Vykintas Baltakas: music of falling sounds (2015) for violin and electronics

Vykintas Baltakas Music of falling sounds for violin and electronics (2015)

score

Vykintas Baltakas Music of falling sounds for violin and electronics (2015)

For Wibert Aerts and Jean-Marc Sullon

Commissioned by the Concertgebouw Brugge & the Centre Henri Pousseur Liège.

Realized at the Centre Henri Pousseur with Jean-Marc Sullon.

In 2012 Luc Tuymans produced the magnificent mural Angel in a corridor of the highest foyer of the Concertgebouw Brugge. Immediately a new space came into existence: the Angel Room. The narrow and tall corridor was designed by Paul Robbrecht who kindly referred to it as: “the cathedral of the Concertgebouw”. The way the light enters the space and the acoustics add to the special atmosphere surrounding Tuymans’ work. Inspired by Morton Feldman’s Rothko Chapel the Concertgebouw commissioned a series of compositions specially written for the Angel Room.

Not only the mural, but the whole architectural context of the space inspired this piece. The tall ceiling and the a-typical floor plan create a unique acoustic. The space feels sterile and transparent and so does the composition: frugal and icy sounds in a high register.

All electronic sounds have their origins in the sound of the violin. They create a harmonically unstable shadow of the solo violin which in the course of the work tends to extend the natural capabilities of the instrument.

Vykintas Baltakas, 2015 - 2017

INSTRUMENTATION

solo violin electronics optional: live sampler (keyboard) player

All accidental markings are valid for one bar Durata: ca. 11 min.

TECHNICAL REQUIREMENTS 2 - 8 Loudspeakers Computer Sound card Mixing console (min. 3 outputs) Microphone for the violin (supercardioid type or a violin pickup, transducer bridge)

A sampler (hardware or software); if piano keyboard then 102-key extended range: F#-1 - F7 Optional: monitor on stage The violin should be amplified

ELECTRONICS Electronic sounds are produced by playing audio files from a computer, using a sampler and by processing the input signal with effects.

Originally, the live sampler operated with automatic pitch recognition: the frequencies of the violin were captured using a microphone, analysed and translated into the MIDI note numbers, which triggered assigned sounds. In such a way, 14 notes of the violin evoked 14 pre-produced sampler sounds. These sounds are marked with prefix “smpl” in the beginning of the sound file name.

However, the sampler sounds can also be triggered in different ways: from various MIDI devices, computer software (f.e. MaxMsp) and electronic piano keyboard. The keyboard may evoke a traditional violin-piano duo and inspire more musically sensitive interaction between both musicians. However, the visibility of the keyboard on the stage is not desirable.

The score is written with the electronic piano keyboard in mind. The sampler should not transpose or temporally change the original files. The output sounds do not correspond to the written pitches in the score. However sometimes the resulting sound is marked or described verbally. The rhythm and the duration of the triggered sounds are written in simplified form and are approximative. The looped sounds are marked with the extension “loop” in the name of the sound file.

The sampler notes are also numbered as a linear succession of events.

The electronics in sections 1 - 3 play the pre-produced sampler sounds. Additionally, from section 4 on, the passages (enclosed in a dashed frame) of the live violin are recorded and played in the following sections. A similar process happens in section 8, where continuously added and layered recordings from bars 85-90 build up towards an intense sound texture in bar 93.

In section 9 the electronic sounds reinforce the crescendo of the violin.

In section 10 two simultaneous pitch shift effects (+50¢ & -50¢ ) derived from the live violin create a friction effect.

The electronic sounds in bars 122-132 are overpowering the violin.

In section 12 only the prepared sampler sounds remains. Here are few different ways of realization: - use one pre-produced sound file (snd_154-101-F7.aif); - use the delivered midi file (midi_154-101-F7.mid) which triggers the sampler sounds; - perform this sequence live as written in the score.

An overview of the use of electronics:

section

sounds

1

sampler sounds

2

sampler sounds

effects

3 sampler sounds

recording the violin passages for use in sections 5-7 and 10*

sampler sounds

recording the playing violin passages for recordings use in the sections from section 4* 5-7 and 10*

sampler sounds

recording the violin passages for use in the sections 5-7 and 10*

4

5

6

sampler sounds

playing recordings from sections 4, 5, 6*

7

sampler sounds 8

playing recordings from sections 4, 5*

recording the violin passages from bars 85-90*

playing playing audio files recordings recorded violin from section 4* passages from bars 85-90* audio files

9 sampler sounds 10

11 12

playing recordings from sections 4, 5, 6*

audio files pitch shift effects

sampler sounds

audio files

(sampler sounds)

audio (or midi) file

* alternatively: pre-recorded material can be used

The detailed table of distribution of sounds corresponding to the keys of the keyboard is attached at the end of this document.

SPATIALIZATION The spatialization is only applied for the electronics. The sound of live violin stays frontal.

The material for “Music of falling sounds" includes the sound files for quadrophonic and stereo performances (with pre-produced spatialization).

The quadrophonic version contains two stereo files: 2 front channels (1-2) and 2 rear channels (3-4) Position of the loudspeakers:

qf 1

qf 2 violin

public

qr 3

qr 4

To extend the spatialization with more channels / speakers, mono files are delivered.

The type of sound movement is marked in the score with these pictograms:

a vertical movement from front to back - using the the duration of the sound

a horizontal lateral movement - using the the duration of the sound

a circular movement around the public

randomly sparkling throughout the whole space

The spatialisation of the live effects is left open to the performer.

NOTATION OF THE SOUND FILE NAMES

smpl_001_100-E7: rec_030_63-D#4: snd_085-20-G#0_loop: efct_121-79-G5:

sampler sound_measure number_MIDI note number_MIDI note name* (live) recorded sound_measure number_MIDI note number_MIDI note name* audio file_measure number_MIDI note number_MIDI note name*_played in a loop effect_measure number_MIDI note number_MIDI note name*

Suffixes in the sound file names: -st: -qf12: -qr34: -rev:

stereo version quadraphonic version, 2 front channels (as a stereo file) quadraphonic version, 2 rear channels (as a stereo file) a sound with added reverberation

* for the MIDI note name is the scientific pitch notation used

Vykintas Baltakas

Music of falling sounds for violin and electronics (2015)

&

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4 & 4

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Isolated impulses, no musical flow at this point. The succession of the fragments is free. Repetitions are allowed.

Each note of the violin triggers a pre-produced sampler sound, creating a harmonically unstable and spatially animated shadow of the violin.

Playfully interact with the sounds of the sampler.

© Copyright 2015 by Vykintas Baltakas

23/02/2018

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* A distinct dynamic waving, however preserving the main musical line, is essential for the interpretation in the sections 4 - 7.

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a continuous sound; looped]

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[two simultaneous pitch shift effects (+50¢ & -50¢ ) using the violin as the source; Use the dynamic curve of the violin to open and close the effect]

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[a continuous soundscape; slowly fading out from 0:20’]

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44 ˙

Ó

œ œ ‰ J

Œ

Ó

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ ˙ ?

J 4 ∑ Œ ‰ ∑ ∑ Œ Ó & 4 ` ?

j bœ œ.

∑

11

& 43

142

Smpl.

‰

˙.

(`)

Vln.

j œ

œ

14

Œ

15

16

q = 48 cantabile

U

œ ≥œ ‰ J P

# ≥˙

∑

∑

œ ‰ ≈ R J ‰

44 ‰

# ≥œ .

Œ

b ≥˙ œ bœ ‰ J J ‰ Œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ al niente bœ œ œ œ œ #œ #œ.

44 ‰ Œ ‰ J ‰ ≈ R J ‰ Œ ‰ J & 43 P 1

2 &4 Œ

146

& 42 Œ

2

3

4

5

43

18

17

bœ

&

3 4

6

7

bœ

b˙

8

9

J ‰ Œ

42 42

[pre-produced sampler sounds]

bœ. #œ ‰ J 43

#œ ‰ J

10

43

bœ.

11

œ bœ œ R ≈ œ bœ R

12

13

≈

œ.

14

œœœœ

5 4 45

b œbœ 15

œ- œ . # ≥œ œ ‰ J ‰

œ J

16

œ

Ó

,

Œ

,

3 4 43

#œ & 43 R

149

Vln.

Smpl.

≈

#œ & 43 R

≈

17

≥œ .

œ

œ.

œ

J

≈

J

(√ ) œ.

151 & 44 R ≈ ‰

Œ

≈ #œ

#œ.

#œ

19

20

œ

œ.

#œ J

‰

& 44 Ó

√ œ œ #œ

‰

18

11

œ œ #œ.

‰ ..

nœ œ RÔ

bœ

Ó

œ

Œ

œ ..

21

44

22

U w

Œ

p

∑

23

44

∑

q = 60

12

Option 2: sampler plays this sequence live

√ œ

154

Smpl. (ossia)

&

p

#œ

√ √ 1

Ó

bœ

œ

3

4

3

‰

2

Œ

œ

Œ

œ

bœ.

∑

5

6

7

b œ œ ..

8

Ó

9

ca. 70"

Smpl.

&

158

&

164

&

167

œ

p

[isolated sounds as in the begining; at this moment the violinist can leave the stage]

1

Option 1: sampler plays pre-recorded sound file (snd_154-101-F7.aif) or preproduced midi file (midi_154-101-F7.mid)

(√) ˙

Ó

10

(√) #œ

18

11

3

j #œ

Ó

4 ‰ 4

Œ

≈

‰

œ

œ

25 26

#˙

Ó

13 14

19

Œ

œ ≈ R œ

12

Œ

(√)

& Ó

#œ

œ

˙ 27

15

#œ.

Ó

3

21

Œ

œ #œ

bœ.

20

Œ

43

Ó

bw 28

bœ 16

Œ

#œ

Œ

∑

17

bœ

Œ

22 23

24

∑

U

bw

29

Music of falling sounds

Vykintas Baltakas

appendix Sampler notes / sounds

√ A#7

A7

G#7

& &

smpl_154_106-A#7

√ √

&

F7

&

E7

D #7

D7

&

&

&

√

C7

√

√

√

&

&

#œ

smpl_154_102-F#7

œ snd_154-101-F7

√ C #7

œ smpl_154_103-G7

&

&

#œ smpl_154_104-G#7

√ F#7

œ smpl_154_105-A7

√ G7

#œ

√

œ

#œ

smpl_001_100-E7

smpl_001_99-D#7

œ

#œ

œ

smpl_001_97-C#7

smpl_001_96-C7

apdx. 1

29/08/17

B6

A #6

A6

G #6

G6

F #6

F6

E6

D #6

D6

&

&

&

& &

&

&

&

&

&

C #6

&

C6

&

œ smpl_001_95-B6

#œ smpl_001_94-A#6

œ smpl_001_93-A6

#œ œ smpl_001_91-G6

#œ

smpl_001_90-F#6

œ smpl_001_89-F6

œ

#œ

œ

smpl_001_88-E6

smpl_001_87-D#6

smpl_001_86-D6

#œ

œ

smpl_001_84-C6

apdx. 2

œ

B5

&

A #5

&

A5

&

G #5

&

G5

&

F #5

&

F5

&

E5

&

D #5

&

D5

&

œ

C #5

&

#œ

smpl_001_97-C#7

rec_037_73-C#5

C5

&

œ

smpl_001_96-C7

rec_032_72-C5

snd_129-83-B5

#œ

snd_128-82-A#5

œ

snd_122-81-A5

#œ

efct_122-80-G#5

œ

efct_121-79-G5

#œ

smpl_001_78-F#5

œ

œ

#œ

efct_120-77-F5

smpl_001_100-E7

rec_033_76-E5

smpl_001_99-D#7

rec_034_75-D#5

efct_119-74-D5

apdx. 3

B4

&

œ

A #4

&

#œ

smpl_001_94-A#6

rec_041_70-A#4

A4

&

œ

smpl_001_93-A6

rec_040_69-A4

G #4

&

#œ

G4

&

œ

smpl_001_91-G6

F #4

&

#œ

smpl_001_90-F#6

F4

&

œ

smpl_001_89-F6

rec_031_65-F4

E4

&

œ

smpl_001_88-E6

rec_038_64-E4

D #4

&

#œ

smpl_001_87-D#6

rec_030_63-D#4

D4

&

œ

smpl_001_86-D6

rec_036_62-D4

C #4

&

C4

&

snd_116-71-B4

snd_116-68-G#4

#œ

œ

snd_116-61-C#4

smpl_001_84-C6

rec_040_60-C4

apdx. 4

B3

?

œ

A #3

?

#œ

snd_115-58-A#3

A3

?

œ

snd_114-57-A3

G #3

?

#œ

snd_113-56-G#3

G3

?

œ

snd_112-55-G3

F #3

?

#œ

F3

?

œ

E3

?

œ

smpl_001_100-E7

rec_033_76-E5

D #3

?

#œ

smpl_001_99-D#7

rec_034_75-D#5

D3

?

œ

C #3

?

#œ

smpl_001_97-C#7

rec_037_73-C#5

C3

?

œ

smpl_001_96-C7

rec_032_72-C5

snd_115-59-B3

smpl_001_78-F#5

rec_034_54-F#3

snd_111-53-F3

rec_057_52-E3

snd_109-50-D3

apdx. 5

B2

?

A #2

?

A2

?

G #2

?

G2

?

F #2

?

F2

?

E2

?

D #2

?

D2

?

C #2

?

C2

?

œ

snd_108-47-B2

#œ

smpl_001_94-A#6

rec_041_70-A#4

œ

smpl_001_93-A6

rec_040_69-A4

#œ

œ

snd_107-44-G#2

smpl_001_91-G6

rec_053_43-G2

#œ

smpl_001_90-F#6

rec_047_42-F#2

œ

smpl_001_89-F6

rec_031_65-F4

œ

smpl_001_88-E6

rec_038_64-E4

#œ

smpl_001_87-D#6

rec_030_63-D#4

rec_049_39-D#2

œ

smpl_001_86-D6

rec_036_62-D4

rec_051_38-D2

snd_106-37-C#2

#œ

œ

smpl_001_84-C6

rec_040_60-C4

apdx. 6

rec_052_36-C2

B1

?

A #1

?

A1

?

G #1

?

G1

?

F #1

?

F1

?

E1

?

D #1

?

D1

?

C #1

?

C1

?

◊

◊

◊

◊

◊

◊

◊

◊

◊

◊ ◊

◊

œ

#œ

snd_133-34-A#1

œ

snd_117-33-A1_loop

#œ

snd_105-32-G#1

œ

#œ

snd_104-31-G1

smpl_001_78-F#5

rec_034_54-F#3

rec_048_30-F#1

œ

œ

#œ

snd_104-29-F1

smpl_001_100-E7

rec_033_76-E5

smpl_001_99-D#7

rec_034_75-D#5

œ

rec_089-11-B-1

rec_090-13-C#0

#œ

smpl_001_97-C#7

rec_037_73-C#5

œ

smpl_001_96-C7

rec_032_72-C5

apdx. 7

rec_057_52-E3

snd_093-26-D1-loop

rec_061_36-C1

rec_088-10-A#-1

B0

?

A #0

?

A0

?

G #0

?

G0

?

F #0

?

F0

?

E0

?

D #0

?

D0

?

C #0

?

C0

?

`

`

`

` `

`

` `

`

`

`

`

œ

snd_103-23-B0

#œ

smpl_001_94-A#6

rec_041_70-A#4

œ

smpl_001_93-A6

rec_040_69-A4

#œ

œ

snd_085-20-G#0-loop

smpl_001_91-G6

rec_053_43-G2

#œ

smpl_001_90-F#6

rec_047_42-F#2

œ

smpl_001_89-F6

rec_031_65-F4

rec_060_29-F0

œ

smpl_001_88-E6

rec_038_64-E4

rec_067_28-E0

#œ

smpl_001_87-D#6

rec_030_63-D#4

rec_049_39-D#2

œ

smpl_001_86-D6

rec_036_62-D4

rec_051_38-D2

rec_089-11-B-1

rec_090-13-C#0

rec_087-9-A-1

smpl_001_84-C6

rec_040_60-C4

rec_052_36-C2

#œ

œ

apdx. 8

rec_064_31-G0

rec_058_27-D#0

rec_088-10-A#-1

B-1

?

A #-1

?

A-1

?

G #-1

?

`

` `

` G-1

F #-1

?

?

`

`

œ

#œ

œ

#œ

œ

#œ

rec_089-11-B-1

rec_086-8-G#-1

rec_087-9-A-1

rec_088-10-A#-1

rec_085-7-G-1

rec_086-8-G#-1

rec_087-9-A-1

rec_088-10-A#-1

rec_085-7-G-1

rec_086-8-G#-1

rec_087-9-A-1

rec_085-7-G-1

rec_086-8-G#-1

rec_085-7-G-1

smpl_001_78-F#5

rec_034_54-F#3

apdx. 9

rec_048_30-F#1

rec_058_18-F#-1

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