Travertine Hybrid #3

::: performance score :::

Travertine for the 2014 Composit New Music Festival

Hybrid #3 for violin + live, interactive electronics

Louis Goldford (2014)

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00:05:30:669 Light flashes in man's face.

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Œ ! œFl. & 5 5 6 7 6 7 Currently software is available as a single download in the form of patcher files .œ . . œ œ violin . . . . . œ œ œ b œ œ œ b œ œ œ œ compatible with Max/MSP v6.1+ (www.cycling74.com/). Alternatively, the . . œ. ".œ ". œ. ".œ ". b œ ‰. œ. ‰. œ. ‰. œ. œ. ‰. œ. œ. . œ. ". ". œ. ‰. b œ 121 live ‰. electronics* piece ‰runs in the free version Max Runtime, also !from the above web address. Œ & 121

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Additionally, the piece uses a number of externals from 3rd-party libraries whose ! ! rights are bound by their original licenses. Once downloaded, the Travertine Hybrid #3 folder may be placed anywhere in your Max search path, though the 5 .

Wreath of Violet is a short film by director Austin Criner, which I scored as part of the Double Exposure Film Festival pizz. œ O˙ .. packages folder is recommended. arco bœ — at pizz. l. batt. . n œ n œ. œ.

Owœ. . # œ. b œ. b121œ. setup œ " of an " " œ " of" œwhat" appears University, March 2013. The film centers on the deterioration to " " " " " " #be " or"fantasy Vln. & b œ. " # œ Indiana bœ œ œ a"dream ‰ r e a t idealized h oguide f V relationship. i ofor l e installing t | Goldford | director Score uses 15œunderlying Whileand the visual symbols to connote an I use a transformative AW complete running themany software, including screenshots of theplot, user 6 5 interface, is provided in ƒ procedure as the basis for depicting the protagonist’s realization that he has lost his love (on multiple levels). The grad6 7 F the download and will also be included in a future draft of this score preface.

For now, the physical stage setup. The transformation of a single sonority (the mystery surrounding the reality of thel. batt. woman in the film, or a relationship . .œwill 5 n œ. " n œual œ. performer . œ " œ.# œ. b œ. b œ. " need: l. batt. pizz. shared by!both characters) into characterizes æ an inverted spectrum of !itselfœat‰thebend . æ" # œ. œ of the film " ? œ ‰ " the general œ trajectory Ó b œ " " " " ~ œ.

Vc. ~ ‰ O of the music. At the beginning, # œ the upper partials of this “source # œ ~~intone 7 b O . gradually expanding and contracitng rhythms F 6 g ƒ sub.

P and suggest the turning bicycle wheels.

The chord isassistant, first heard inwith full when the woman’s face firstmixing appears on 5 1. a laptopchord” running Max v6.1+ to beofoperated by a computer or without additional support at sul IV screen.

There are also detours from this general flow, including a picnic scene where diatonic and pentatonic sections b# ˙œ. . . w b w . . . œ. b b ˙˙˙b œ. œ b œ ". œ. œ ". # œ.the www ".mix b b www . œposition. . œ implied ". "are by the source chord, suggesting a pureness, without noise,MOTU that is imagined andIII) clearly part of the fantasy. œ .

2. a DAW / audio interface connected to> the laptop (recommended: 828 mk. > #œ 7 > The piece runs in either stereo or 4-channel surround; ƒ 6 Louis Goldford, February 2013 . . wwa condenser w ˙ 3. placed appropriately polar pattern;b œ. œ. . œ. œ. . œ. . b œ. . microphone œ. the soloist, œ. . œ in .aœ.cardiod ww b ˙˙˙ bbwwœ.w . œ bfor ! . . . . . . ¨ . . . b œ œ œ œ œ œ œ ‰. œ œ ". and œ ‰. œ œ ‰. œ ‰. amplification, ". œ. loudspeakers.

124 4. a mixing > > ‰. œ ‰. ". ". ‰. ‰. ‰. œ. ‰. œ. ‰. console, œ. ‰. œ ‰. b œ ‰. œ Œ col legno (w/hair) Fl. (w/hair) and effects are all implemented in the performance patch. & Œ > Digital reverb col legno ore ˘kkkkkkkkkkkk 13 ˘ ˘ ˘ ˘ ˘ ˘ ˘ kkkkkkkkkk kkkkkkkkk 6 "˘ 6 " 7" 6 7 kkkkkkkkkkkk6 " kkkk7 " b œ œ ˘kkkkkkkkkkkkkkkkkkkkkk " œkkkkkkkkkkkkkkkkkk œ b kkœ œ "7 œœkkkkkkkkkkk œœ ‰ 6‰ " œœkkkkkkkkkkkkkkkkkkk œœ 7 ‰ b œœ œœ œœ œœ 5‰ ‰ œœ 5 ‰ ‰ ƒ‰‰ " œœ œ œnotes " b >œœœ ˘œ ‰œ "‰ œ‰œ œœœ œperformance 5 ‰ in man's face.

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N. π F 3 & 5 3 œ B œ œ B œ 5 œ œ œ n œ œ µœ œ sub.F 6 3 Œ ƒ B (Phase œ µ œ shift B œ µ œ B œ & B œ µ œ B œ nœ + # œ26 œ n œ # œ n œ # œ + œ œ ≈ ≈ œ ON. Interpolating to preset œ # œ # œ 8 2sub.F œ + #œ + #17. Soloist plays through interpolation.)

45 + + ˘ + b œ n œ 5 œ ¨ tone. +œ bowœ #articulation œ b œ A œat theœ frog. # œ œ Phrase b œ may beginb œwithIa scratch œ Heavy b œ 20 # œ + #œ n œ 35n œ > > > b œ œ 5 > B œ B œ œ µ œ 3 B œ µ œ B œ + # œ n œ ( h ) # œ ) ( q # œ n œ # œ bœ I (II h until ) ‰ + Gradually change bow pressure scratch tone (white noise) 5 œ #N.Ïœ Bµ œœ . µ œ˙ œ B œ ˙ n œ Œ 3 IV / S.P. IIBsul j & µ#œ& µ ˙ œ. œ n œ Œ6 replaces pure tone at the line’s thickest point.

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O 9 ‰ F O # O ( ) Œ Œ œ #œ œ & #24program ~10" œ œ n œ œ œnote 3 F #œ o 3 π sub.p sub.F E.S.T. 4 cresc. &the winter of 2011 I visited the Getty Center in L.A. In There, I recorded myself striking the surface of travertine limeæ # œæsound. Œ an amazing æ The following & 40œ stone spread throughout the Getty campus, whichŒproduces µœ œ(Soloist: B œringing hollow yeartoI clear, n œ wait for the delayed harmonic trills # ˙ > > (V.S.) 5 b œ B œ ˙ . as the compositional basis for a series ofo pieces leaving ¨ only for solo string The two prior nused œ analyses # œ of>œ this audio p instruments. the resonant partials fading in & out...) p n œ # œ whilenTravertine #3 Œmarks theŒ first in this series for & works in the5series are# œfor viola B œ and µ œ cello5œ soloB œrespectively, œ œ Hybrid œ œ #I œcross-synthesized and is also first to as include accompanimnet via electronics. the partials of viola †violin Electronics arethe available patches compatible with Max/MSP Previously v.6+ available from the composer at ljgoldford@gmail.com.

3 5 c.l. (w/hair) f samples with the travertine samples andpulse, produced The electronic Tempo is partials flexible.of Nothing relies on a steady so thehybrid playerspectra. iskk—free vary the time and phrasing athere theirin-discretion. k µ œ †† — to — accompaniment k — k k k k k k ˘ ˘ k and generative cludes such but also includes resonant filter techniques material. For example, ≈ cross-synthesis, ≈ œ kk score b œœkkœ ‰ ‰ œ 42 U ~2" ‰ ‰ R R a Markov chain was constructed in order to generate much of the pitch material for the notated‰part. Œ Œ & & sub.

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contact information

Louis Goldford // composer www.louisgoldford.com

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ljgoldford // ljgoldford@gmail.com issuu.com/louisgoldford

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facebook.com/louis.goldford twitter.com/einbahnstrasse instagram.com/einb0hnstrasse soundcloud.com/louisgoldford vimeo.com/louisgoldford

for Marco Fusi at the 2014 Composit New Music Festival

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3

3

(e e) ( h. ) Ÿ~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ 12 n O (œ µ ‚^ n ‚ (‚ ) # ‚^ n ‚ ( ‚ ) # ‚^ n ‚ ( ‚ ) # ‚^ O) R & o π f F π F P (q)

µœ œ

( h. )

5

N.

16

& ≈ B œ . j œ œ œ sub.F 2

20

&

24

&

œ

3

6

#œ œ

Bœ

µœ œ œ J Bœ Bœ 3 nœ

3

j Bœ œ µœ œ 3

(Phase shift ON. Interpolating to preset #17. Soloist plays through interpolation.)

nœ Bœ œ

( e ) ( q. )

µœ

j Bœ œ µ˙

3

œ

µœ

Bœ

5

nœ µœ

#œ

U

µœ µœ. ˙

j œ Bœ œ Bœ Bœ µœ œ nœ.

3

˙

5

Œ

π

3 (Soundfile: opening-q-3.aif. Flourish-

ing, delayed, birdlike harmonic trills.)

~10" (Soloist: wait for the delayed harmonic trills to clear, leaving only the resonant partials fading in & out...)

(V.S.)

† Electronics are available as patches compatible with Max/MSP v.6+ available from the composer at ljgoldford@gmail.com. †† Tempo is flexible. Nothing relies on a steady pulse, so the player is free to vary the time and phrasing at their discretion. ©2014 Louis J. Goldford (BMI). All rights reserved.

Travertine Hybrid #3 | Louis Goldford | 5 / 2015

2

N. > > > Ÿ~~~ Ÿ~~~~ 3 #œ (# ‚ ) ‚ ‚ (# ‚ ) & ‰ ‰ œ µœ Bœ > p sub.F 3

26

29

&

sul II / S.P.

B >œ µ >œ # >œ B >œ

Ÿ~~~~~~~~~ Ÿ~~~~~ ‰ B >œ µ >œ # >œ ( # ‚) ‚ ‰ ‚ (# ‚ ) ‰ ‰ nœ > 3 3 sub.p sub.F N.

(II / S.P.)

Œ

#œ nœ Bœ µœ #œ Bœ nœ #œ 5

3

Bœ µœ #œ Bœ µœ aœ Bœ 3

5

31

5

&Œ

33

N.

Ÿ~~~Ÿ~~~~ ‚ ( # ‚ ) ‚ (# ‚)

(II / S.P.)

#œ œ nœ Œ > > >

& nœ #œ œ nœ œ œ Bœ µœ #œ Bœ nœ # œ ≈ ≈ 5

3

sub.

p

B œ µ œ # œ B œ µ œ œ B œ n œ # œ œ n œ œ œ # œ ≈ ≈ B œ µ œ # œ B œ n œ sub.F 3

5

5

4 (Morphing resonant partials toward vln-C#.txt, appx. 56". Ends around rehearsal #8…)

& #œ œ nœ Œ > > >

35

>œ B ‰

3

40

&

6

n >œ

# >œ

> œ

3

(II / S.P.)

p

sub.

nœ #œ

#œ Bœ µœ

œ #œ Bœ µœ œ Bœ nœ 5

>œ µ >œ # >œ B >œ n œ # œ B Bœ ‰ œ #œ œ nœ #œ N.

sub.

F cresc.

3

œ Bœ nœ #œ œ nœ 5

U

42

&

¨ œ œ #œ f

5

~7"

Œ

Œ

(Soundfile: opening-q-4.aif.

Screaming scratch tones.)

(Begin 4" fade of scratch tones.)

(Soloist: begin while delays are still fading out.)

& Œ

44

B >œ

3

Ÿ~~~~~ ‚ ( # ‚ ) Ÿ~~~~ ‚ (# ‚ ) Œ

S.P.

& #œ œ nœ œ œ #œ Œ

37

µ >œ # >œ

‰ j œ œ œ œ µœ #œ ( f ) poco a poco cresc.

(N.)

6

˙.

Œ

œ #œ µœ 6

œ œ œJ µ œ 3

œ œ. œ #œ

6

Travertine Hybrid #3 | Louis Goldford | 5 / 2015 48

& ˙.

œ

œ.

56

&

µ˙

œ

œ n b œœ ..

ƒ

8

µœ.

60 &‰ æ

‰ 9

(q)

&

Œ

12

‰

Œ

3

(Phase-shift ON, interpolating toward preset #2.)

û

µ˙ & æ

74

p

≈

— c.l. (w/hair) ≈ ≈ ≈ b œ b œ ‰ ≈ n œ œ ≈ ≈ &

71

BO æ

P

˙

ƒ sub.

10

arco

5 (Phase-shift to preset #3.)

≈

≈

13 (Phase-shift to preset #4.)

‰

≈ ®

É

≈ # œ œ ≈

‰

pizz.

≈

5

4

µœ o

p

kkkk—— k kkkkkk ˘ k k b œ˘œkkœ œ ‰ œ R‰ ‰ R‰ c.l. (w/hair) ——

Œ

3

3

11 (Morphing partials toward rock-13.txt, ~18". Ends around rehearsal #15…)

(w/hair) ≈ ≈ — ≈ b c.l. œ b œ ‰ ≈ n œ œ ≈ œ

≈ b œ b œ ‰ ≈ n œ œ ≈ œ 5

j œ

œ œ œ œ.

œ B œæ # œæ n œæ

E.S.T.

û ÉÄ

c.l. (w/hair)

3

Œ

N. sul IV

F espress.

(Slight amplification of harmonic, 3". Phase-shift OFF.)

bœ Bœ. ≈

≈

(h)

æ

~~~

68

#˙

œ œ #œ œ œ œ

3

#‚ æ

o

6

(Phase-shift ON again, preset #12. Interpolation finished.)

(h) (q) sul IV / S.P.

BO

œ #œ

˙ ˙

≈

64

µœ

3

µ˙ œœ œ # œ œ œ æ

˙˙

6

& œ

µ˙

œ.

6

œ bœ. ˙ µ˙

#œ µœ Bœ

‰ œ bœ. µ ˙ œ œ # œ œ œ 7 (ein.LiveRez process OFF.) œ b œ .

52

&

œ bœ

#œ

3

5

3

arco c.l. (w/hair) ≈ ≈ — ≈ b œ b œ ‰ ≈ n œ œ ≈

û ÉÄ 3

ÉÄ

5

14 (Phase-shift to preset #5. Amplify dry gain for softer articulations.)

(V.S.)

Travertine Hybrid #3 | Louis Goldford | 5 / 2015

4

U

78

&

15 (Soundfile: trem-3-again-ready.aif. Bass-EQ'd tremolos leading to explosive hit at 8". Soloist: begin after this final attack.)

N.

80

&

˙.

E.S.P.

˙.

o

(q) (q) (h) (h) S.P. / sul IV

&

BO o

( ƒ)

5

I III

sub.

18

f

œR‰

#œ œ nœ œ #œ #œ œ #œ

3

3

3

#œ œ # œ œœ 6

nœ Œ ‰ nœ Œ I III pizz.

ƒ

3

sub.

#œ nœ œ œ ¨ œ #œ œ nœ œ #œ ‰ Œ Œ aœ œ Ï

5

6

B O.

S.P. arco I

Œ

sub.

pizz.

20

∑

(Decreasing reverb, 4"…)

I # O .

S.P. arco

π

O.

21 (Slight amplification, 5". Phase-shift ON.)

.

II

F

5

5

ƒ

&

kk—k — kk—— k k ˘ ˘ k k k k b œ œ œ R‰ ‰œ R‰ ‰ R‰ ‰

(ein.LiveRez + Phase-shift ON.)

& Œ Œ œ # œ œ b œ œ b œ n œ # œ# œ n œ sub.

98

o

kk—k — k k ˘ k œ ‰œ

5

Œ

(Ï)

95

˙.

(Morphing toward rock-20.txt, ~30s 19 near rehearsal #22. Phase-shift OFF.)

nœ nœ &‰

91

P

œ #œ #œ nœ

pizz.

&Œ

b œ˘œkkkkk

c.l. (w/hair) ——

(Slight amplification, 3" + increase live reverb.)

17

88

BO æ æ

#‚ æ

N.

ƒ

16 (Phase-shift OFF. Fade out.)

83

~8"

œ bœ œ bœ II

.

œ # œ ˘œ b œ A œ œ # œ œ b œ b œ

6

B OO ..

3

III

(# O ) ( O )

.

O #O. F

# >œ

œ nœ 5

bœ

OO . .

>œ

#œ

π

œ ¨ #œ Ï

o

œ œ œ ¨ œ œ œ #œ ‰ Œ

Travertine Hybrid #3 | Louis Goldford | 5 / 2015

˘œ œ # œ b œ bœ Œ Œ œ b œ # œ ∑ b œ n œ œ œ b œ œ #œ œ #œ nœ bœ sub.ƒ 3

103

&

22 (Phase-shift OFF.)

&

±.

Ö

III

r œ

&

—. r

—

œ #œ #œ nœ #œ œ I (arco) r œ. Œ Œ ! ! ! ! ! nœ #œ œ œ #œ #œ œ ! ! !!!

5 sub.ƒ Ï N.

(q)

—. Ö

j rœ œ III

—

r —

( e ) ( x ) ( e.)

II r I

—

24 (Phase-shift to preset #9.)

#œ

r œ. œ

III IV

# ˙˙æ..

Ö

& µ µ ˙˙æ..

116

O.

I 122

&

Í

P

Ï

5

N. IV

œ

Ï

25

œ bœ µœ #œ bœ

S.P. N. sub.

f

F

r —

‚ ‚ R

f

F

Œ

—

r œ

—

Kr I —

œ

II

Kr œ

‰Œ

Œ

(Phase-shift OFF, increase reverb, morph partials back to rock-20.txt.)

Bœ nœ b œ µ œ µœ œ

S.P.

BB IIO˙ ..

n n O˙ ..

(Phase-shift to preset #10

5

OO . .

III

œ µœ œ bœ

Ö

sub.

Ö

œ Bœ

Ö

ƒ

26 + slight amplification.)

— > œ b >œ I

II

—

‚II ‚

‚I

3

œ œ œ ¨ œ œ œ 5 5 ‰ ! ! !b œ! ! !n œ!# œ! ! ! œ b œ œ # œ œ n œ n œ¨ # œ ‰ ! ! !b œ! ! !n œ!# œ! ! ! œ œ œbœ & œ#œ œ œbœ œ#œœ œbœ #œnœ #œnœ !!!!! sub.F cresc.

5 28 27 (Phase-shift 6 f (Phase-shift ON, preset #11.)

OFF, reverb down.)

5 >œ >œ > 5 œ œ 130 ¨ ¨ œ œ¨ # œ¨ ! ! ! ! ! œ œ œ œ¨ # œ U ¨œ # œ œ œ # œ ‰ bœ nœ #œ nœ ‰ Œ ‰ Œ Œ & ! ! !!!!!

(DAC off.)

(Incr. reverb tail, 31 127

# ‚ ≈

6

6

œ

B ## OOO .. .

II III

6

aœ œ

#œ œ

# Ϭ

S.P.

5 œ #œ œ bœ œ # œ ! ! ! ! ! b œ ! ! ! ! ! œ #œ Œ œ bœ bœ œ #œ nœ œ #œ œ bœ œ ! ! ! !

S.P. (arco)

œ nœ #œ bœ œ ¨ bœ & ! ! ! ! ! ! ! ! #!œ 5

114

#œ œ # œ œ œ

5

23 (Phase-shift ON, preset #8.)

( q. ) sub. N. IV 111

œ.

5

6

( q. ) ( e.) ( e.) r II —

( h. ) N. arco IV

107

5

5

pizz.

5

ƒ

5

5

29 phase shift OFF.)

5

poco

ƒ

30

5

Ï

June 2014 New York City

(Soundfile: ending-q-6.aif. Ends w/low, delayed burst. Wait for decay.)