœ ™ œ

œ V.

œ œ™ œ œ nœ œ nœ œ bœ œ b œ bœ b˙ bœ ™ œ œ

Œ œ bœ

& ˙

mp

p

p

mp f

mf

E.

& Ó

Ó

Ó

Ó

˙

œ

Ó™

œ

Ó

œ bœ

œ

œ

55

V.

#œ ™ œnœ ™ œ œ™ œ œ œ ™nœ œ œ œ nœ œ™ œ œ bœ & bœ bœ œ n œ œ œ œ bœ bœ bœ ™ œ bœ bœ b˙ mf p

ΠE.

mf

f

Ó™

mf p

mf p f

f

Ó™

Ó

Ó

Œ

& œ

bœ ˙

œ

˙

œ

59

œ œ #œ œnœ ™ œ V.

& bœ ™

bœ bœ ™bœ nœ mf

p

f

Ó™ E.

nœ nnœœ# œ œ n#œœ

p

f

mp

Ó™

œ#œ ™ œ

œ œ # œ œ œ #œœ

p

mf p

mp

Œ

œ œ##œœ

Œ

mf p

mp

Ó

œ Œ

& ˙

mp

Œ

œ œ

nœ ™ œ œ

˙

˙

œ

63

œ V.

& œ #œ

˙™ œ œœ #œ

œœ # œ

mf

p

Ó E.

œ

œœ œ #œ

œ œ #œ

mf

Œ

p

Ó

Ó

Œ

Œ

& œ

œ

œ

˙

œ œ

œ

œ

66

#œ œ V.

& œ # œœ mp

œ

œ

œ

Ϫ

˙ #œ ™ # œœ

p

œ #œ

œ œ

œ #œ

mp

#˙ pp attacca

Ó™ E.

Œ

Ó

Ó

Œ

& œ œ

œ ˙


Approach Microphone, as close as comfortably possible

q = 80 mechanical 69

V.

6˙ &4

O˙ # ˙

œ

Oœ # œ ˙

˙

˙

˙

œœ

˙

œ

˙

pp (g)

œ w

w™

iv. Glass E.

6 & 4

ΠSine waves Panned L. Dynamic should match amplified violin sound.

Turn up violin Close Mic, Panned R. Amplification should overpower violin's acoustic sound.

œ

œ

73

O˙ œ œ

V.

œ

œ ˙

œ œ

& ˙ ˙

œ

˙

w™ w™

w #w

w w

˙ ˙

w w

˙

w

œ œ œ œ œ œ œ œ œ œ œ

(f#)

E.

&

about 30 seconds

O˙ # ˙

77

œ V.

œ˙ œ

˙

w™ <#> w ™ w™ & w™

nearly inaudible noise ord

w™ w™ w™ w™

w™ w™ w™ w™

U ~w™™

Oœ # ¿ ¿ ¿ Y

œ˙ U w™ w™ w™ w™

w™ w™ w™ w™

sim.

#Y 82

Y

˙ V.

˙

œ

& ˙

E.

˙

Oœ Oœ Oœ # ˙ œ

OO # Y Y

¿

& Y

œ˙

Y™

w™

ppp

E.

w™ <#> w ™ w™ & w™

w™ w™ w™ w™

w™ w™ w™ w™

w™ w™ w™ w™

w w w w

end motion & sound together

˙

w™

Profile for JSMishalanie

Sachs-Mishalanie_Pole, Steam, Tree, Glass  

Pole, Steam, Tree, Glass for Violin & Electronics by Jacob Sachs-Mishalanie 2016 http://jsmishalanie.com/music/pole-steam-tree-glass/

Sachs-Mishalanie_Pole, Steam, Tree, Glass  

Pole, Steam, Tree, Glass for Violin & Electronics by Jacob Sachs-Mishalanie 2016 http://jsmishalanie.com/music/pole-steam-tree-glass/

Advertisement