ALEX SMITH
COTTON GINDUSTRIAL
for solo multipercussion, interactive electronics, and voice
Cotton Gindustrial by Alex Smith Š 2017 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law. TSPCS17-002
PROGRAM NOTES In 1781 Eli Whitney’s invention of the cotton gin transformed the way in which cotton was produced and consumed. The machine allowed for unprecedented productivity by de-seeding this valuable material with the mere crank of a handle. It was not long before the cotton gin was adopted by cotton producers throughout the United States, leading to the establishment of the country as a global powerhouse in the production of the resource. The massive amounts of clothing-grade cotton were of great interest to the highly respected and popular British textile industry. New concepts of labor were introduced as a result of this industrial innovation, often exploiting the physical abilities of societal “others” on a global scale.
Cotton Gindustrial utilizes a multipercussion setup, amplified voice, and an array of audio samples triggered by the soloist. The sampled source material originates from a 1950’s educational video on Eli Whitney and the cotton gin, an African-American prison song entitled “I Be So Glad When the Sun Goes Down,” and a North English folk song entitled “Leaving of Liverpool.”
PERFORMANCE NOTES Included with this piece is a software player (Macintosh/Windows compatible) that is used in conjunction with MIDI controllers (for sample patches) and a microphone audio input (for vocals). A detailed set of instructions on how to utilize this software player is incorporated on the following pages. During patches 4–6 the performer may experiment with when the percussion sounds reenter if balance is an issue in the hall. From rehearsal letters D–F the performer may experiment with the amount of times the rhythmic cycles are repeated (indicated by slash notation). Optional If it is desired by the performer, the audience or an offstage choir may sing their choice of the African-American prison song or the North English folk song individually and in their own rhythm and key. This can begin as early as rehearsal letter F and should be completed before rehearsal letter J. Ideally, the contribution would crescendo and decrescendo with the music being performed on stage. Excerpts from the lyrics for these songs have been provided below.
I Be So Glad When the Sun Goes Down I’ll be so glad when the sun goes down I’ll be so glad when the sun goes down I ain’t all that sleepy but I wanna lie down I ain’t all that sleepy but I wanna lie down I wanna lay down now baby, I wanna lie down I ain’t all that sleepy but I wanna lie down
Leaving of Liverpool So fare thee well my own true love, For when I return, united we shall be. It’s not the leaving of Liverpool that grieves me, But my darling when I think of thee.
SETUP & INSTRUMENTATION INSTRUMENTATION • • • • • • • •
Snare drum (snares off) Hi-hat (played with foot) or a “squeaky” kick drum pedal Ice bell Kick drum Crash cymbal Cowbell (or other trash metal) Tam tam (with chain attached) Vibraphone (set to half pedal)
ELECTRONIC EQUIPMENT • • • • • • •
Laptop (Mac or PC) Audio interface with at least 1 input and 2 outputs MAX software** to operate included software player Headset or lavalier microphone for voice MIDI controller with sustain pedal Expression pedal for cutting off certain samples* 2 speakers for audio output
* If an expression pedal (or port) is unavailable, this function will also work with a volume pedal/slider or modulation wheel connected to the MIDI controller. **Max is a software application by Cycling ’74. All you need to run the Cotton Gindustrial player is a demo version, available at cycling74.com.
COTTON GINDUSTRIAL SOFTWARE PLAYER The included software player is compatible with Macintosh and Windows computers. To run the software, you must install an application called Max onto your computer. Download a free demo version of Max at the Cycling '74 website at cycling74.com. With Max installed, drag the entire Cotton Gindustrial Software Player folder onto your hard drive and retain the exact folder structure. (Do not attempt to run it from your CD/ DVD-ROM drive.) Double-click the Cotton Gindustrial Player.maxproj file to launch the player. ASSIGNED MIDI PITCH
ROUTE UNIQUE OUTPUT (IF DESIRED)
STORE MIDI PITCH (IF DESIRED)
STOP ALL PATCHES
-AUDIO SETUP -MIC INPUT LEVEL -GLOBAL AUDIO OUT
PATCH NAME
-SCAN MIDI SETUP -SET GLOBAL MIDI-IN
MIDI INPUT FOR INDIVIDUAL PATCHES
STORE/RECALL PRESETS
LOOP SAMPLE
HIGH/LOW PASS FILTER EFFECT
FILTER LEVEL
MASTER OUTPUT FADER
STOP/START INDIVIDUAL SAMPLE
INDIVIDUAL PATCH LEVEL
MIDI INFORMATION Click the Scan MIDI button in the master area (right-hand column) to scan your system’s available MIDI devices. To globally apply one MIDI device to all patches, select it in the MIDI In pulldown in the master area. While you can customize each patch to be triggered from whichever key you like, the software player is preconfigured to trigger sample patches based on the default pitches outlined here. PATCH 1: SEEDS–triggers from C2 and continues for a few bars after the fermata. PATCH 2: EDUCATIONAL VIDEO–triggers from the device’s sustain pedal.
PATCH 3 (OFF): The volume for patch 3 is controlled with an expression pedal (such as the Yamaha FC7) attached to the device’s expression port (CC 11). In the absence of an expression port or pedal, Volume (CC 7) or Modulation (CC 1) controllers will also work to control the audio volume of patch 3. This audio is turned off just prior to rehearsal letter E (after patch 8 is triggered).
P5
C2
P7
P9
MIDDLE C (C4)
P3
PATCH 3: “COTTON IS KING”–triggers from C#2.
C3
PATCH 4: “INSIDE THE GIN...”–triggers from F2. PATCH 5: “AND HITS A GRID”–triggers from F#2. PATCH 6: “WHERE IT COMES INTO...”–triggers from C3.
P1
P4
P6
P8
P10
Note: Patch 2 is triggered from the sustain pedal (CC 64).
PATCH 7: “THE TEETH GRAB...”–triggers from C#3. PATCH 8: “THEY CAN’T PASS THROUGH”–triggers from F3. PATCH 9: “THEY FALL TO THE FLOOR”/RUMBLE/PRISON SONG–triggers from F#3. (Multiple samples start and stop at different times but are triggered from the initial single keystroke.) PATCH 10: “THE FIBERS ARE SWEPT”/ENGLISH FOLK SONG/EDUCATIONAL VIDEO–triggers from C4. (Multiple samples start and stop at different times but are triggered from the initial single keystroke.) If you wish to customize which device or MIDI pitch triggers a particular patch: • • • •
Select the desired device from the track’s drop-down menu. Hold down the desired key on your device and click the Store button. The note you’ve selected will now appear next to the Store button. You may also manually select your desired note by simply clicking it with your mouse and dragging up or down.
AUDIO INFORMATION The Master Section (right columns) controls the global parameters of your computer’s audio system. At minimum, you will need an audio interface connected to the computer that allows two outputs (for playback to speakers) and one input (for vocal microphone). The master fader controls the level for all tracks (and outputs). You can turn the entire audio system on or off using the I/O Setup, where you can also configure the various inputs and outputs of your audio driver. The Stop All button (top right) stops all playback. This can be useful when testing levels and configuring presets. The Microphone fader (for amplifiying vocals) defaults to the “down” position. Once you’ve configured your input/output settings, gradually increase the “gain” of this slider to the desired level. Each audio sample has the following functions: • Play and Loop buttons – You can use these while testing levels and filters when configuring your desired presets. • Volume fader – Each track’s volume can be controlled independently. • Filters – In the bottom left corner of each track, you can add a high-pass or low-pass filter. For example, you would use a high-pass filter if you needed to reduce the low frequencies of a specific track. Select the desired effect from the drop-down menu and drag your mouse on the adjacent dial to adjust the level of filtering applied to the patch. • Routing – If necessary, the player allows for four simultaneous stereo outputs (for this to work, you must have an audio interface connected to your computer). You can select the desired output from the drop-down menu next to the sample’s fader. SAVING AND RECALLING PRESETS We’ve included presets so that you can quickly recall your customized settings. Once you’ve configured your MIDI settings, levels, routing, etc., click the Store Presets pulldown to access a variety of options. You can save up to three different presets that can be recalled by clicking the preset buttons 1–3.These will remain stored with the player during the existing session. If you’d like to save your presets as a file, chose Save Preset File from the dropdown menu. This will allow you to recall presets in future sessions by selecting Open Preset File and navigating to the .maxpresets file you’ve saved. The Default button will restore the player to its default settings, resetting any prior customizations. al)
et
NOTATION KEY
l) ot da fo pe / w y at ak um -h ue dr Hi r sq k c (o Ki
/
¿
œ
in
a ch
m Ta
O
m ta
w/
) wn s or /do t na up so e um Re crap Dr (s
~~~ 7 ~~~~~~~~ ~~~
œ
)
d se
ot
im
R
¿
clo
sh
im
R
^ ‹
( oll
R
æ œæ
ke ) tro and s zz e h Bu ingl (s
œ7
s
ra
rt
o ll (
hm
ll
be
w Co
3
l
ba
Ice
1
be
h
as
Cr
m cy
¿
Snare drum (snares off)
ACKNOWLEDGEMENTS I would like to thank Dr. Ricardo Lorenz, Professor Gwen Dease, Dr. Jon Weber, Garrett Arney, Mari Yoshinaga, and Will Goodyear for their insight during the time I wrote this piece. I would also like to thank Corey DeRushia and Troubadour Recording Studios for assisting with the first recording. —Alex Smith
Level: Med-Advanced Approx. playing time: 7'10"
COTTON GINDUSTRIAL
ALEX SMITH
h. = 68 Snare drum (snares off) Percussion
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Hi-hat or squeaky pedal
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Patch 1
A tempo
Ice bell P
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Kick drum
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p
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© 2017 Tapspace Publications, LLC, Portland, OR. (ASCAP) International copyright secured. All rights reserved.
^j ‹œ ™™
2
Cotton Gindustrial – Smith
P
Vi
°
¢
B
> 8:6 > ^ œ ‹ œ œ œœœœœœœœ œ™ œ Patch 2
/
q. = q (qq=136) rit.
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ff
### &
Vibraphone (w/sticks)
∑
Ó
p
Audio
## & # Ϊ
a tempo
Ϫ
œ J œ
œ
espressivo
œ œ œ
f
>> > œ™æ j œ œ
mf
œ œ™ J "Cotton
œ
œ
is
king...
œ œ œ œ œ œ œ œ ...today's
U ˙™ world."
= Cowbell or trash metal
> 3 3 > > j æ œææ Œ Œ ‰ ‚ Œ ‰ jŒ ‚ ‚j ‰ ‚™ ‚™ ‚ Œ j œœœ œœœ œ™ ‰ ‰ Œ P / œ œ œ œ œJ œ œ - - ### œ œœ œœœ œ œ œ œ œ œ œ œ œ œ- œ œ Œ Œ Ó Vi ¢& œ œœ œ œœ œ œœœ Œ Œ œ Œ °
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Ó
Œ
œ
> j ‰ ‚ ‚ ‚ œ‚ ‚ ‚ ‚
j ‰ œ- Œœ œ œœ Ó
Œ
= e. = q = 204
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TSPCS17-002
3
Cotton Gindustrial – Smith
C P
Vi
Audio
°
^ ‹ Œ Ó œ
/
### & ¢
3 4
¿
Cot - ton
n œ~~~~ ~~~ ‰ J 38 ~~
3 4Ó
∑ ¿
/
> ¿™ 3 8 œ™
Œ
¿
> > > > > > > > ≈ œær œææ ≈ œær œææ ≈ œær œææ 2 ≈ œ™æj ≈ œ™æj ≈ œ™æj ≈ œ™æj 4 ≈ œ™æj 4œ œ 4œ œ™ œ™ œ™ œ œ > > > > > > > >
ca. 25"
Crash cymbal
Patch 3
3 4 ¿
was
Œ
3 ¿™ 8
Œ
king.
King!
2 4
¿™
¿™
¿™
King!
King!
King!
> Improvise industrial sounds œ V V V V V V V
æ ˙™æ
fff
n
4 4
2 4 ¿
¿
Was
¿
king!
Was
¿
4 Π4
king!
¿
Œ
Was!
¿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Was!
= ca. 15"
° ### Vo & P
Audio
U ∑
D
Allow patch to settle
Patch 4
In -side the gin the
U ~~~~~ w
/
j ™
r
(Spoken)
U ∑
¢/
Patch 5 q = 104
cot -ton falls through the hop -per
∑ approx. rhythm
"In - side
the gin
‰ 45
5 7 7 7 4 œ™ œ™ œ Œ
the
pp
j ™
r cot - ton
falls
through
Ϫ7
? ? ? ? ?
5 4
‰ the hop - per"
Ó
and hits a grid
One-handed buzz
∑
4:3
Œ ‰
Œ
œ7 ≈ j œ™
Ϫ7 4:3
‰ and
Ó
hits a grid
(Rumble)
=
~~~~ œ7 j œ™7 œ7 7 7 ~~~~~~~ 7 ¿ — Œ ‰ ¿ —Ó J
Patch 6
p
Audio
/
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j 7 7~~~ Ϫ ~~~ j
œ7 3
j
~~~~
~~~~~
œ7 7
~~~~
° œ™7 œ™7 P ¢ / Œ 7~~~~ J ~~
4:3
j
‘
~~ œ7 7~j~ œ™7 œ77~™~~~Œœ ¿—Œ ~~~ ‰ ¿—≈ J J
where it comes in - to the path of re - vol - ving teeth
TSPCS17-002
4
Cotton Gindustrial – Smith
P
Audio
¢/ /
=
Patch 8
They
j 7 7~~~~~ œ™ ~~~ ‰
Œ Ó 6
Audio
¢/
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3
3
E
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Ó
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3
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to
-
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ff
œ
œ
TSPCS17-002
p
œ
œ
p
oh
Œ
Ah
-
7 ~~~~~~~Œ 5 œ7 7~j œ™7 œ 4 ¿— Œ ~~~~~ ‰ ¿—≈ 7J ™ œ J
Œ
can't
pass
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through!
œ
ah - ah
V
V
V
V
V
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‘
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p
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j œœ
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j œœ
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oh - oh
j œœ
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j œ œ
-
Œ
oh - oh
j œ œ
j œœ
œ
œ
Ah - ah
j œœ
j œœ
Œ
f
œ
4 4
I 3 j œ œ œ œ œ 44
p (approx.)
/
Œ
through!
5 4
Œ
the floor
Œ nœ œ œ œ œ œ œ
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ah - ah
Audio
Ó
pass
Patch 10
° ### œ œ Vo & ¢/
5 4œ
œ
œ
Œ
=
P
mf
Œ
Œ
Œ
can't
They
∑
ff
/
V V V V V
grid
Patch 9
œ
Œ
j ‚ ‚3 ‚ ‚ ‚3 ‚ ‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚‚ ‚ Œ ‰ œ Œ œ Œ œ Œ Œ
sim.
7
the teeth grab the fi - bers and pull them through the nar - row o - pen - ings of the
ff ° ### Sung Œ Vo & œ œ
P
Patch 3 (OFF)*
Œ
~~~~~
° ### Vo &
Patch 7
‰
j3
3
3
The fi - bers are swept off
™ the
j
re - vol - ving saw teeth and
3
out of the gin.
4 4 * If expression pedal is not being used, patch 3 can be turned down via a volume pedal/slider (CC7), or the modulation wheel (CC1).
œ
œ œ œ
be
so
glad
/
P
Vi
¢
> ¿ 4 4œ
# #4 &# 4
Œ
œ
Ó
Ó
when
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Œ
Ó
œ œ œ œ œ œ œ œ œ œ œ œ
Œ
f
Œ
> œœ Œ
Nah nah nah - ah
-
ah
4 œ Œ œ œ œ 4Œ œ œ Œ
Woh- oh - oh
Oh - oh - oh
Ah - ah
p
Vi
¢
### &
> œœ Œ
3 3 3 ææ -ææ ææ -ææ ææ -ææ œ ˙ 45 œ ˙ œ ˙ œ
p
5 4
3 3 3 ææ -ææ ææ -ææ ææ -ææ œ ˙ œ ˙ œ 44 œ ˙ Ó
4 4
° ### 7 nœ œ œ œ Œ Œ Œ œ œ 44 nœ œ œ œ œ & 4 wan - na lie down.
P
/
Ó
œ
œ
œ œ Œ
Ϫ7
Ϫ7
goes
Œ
down
>æ ˙æ
tam-tam
Œ
O
œ
3 ææ -ææ œ ˙œ Œ
G œ œ Œ nœ œ nœ œ œ œ œ Ah - ah
> 7œ 4œ
### 7 w ™ Vi ¢& 4 ∑
I ain't
Œ Œ Œ Œ O Œ
all that
slee - py
> 4œ Œ Ó 4œ
œ Œ but
I ain't all that slee - py
> ææ > > ¿ œ œ œ œœ Œ Ó
Œ nœ œ nœ œ œ œ
f
mp
f
œ œœœ œ œ 44 œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
Ϫ
mp
œ œ œ™
O Œ Ó
3 4œ
œ -
p
O
4Ó 4
Œ Ó
Œ nœ œ 47
but
I just
5 4 Ó™
O Œ
œ œ
œ
4 4
7 4
∑
Œ œ œ Œ œ œ œ œ œ œ œ œ 45 Œ œ œ œ œ 44 œ™ œJ œ œ œ 47 Œ œ œ œ espressivo
I just wan - na lie down. Ah
œ™ œ™ Œ
5 4œ Œ
f
= Vo
Œ
sun
œ
f
° ### nœ œ œ œ 5 Œ Œ Œ Vo & 4œ œ œ
/
œ
œ
the
=
P
5
Cotton Gindustrial – Smith
F # ° ## 4 nœ Vo & 4
Ϫ
œ
Œ
ah - ah
Ah - ah
-
ah
Œ
œ
œ Ah
-
7 4
ah -
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j œ 43 ˙™
∑
∑
7 4 TSPCS17-002
6
Vo
° ### 7 & 4œ œ ah.
/
P
Vi
¢
œw
Oo
oh
-
P
/
-
> œœ Œ
ving of
Li - ver - pool
> O Œ
Ó
œ
= œ œ
dar - ling
P
Vi
/
when I
Ó
### œ j œ & ¢ Jœ œ œœœ
TSPCS17-002
my
own
œ
˙
true
love,
> œœ Œ Ó
> O Œ Ó
œ
that
˙™ grie
œ -
> œœ Œ Ó
Ó
ves
œ œ œœŒ
œ œ œ
œ Œ œ me,
but
> O Œ Ó Ó
œ œ and when
œ ˙
my
dar - ling
w
I re - turn
be.
u - nit - ed we shall
> œœ Œ Ó
> O Œ Ó
œ
j œ œ œ™ œ œ œ nœ œ
œ œ œ œ œ œœ œœ Œ Œ œ œ œ œ œ ˙™
> œœ Œ Ó
when I
‰ j œ œ œ œ™ œ œ œ J œ œ œ
think
> O Œ
Ó™ nœ œ nœ œ Œ œ Œ œ œ œ
œ
w
of
thee.
Ó
œœœ
œœœœœ œ œ œ
It's not
> œœ Œ Ó
> O Œ Ó
Ó
Œ œ œ™ nœj
∑
the
> O Œ Ó œ œ œœœœ œ œ œ
I
Œ Œ
œ œ but my
> œœ Œ ‰
ff
æ æ æ > œæ œj œæ œj œ™æ œ O Œ Ó
mp
ff
œ œœ œœ Œ
∑
Ó™
œ Œ œ œ œ ff
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