5_aerify arid conduits | inlandOutlines

Page 1

5_aerify arid conduits | inlandOutlines for amplified wind quintet Omar Fraire

2018 - Virginia


5_aerify arid conduits | inlandOutlines for amplified wind quintet: Oboe, Clarinet, Bass Clarinet, Bassoon and Alto Saxophone

to Splinter Reeds Program Notes

Amplification

" It is truly no feat to blow a tube, and therefore no one would think to gather an audience for the purpose of entertaining them with tube blowing. But if he should do so, and if he should succed in his aim, then it cannot be a matter of mere tubeblowing. Or alternatively, it is a matter of tube blowing, but as it turns out we have overlooked the art of tube blowing because we were so proficient at it that it is this new tube blower who is the first to demonstrate what it actually entails, whereby it could be even more effective if he were less expert in tube blowing than the majority of us. " FDC

Each instrument needs to be amplified with two microphones, one for each half of its length, or top and bottom. The closer the better.

Performance Notes The piece explores briefly the wind instruments as objects through amplification and coloring of air sculpted by several consonants produced by the mouth. Spatialization extracts the flow of those interactions to recreate another air object around the audience. Mouthpieces should be detached from the instruments. The air should be produced with the tube on the lips (Clarinets and Sax), covered by the lips (Oboe) or just without the reed (Bassoon). Air sounds are to be produced through the pronunciation of different letters: [F], [R], [S], [SH]. Different positions of the mouth might be explored to get as much air sound as possible, with the different letters blown through the instrument's tube. Some times air might be allowed to escape between the mouth and the instrument in order to produce sound within a given combination of letter and fingering. The piece utilizes three basic fingerings: tube closed: any type of fingering that close most of the instrument and still producing air sound, tube opened: any type of fingering that open most of the instrument and still producing air sound, and any fingering: any other fingering capable of producing audible air sound. Material in repetition and independent looping boxes Full line boxes are to be repeated within pulse. The number of repetitions is indicated on it. Dotted boxes present material for independent looping. Loops are played In order, but musicians may go to the next without regard to what the others are playing, some of this boxes have indicated lenght, it doesn't have to be equal every time. Long fermata is used to keep a loop as a meeting point. Duration of the whole piece depends on the loops and the transformation processes. It should be between 10 and 15 minutes. This will be decided in advance. Always allow contemplation and appreciation in the production of sound. Specific indications are on the score.

Spatialization 5 speakers equidistantly surrounding the audience are needed for this piece in order to capture and modfy an aural space analogous to the one the musicians are inside and to allow space counterpoint among the speakers: (1) Left Front, (2) Right Front, (5) Left Side (3) Righ Side, and (4) Center Back. Each pair of microphones goes into a pair of speakers separated by one speaker counterclockwise or two if anti-counterclockwise: Oboe 2, 5 (RF - LS), Sax 1, 3, (LF - RS), Bassoon 2,4 (RF - CB), Bass Clarinet 3, 5 (RS - LS), Clarinet 4,1 (CB - LF).


5_aerify arid conduits | inlandOutlines

Sempre Tenuto e Meccanico ! = 95 - 108

œ

Oboe

Omar Fraire

*1)

[SH]

Clarinet

æœ

[R] *2)

B. Clarinet

œ

x40

Ø œ [F]

Sax

breathe when/if necessary sempre

g

x20

x12

x15 Ø

pp

[SH]

[F]

[SH]

*3)

x4

Z ‚‚

P

[SH]

g

x6

Ÿ~~~~~~ x13 iregular

Ø [SH]

P

Ÿ~~~~~~

Basoon

g

x1

[S]

U

Bureaucratic Ob

(All Unison)

Cl *4)

BCl [TF]

Z

Hoketus

Static

4

g

! alternate

g

[TF]

æ

[TF]

x4 [FT]

g

4! *5)

[TF / SH] alternate

S

! r 2 [TK]

ca. alternate

P

[FT]

,

[R]

[H]

j

[SH]

Bsn [H]

[FT] *1) Repetition box: The number next to it is the number of repetitions for the material inside. *When only one event appears inside, the complete vertical extension of the box inticates a tutti, i.e:. all play the same event and repetition

U

*2) Empty circle means open tube. Black circle, closed. Half circle, any other fingering.

*3) Saliva sound *4) Dotted box indicates independetn looping material for all musicians.Optional sincronization with others. Stay and/or go to the next one at anytime. The lenght in pulses is aproximate.

*5) Arrows indicate gradual transition from one state to anoter.

F

g


Ob

U

π

[SH]

Cl

BCl

Ÿ~~~~~~ x20

P

Ø [F / S]

S

Z‚‚‚‚‚‚ x15

g

x1

x4 F

[H]

g

x6

g

Ÿ~~~~~~ x13 Ø [S]

*4)

[FT]

g

4! [TF / SH / H]

ca. sempre

3! [FT]

[H / R]

g

Ÿ~~~~~

Bsn

[SH]

Granular

Machinery Ob

U

subito

U

Cl

BCl

! r 2 [TK]

S

P

ca.

vary lenght

æ

simile

[SH]

[F]

F/p

[F] [TKT] [SH]

[R]

! r 2

vary fingerings

[TK]

P / ppp [FT] [H]

[KSH]

p/F

ca.

[FT]

g

mouthpiece /reed !

– ++++ Î!

Bsn

9' - 16' ca Nov2018_Virginia 4