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synzine#3:almostnonotes


synz ine#3:almost no note s Ma y a Fe lixbrodt, Avi B o h b o t sy np ro ject.org

--------------------------------------------------------PAPER AIRPLANES Cristiano Melli (BR/NL) cristiano_melli@hotmail.com

sy np ro ject10@gmail . c o m Thi s edition of the S y n z in e is th e f ir s t to b e p ub l i shed in Englis h . All p r e v io u s S y n z in e s

Game piece for 2 performers, dancer, audience and paper airplanes. Dedicated to the ilusion memory of a good time.

were i n Hebrew, as w e ll as all lau n c h in g con certs that were p e r f o r me d is Is r ae l. W e w ould like to enc o u r ag e th e tr an s latio n o f

Paper Airplanes can be adapted to the circunstances of each performance (including the instructions, sentences and the number of airplanes);

the Sy nzine to more lan g u ag e s . if y o u ' d like to t ra ns late it to yo u r o wn lan g u ag e an d /o r ha ve a ny other ideas to s h ar e , f e e l f r e e to

INSTRUCTIONS:

con t a ct us .

PAPER AIRPLANES: Fold the airplanes in a way that their flight must fullfill the distance from the performer who throw them to the audience. (It`s advisable to somehow glue it so they won`t get destroyed after a few flights). The paper can be colored in live colors. On the top of the wings, write ĂŹDO IT!ĂŽ followed by one of the instructions sentences given bellow. If the performance happens in a room where there is an musical instrument or a television or whatever alike, these must be included as one of the events written on the airplanes. The instructions must be clear, specially the sounding events, to the audience (therefore, they can be adapted or Performer 2 can help the audience). PERFORMERS: Two performers are required for this piece. Performer 1 throws the airplanes. When the piece start, Performer 1 must sing his/hers lowest tone as a drone, with long crescendi and decrescendi from P<--->MF. performer1 must sing it (and walk in front of the audience) only when having paper airplanes in hand; therefore, when performer1 has no airplanes, he/she must remain silent and still. In the beginning, the airplanes must be thrown in a more or less slow tempo; gradually, as the game evolves, it can get faster.


Performer1 must also keep a ìbonus airplaneî hidden, which will be thrown half way through the game. Performer2 must control the sound results and the game, walking around the audience, taking the planes from them and giving to Performer1. He/she must make clear to the audience that each individual events must stop as soon as the correspondent airplane is taken back from the person who has it; Performer2 must control the sound events, creating both moments of confusion (when all airplanes are with the audience) and moments of more delicate events/sound texture (duos, trios, etc). At the end, after the dancer got it`s airplane, Performer2 must take all airplanes from the audience and Performer1, leaving one last sound for about 10 seconds, then picking up this airplane and finish the work. DANCER: The Dancer must perform as an individual, preferably other piece. It is an island of organization in the middle of the confusion that can be aroused from the airplanes; therefore, the Dancer should not address the audience nor get any of the airplanes (until the end). After sometime which must be defined by how the audience is reacting to the airplanes (5, 10 or 15 min), the Dancer must take an airplane and become part of the audience (performing the instruction). Performer2 will then finish the work. Instructions sentences (to be written on the top of the wings of the airplanes) 1 ñ DO IT! Sing your lowest tone, non stop 2 ñ DO IT! Breath slow and loud 3 ñ DO IT! Sing a tone on your normal voice range 4 ñ DO IT!

Breath slow and loud 5 ñ DO IT! Repeat, non stop and slowly, the first memory that comes to your mind 6 ñ DO IT! Tell the last meal you ate, repeating over and over and as fast as possible. 7 ñ DO IT! Clap your hands every two seconds 8 ñ DO IT! Sneeze every 6 or 7 seconds, loudly and exagerated. 9 ñ DO IT! Clap your hands every time a plane is thrown 10 ñ DO IT! Shout GOD BLESS (or the equivalent on your language) after the sneezes (not every sneeze). 11 ñ DO IT! Improvise a melody with your voice, without lyrics. Don`t be shy! 12 ñ DO IT! Run around the space in circles. 13 ñ DO IT! Jump as high as you can, every 5 seconds. 14 ñ DO IT! Clap your hands in a fast way. 15 (bonus airplane) ñ DO IT! SCREAM IN DESPAIR!


-------------------------------------------------------------------------------------jakooza boe Yasmin Tal Porat


--------------------------------------------------------Soundwalk Maya Verlaak (BL) maya.verlaak@gmail.com http://vimeo.com/25314571 Put 2 strokes of aluminium foil on the floor without them touching eachother. You can make several duo strokes. But they can never touch eachother. Connect a speaker on a 9 volt battery on the duo aluminium strokes but without the battery. The two wires that go to the battery should be connected to the aluminium, not to the battery itself. Connect the wire that would go to the + side of the battery to one of the duo strokes and the â&#x20AC;&#x201C; side to the other duo stroke. If you have more duo strokes you should have more speakers. That is mostly more interesting. Put round your feed also aluminium foil. Fix the 9 volt battery on your leg with the (+) and (-) wires from the battery to your feed. The + wire to one feed and the - wire to the other feed. Never have you feed touching eachother! You will get an electro shock if you do that! Walk on the duo aluminium strokes. Never have your feed on the same aluminium strokes, also than you will get an elctro shock! Now, connect mp3 players, disk man, walk manâ&#x20AC;Ś whathever that can play sound, to the input of the speakers. When you walk you will give the speakers electricity so they will start playing the soundfile on the mp3 players. The soundfile can be something abstract you make yourself or you can ask me to send you the orginal files I used in the premiere. Move, dance however you feel like, but slowly over the aluminium foil strokes.


Photos of Soundwak instellation:

--------------------------------------------------------47 Tucanae Robert Blatt (US) robertblatt.ricercata.org for one or more violists. Construct a large labyrinth in the shape of the lower diagram. Place a music stand at each of the locations marked with 47 Tucanae a letter. Turn the front offorthe stand so it faces the one music or more violists Robert Blatt and place a sheet of music direction indicated with the arrows, on each stand with the note linked to its letter. Each violist enters thealabyrinth by one. As one slowly walks the Construct large labyrinth inone the shape of the lower diagram. Place a music stand at each of the locations marked with quietly a letter. Turn the front of the music note stand sothat it facesis the direction indicated with indicated path, sustain each encountered the arrows, and place a sheet of music on each stand with the note linked to its letter. Each violist enters without a pause between notes. one arrives theeach center, the labyrinth one by one. As one slowly walksWhen the indicated path, quietly at sustain note that is encountered without a pause between notes. When one arrives at the center, sustain your final note for sustain your final note for a long time. a long time.


--------------------------------------------------------Soft songs for ensemble Lucie Vítková (CZ/NL) http://soundcloud.com/lucie-v-tkov http://bandzone.cz/lucievitkova

--------------------------------------------------------solo Andy Ingamells (UK) www.andyingamells.com

Each player sings their favourite song /composition in their head and plays the rhythm of the melody on one chosen tone as softly as possible (imagine the right tempo of the song and hold it). At each verse or chorus, the player changes the tone. Duration of the whole composition is equal to the longest song in the ensemble. When a player finishes, he or she waits focusedly until the whole ensemble is finished.

A piece for solo slide, whistle player and video projector. First performed on November 1st 2010 by Andy Ingamells in The Recital Hall, Birmingham Conservatoire, U.K. →

1 : Preparation Film your face whilst masturbating to Internet pornography. Remove all audio from the film, so that it is silent. Arrange to have this film projected behind you during the performance. Download a selection of pornographic films from the Internet onto a laptop computer

2 : Set up Sit at a desk beneath the projection, facing the audience. Have the laptop (containing the downloaded films) on the desk with the screen facing towards you. Wear earphones connected to the laptop so that you are able to hear the audio from the downloaded films.


--------------------------------------------------------Refleks Michalis Paraskakis (GR/NL) http://soundcloud.com/michalis-paraskakis One performer (not always the same) provokes the reaction of the rest. They have to be alarmed as they can rely only on their ears and they have to react as fast as possible.

3 : Performance: Once the projection has begun playing, watch the pornographic films on the laptop and play a slide whistle.

4 : Match the penetrations of a penis or dildo into any orifice by pushing in the slide when it is insertedâ&#x20AC;Ś

Some game-like rules leave open some of the options and create time tension. Each of the four parts focuses in different timbral combinations and different positions in space. It is a small ritual, a ceremony with four persons, making very little moves. * The image is only a part of the score. to receive the complete score youre welcome to contact the composer: otapandaplirwn@gmail.com

5 : and pulling out the slide when it is removed.

6 : Match your dynamics with the volume of the sounds from the pornographic films: Loud moans = fortissimo Soft moans = piano No moaning = pianissimo Stop playing when the projection ends

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Part IΙI


--------------------------------------------------------Where The Giraffe Is Akiko Ushijima (JP/NL) http://soundcloud.com/akiko-ushijima The piece is graphically notated with a system of 30 sets of 15 cells which have 3x5 grid. This indicates the instrumentation. This means you need 15 objects or instrument to play. I include instructions on the order in which to read the sets of cells and indications of dynamic and tempi. At the same time, I ask the percussionist to read the sets vertically, horizontally, or in other orderings. This cells allow the score to be performed upside down. There are 2 different kind of instructions to indicate how to perform this graphic score.


--------------------------------------------------------Sheep n shephards Georgi Sztojanov (HU/NL)

Play with a big group! A leader counts to three, then each player starts to sing a pitch randomly, and keeps that pitch. Fight! Two people can meet and play 'stone-scissors-paper' they can sing even these words (in their own language) or replace them with other words. Who won the 'game' sings his pitch to the loser, and he has to take over that pitch and sing it with the winner, then go behind him and be like in train game - behind him. Then the winner goes and can challenge others, free people, or already people who won. If you win again, you have more followers(sheep) if you lose, you become a sheep of the winning shephard with all your followers. So we start from a cluster and end with only one pitch - the one pitch of the shephard who won.


-------------------------------------------------------------------------------------Man whispering to water Daniel Slabosky soundcloud.com/danielslabosky


--------------------------------------------------------music inside drums Anna Mikhailova (YS) myspace.com/annamikhailova

--------------------------------------------------------4Elise Dganit Elyakim (IL) http://soundcloud.com/akiko-ushijima Dedicated to Jesus Christ, Julian Assange and Jonathan Polak. For piano, cello, a changing ensemble and electronics Orchestration: Piano: the piano is used both as a traditional piano and with additions on the strings that include blocking the strings with your hand, adding a paper sheet, a metal ruler, plastics etc. It can be performed by one person or two performers. If the one who is blocking the strings and adding objects on the strings is not the piano player, do not turn it into a 'fight'. Metal: A piece of metal that grates against another piece of metal. I use a metal beam from a metal construction factory that grates against a screw driver Strings 1+2: any combination of violins and/or violas (i.e, vln-vln. vln-vla, vla-vla). It is recommended to use 2 players for each part. Slap-Tongue 1+2: can be any instument that can slap tongue. Tapping on the keys is also optional. Glass in B / Glass in C / Glass in D: wine glasses that are tuned to the absolute pitches B, C and D. Electronics: Use different delay lines for: String1, String2, and Slap-Tongue, and Different pannings. Also, it is recommended to use a phasor on String2 and a pitch shifter on the metal or any other other FX that one finds suitable. Cello -All instruments are amplified-

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    Breath       


Profile for Syn project

Synzine#3: English  

compositions by Andy Ingamels, Robert Blat, Yasmin Tal-Porat, Cristiano Melli, Akiko Ushijima, Daniel Slabosky, Michalis Paraskakis, Lusia V...

Synzine#3: English  

compositions by Andy Ingamels, Robert Blat, Yasmin Tal-Porat, Cristiano Melli, Akiko Ushijima, Daniel Slabosky, Michalis Paraskakis, Lusia V...

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