Xavier Bonfill - Blue Girl Nice Day (2018) - for 5 voices and live-electronics

Blue Girl Nice Day for 5 voices and live-electronics

Xavier Bonfill Š 2018

Blue Girl Nice Day For 5 voices and live-electronics

This score must be printed in colour, two sided and in B4 paper.

The score for this piece uses a combination of traditional and graphical notation.

The traditional notation provides reference pitch, rhythm, text and dynamics.

The graphical notation shows, on an upper staff, two continuous parameters.

The blue line stands for “tone colour”: metallic and bright on the top line, airy on the bottom line.

The red line defines microtonal pitch, in which the distance between the top and bottom lines is always a whole tone.

That means also that between two lines there is always a quarter tone, and between three, a semitone.

The pitch is always contextual: a note is given at start as a point of reference. In other words, a higher line can suddenly be a lower pitch or the other way around.

The given pitch on the graphical score uses the american system in which middle C = C3.

Sometimes the range within the five lines is exceeded in order to show a minor third range instead of a major second. In any case, the given pitches (in circles) will help finding the right note.

Sometimes, words are “interrupted” by the sound generator triggered by the bass singer (see below). When that occurs, the text with parenthesis is used as a reference for pronunciation. F. ex. “Sa(d), interruption (s)ad”.

This is meant to be pronounced “sa” (before the interruption) and “ad” afterwards.

The live-electronics are controlled with the singers’ voices. The singing pitch controls which sample is to be played back, and the microtonality of it defines which specific segment is reproduced. The noisiness of the signal (the airiness when singing) affects the playback speed / time stretching. Each performer sings into a handheld microphone. Closeness to the microphone can be used to contrarrest certain passages in which certain combinations of sound quality, pitch and dynamics are required.

The singers are to be set on stage, from left to right: Soprano - Baritone - Bass - Tenor - Mezzo-Soprano The bass also triggers a “button”, which is written on an extra lower line on the score. This will activate a sound generator triggering a sinewave oscillator at a fixed frequency corresponding to A5.

The sound generator will be played (loudly) on the PAs. The sampler tracks will be played on 5 monitors on stage, one next to each performer. The sampler is meant to act like a “doppelgänger” to each singer.

The text used in the piece, as well as the samples used on the electronics and the overall inspiration come from the documentary “Obedience” from 1961 by the american psychologist Stanley Milgram, in which he documents his experiments on obedience and authority that he conducted at Yale University. These samples belong to the Public Domain and were downloaded from archive.org Xavier Bonfill, Copenhagen, October 2018.

Blue Girl Nice Day Xavier Bonfill

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Blue Girl Nice Day - Xavier Bonfill © 2018

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17

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