4Vois: Full Score by Matthew A. Bardin (ASCAP)

4Vois For solo voice and live electronics Matthew A. Bardin 2019

On Electronics: • 4Vois is a composition utilizing unaccompanied voice and live electronics. The software patch is available for free download at matthewbardin.com/4vois. • Max8 is available for download at cycling74.com; a trail version can be downloaded for free if you do not have the paid version. Everything will run as normal, except that you will not be able to save any changes made to the patch • The Max patch contains multiple effects as detailed below: o Adaptive Noise Generator: Analyzes the sound being picked up by the microphones, and outputs a similar spectrum of filtered background noise randomly in the stereo field. o String Harmonizer: Harmonizes the sound coming in and gives it a ‘plucked string’ timbre. This pizzicato effect can be triggered at will. o Convolver: This effect mixes the output of the Adaptive Noise Generator and the live sound. When the pitches overlap, it combines the two timbres. o Echo: This effect applies a heavily distorted flanger to the incoming sound, as well as an echo that bounces around the stereo field. o Other effects: There is also an option to have the live sound be passed through the speakers with no effects. It is recommended that at least some of the signal be passed through. There is also a reverb effect applied to the output sound as a whole before being sent to the speakers. The Passthrough bypasses this.

On Electronics (continued): • The patch is set up by default to be controlled via MIDI data through a Korg NanoKontrol2, however this patch could be run with any MIDI device (changes to controller numbers will have to be made in the background of the patch), or by simply adjusting the levels and triggering events with the mouse. • All of the effects in the Max patch are built in stereo. If possible, the performer should have a stereo microphone placement for the performance. The output of the Max patch is also mixed to stereo.

On Performance: • The vocalist should start with phrase 1. Once completed, they may then choose to move to any of the phrases indicated at the end of the system. The performer may take a short pause between phrases if they desire. This causes the formal structure and duration of the piece to vary between performances. The performer should always end at the second ending of phrase 7. • While the duration may do on for any length of time, it is recommended that any given performance not exceed 20 minutes.

iii

On Notation: • Accidentals apply only to the note (or beamed group of notes) in which they appear, and do not carry through the phrase or octave. • The full score contains cues for the electronics part, while the vocal part only contains the music the vocalist will be singing. • The symbol below indicates the performer should slide between the two pitches over the duration of the first note. The example below is taken from phrase 8:

• The following symbols indicate various ‘clusters’ of sound. The performer should glide between the pitches indicates, hitting as many other pitches in the black triangle or square as possible; these oscillations should happen fairly quickly.

Cluster decreasing in pitch content.

Cluster increasing in pitch content.

Cluster relatively maintaining the pitch content.

• The arrows shown in phrase 5 indicate a gradual increase and decrease in the tempo. The performer is indicated to increase the speed of their repeated rhythm until it sounds more like a wide trill between the indicated notes, and then gradually slow back down until the performer is singing a long drone on each pitch as notated.

• The vocalist’s music is written with symbols from the International Phonetic Alphabet in order to indicate what kinds of sounds should be sung. No traditional language is being used, and lyrics should not be printed in a program.

Any questions regarding the music, notation, or electronics may be directed to the composer at matthewbardin.com/contact Completed 12/4/2019 in Baton Rouge, LA

This is a piece 4Vois -Matthew A. Bardin

Full Score

4Vois for voice and live electronics Matthew A. Bardin

° 1 & Electronics

™™

™™ w bw

™™ ¿

ɳœ

(i)

° 2 & Electronics

œ Œ

nw w

ɳœ

w w

ɳœ

œ Œ

nbw w ɑ

pp b ™ Œ ™ nw w

w w

2-3 times

ɳÿ

™™

(i) - y - i

e = ca. 1 00-1 08

-œ œ œ. b-œ œ œ. -œ œ œ. bœ ™™ - œ

χɑ χɑ χɑ χɜ χɜ χɜ χɵ χɵ χɵ e

™™ ¿

œ- ™

χɑ - ɐ

™™n>œR ‰ b>œ ™ >œ ‰ <b>œ œ ‰ b-œ >œ > > ɖɛ

™™ ≈ ¿

Bä - ɖ

≈ ‰

b ʌ ɖɛ - ɖɛ

™™

Go to 2 or 3

™™

œ ™ bœ

™™

Go to 4

™™

w bw

Turn up Echo on ﬁrst iteration Record sample on second iteration (re-record each time phase 2 is per formed)

° 3 & ¢

bmf w w

To the beginning, no repeats second time

Lower AN G to approx. 40% on last iteration

x = ca. 1 00-1 40 (different tempo each time)

Electronics

œ ™™ œbœ œ ™™

Gradually increase Adaptive N oise Generator (AN G) from 0 to max over course of ﬁrst iteration

° ™w & ™ ¢

3-5 times

Tempo ad lib. (slowly)

Bä

Slowly adjust echo to approx. 75% Cue playback of recorded sample on indcated beats

Baton Rouge, Louisiana. All rights Reser ved.

>œ. r # ™ ‰ œ- #œ R Œ . > P'ɛ P'ɛ Ó

3-5 times

≈ nœ œbœ ™™ > . ff

Gä ɖʌ

™™

Go to 4 or 5

4Vois

f b > n œ ° bœ J -œ œ nœ. ‰ 4 & q = ca. 96-112

Electronics

° b>œ &

ʙœ

b˙

ɖɛ ɳ ʉ - ɛ P'ɛ

ɳʉ

° pœ b˙ 5 & ¢

ǀʌ - e

° ™ & ™w

¿™

™™

ä - a

œ bœ ™

ɖa

ɛ-

-ä

œ œ.

¿™

∑ ¿

¿ ¿ ¿

#œ -˙

¿™

ɖa - b ɰ

Bɔ - i

¿™

Bɔ

¿™

Bɔ - i

™™ œ nœ œ œ œ œ ™™

™™

Gradually increase speed until rhythm sounds like trill.

Cresc., decresc., and breathe ad lib.

™™

‰ -œ œ. -œ œ. -œ œ. 3

ǀʌ - e

Gradually decrease speed until drone. Cresc., decresh., and breathe ad lib.

- ʉ

ɖa rɛ - œ

ǀ ʌ - e ɖa - b ɰ ɖa - b ɰ

U w-

rɛ - œ

œ #œ œ #œ œ #œ œ nœ

œ bœ n˙

ɖa - b ɰ ɖa

f Accel.

ǀʌ - e

Rall.

ǀʌ

breathe ad lib.

¿™

ɳʉ - ɛ - ʉ - ɛ

Adjust Harmonizer level to approx. 75% Lower other effects to approx. 35% Trigger pizz. effect on speceﬁed beats

ɖa - b ɰ ɖa

° & Œ

° . & œ œ œ ‰ œ mf

o Ó

Go to 6 or 7

q = ca. 82-96

Electronics

P'ɛ

œ b -œ œ œ. J ‰ f

ʙœ

Adjust Echo to approx 40% Cue playback on indicated beats

ɖɛ ɳ ʉ - ɛ

Cue recorded sample playback on beats with diamond noteheads

ǀʌ - e

U w

ǀʌ - e

U w

ɖa

™™

O Go to 8 or 1

4Vois 3 ° œ bœ bœ œ œ -œ Œ 6 &

q = ca. 72

bœ ™

Electronics

ppp

xe - ɳ a t'æ - p ' - rœ

ɳʉ

œ™ g l i s s . bœ bœ bœ

ɳʉ

Electronics

œ bœ bœ nœ -

nœ ™ f

xe ɳ a t'æ

g li s s .

ɳʉ

° ™ mf & ™bw w

° bmf & w w ¢

™™

o œ Œ

ɳœ

w bw

mp ɳ

œ bœ

ʉ-ɛ

° & œ- œ œ- œ > >- > >-

w bw

rœ

œ b˙

Go to 2

o ffr sub. bœ. nœ. ‰ nœ ≈ œ Œ .> f

- ʉ

ɖʌ

j ¿

P'ʊ - ɖʊ

‰

ɳʉ

nœ. ‰ œ. ‰ œ. ‰ œ. ≈ œ. œR R R R R œ

œ œ bœ ‰

Bɔ - i Bɔ - i

w #w

U w

- ʉ - o

bœ

Adjust AN G and echo to approx. 75% Lower all other effects to approx 30%. Trigger Sample playback on beats with diamond noteheads Trigger Pizz. effect on beats with cross noteheads

b˙

o - u - o

Tempo ad lib. (faster than ) 1

˙-

ɳ a t'æ - p ' - rœ

ɛ - ʉ - ɛ

o Œ

° & Œ

bœ bœ bœ

adjust Echo to approx. 80% Adjust all other effects to approc. 40% Trigger Pizz. effect and sample playback on the speceﬁed beats

° bœ b3œ œ ‰ & nœ œJ ¢

P'ʊ - ɖʊ

4 nw 4 4 ¿ 4

Bɔ

P'ʊ - ɖʊ - Bɔ - i

™™ nœ œ Œ Ó > > 2.

™™

t'a da

Go to 8 (second time) or END with second ending

4Vois

° bœ bœ bw œ œ & œ w 8

7 Tempo ad lib. (same as ) 3

Electronics

xe - ɳ a t'æ - p ' rœ

° & ˙™ ¢

p 'ɛ

b>œ ‰ nœr ‰ ™ bœ. œ. œ. ‰ bœr ‰ n>œ ‰ R R > >

ɖɛ

Decrease Convolver to 50% increase Echo to 70%

ɳʉ

j ¿

#w w

p 'ɛ - ɖʌ- p 'ɛ

χɑ - ɑ - ɑ χe - e - e χe χi

o ° & w ¢

œ Œ

Adjust Convolver to approx. 80%, Harmonizer to approx.

60%, Echo to approx. 50%, and AN G to 0% Trigger Pizz. Effect on indicated beats

f . . -œ. -œ. -œ. bœ. œ. œ. œ œ

w #w ʉ

ɖʌ

j ¿

mf œ bœ nœ ɱy

Go to 7 or 1