Leon - Axon

TANIA LEÓN

A X O N for Violin Solo and Interactive Computer

peermusic C L A S S I C A L NEW YORK . HAMBURG

AXON for violin solo and interactive computer is a work in which pulses and impulses travel and refract away from each other thus creating a sound world of new spectral motivic sound images. This piece was commissioned and premiered at the ISCM World Music Days 2002 in Hong Kong by Mari Kimura who created the original MAX/SMP samples based on sound samples of two of the composer’s earlier works. Special thanks to Noah Creshevsky for his assistance in compiling the original sound files used in the work. Ms. Kimura recorded Axon for Bridge Records, released in 2007.

Axon for violin and interactive computer by Tania León MaxMSP program by Mari Kimura

AXON MaxMSP screen shot

Stage setup for performance

Description

Technical Requirement

Axon for violin and interactive computer by Tania León MaxMSP program by Mari Kimura Axon Currently, MaxMSP screenshot Axon runs on a music software MaxMSP.

versions MaxMSP 4.6 (Intel) and Max5 (Leopard) are supported. Windows are not supported at this time. �If you don't own MaxMSP, you can still download the runs to on perform the musicAxon software MaxMSP. using freeAxon version interactively "Runtime" (read only version) of MaxMSP at If you do not already own MaxMSP, you can Cycling74.com. Please Choose: download it at: https://cycling74.com/downloads

Max 4 (download "Max 4.3 Runtime") �http://www.cycling74.com/downloads/max4 If you choose to download a free trial, please or note that the program will still function as a read-only version"Max after the trial period ends Max 5 (download 5 Runtime") (you simply won’t be able to edit/save files). �http://www.cycling74.com/downloads/max5" order to receive MSP for patch, please TheIninteractive MSPthepatch Axon and the contact Peermusic Classical by email at: performance instructions are available for sale peerclassical@peermusic.com through Mari Kimura. Please contact: marikimura@mac.com

--a Macintosh laptop running OSX --Audio Interface (MOTU etc) and Firewire cable --contact (pick up) microphone and cables --2 channel diffusion (left and right): amplification and speakers --optional monitor speaker, depending on the venue.

--Two long 1/4-inch cables out from my audio interface on stage to your PA booth --1 table on stage --1 music stand --1 electric power outlet and electric extension cable, a power strip

Stage setup for performance

AXON MaxMSP screen shot

Stage setup for performance

Performance Indications 5'

Reference timing corresponding to Computer or Tape (above staff)

chord

  

Reference cue for Computer or Tape event (below staff)

s.h.

Subharmonic. Sounding pitch is one octave lower, produced by modifying bow speed, pressure and placement on string. gliss.

Glissando following contour

   

   

           

Harmonic gliss.



medium fast







 









 very fast

rubato ad lib.

slow to fast

     

Highest note possible





  

   

fast to slow

Play at moderate speed

Grouped notes without stems are to be played rubato

Notes without stems are to be played molto rubato ad lib

Sustain pitch

Fingernail pizz

 



mp

    

mf

chord



18'

                 

4

    





poco accel.





violin solo

  

            

 e=92             sempre ff 

    

3



tracking Db, A: Conga

21





               fff

1'01" molto accel. poco a poco

 sul tasto

f

mp

sub. Calmo molto vib.

5 q=40





 

mp





 ff

fff



p

 

3

        

pp

Chorus

sffp

gliss.

 17 mfp

 

    3

   

gliss.

poco vib. al tallone

©Copyright Copyright 2002 2002 by Iroko IROKO Music Music Rights Reserved Songs of Peer, Ltd.,All Administering Publisher for the World All Rights Reserved. International Copyright Secured.

    

mp

 3                    p

senza vib.

 

               

 gliss. sub. Calmo q=40 3                  sfz

  

flautando

7

3               

1'21"

rhythmic percussion

ff

gradual Flange effects

p

16'

        

sul tasto   subharmonics                  pp  p  ff

gliss.           

 



A tempo

pp

               p



tracking C#4, A4 triggers conga

         

23

    s.h.

 

     

ss . gli

accel.

ord., punt arco

47'

13

17

      

II

   

8

     

Tania León

Max/MSP Programming by Mari Kimura

 

5'

Axon



1

   



q.=80

to Mari Kimura

 

2 5                                                 

26

Presto

sub. Calmo q=40

 

6

ff

5

p

submp

30 sub. Calmo q=40

          

              

Presto



p

mf

f

                                         

Presto                

mp

mf

ff

 3 q.=88                                                                    mp mf  f ff mf ff f  mf 1'47"

32

tracking C# triggers and A stops conga

3

  

39

   2'11"



ff

random pitch shifting

1'58"

2'06"

 

q=106 

conga solo

meno mosso q=90

       

   

mf



       

  

f

 

                                         

44

senza vib.

  

                                 7 7

7

p

7

subff

    s.h.                          7 6 mp

46

7

7

7

subp

Flange effect

45

7

7

7

7

    

p

subf

3 3         

3

2'28"

7 7 6   7                                                     6 7 p

49

c# triggers effects

       

51

7

7

submp

subff

subff

7

s.h.

  

   q = q.                            submp subp sfz 7

7

 

  

2'44"

      q. = q



53

       

gliss.

3

mf



3

     55                               mp

f

f

mp

sfz

 sul pont.            pizz.                       3'05" arco

f mf

mf

"Guan"

            flautando sul tasto                                             poco mp mp 

56

q=40 pizz. arco ord.



3'29"

7

5

sfz

violin detuned

   5             molto accel.

mf



3     q=68                                               p   sfp f mp sf mp ff

60

ord.

 

 gliss.  





7





    mp

 

