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EntrĂŠe En mouvement Encore For vibraphone, electronics, video and audience.
Xavier Bonfill (2016)
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General guidelines • • • • • • • •
This is a piece in three movements for vibraphone, electronics, video and audience. The first movement, Entrée, should be performed while the audience enters the concert hall and before all other pieces in the program. The second and third movements (En Mouvement & Encore) should be performed as the very last piece on the program. This is, for lack of a better word, a “meta-interactive” piece, which implies that the mere existence of an audience makes any performance interactive in some way. The piece is completely based on selected fragments from “A treatise concerning the principles of human knowledge, part I” (1710) by Irish philosopher George Berkeley. This texts are put into music throughout by using the international MORSE code. In order to represent that, a special, time-proportional notation has been used on movements 1 and 2. On the third movement a more standard notation is used, since more pitch oriented reading is required.
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About the vibraphone: There’s no vibraphone part on the first movement. 2 drum sticks (snare drum sticks) and 4 hard mallets are used on the second movement. 4 softer mallets are used in the 3rd movement. The following preparation is used throughout:  
Put a tiny cymbal on top of the bar.
Use two little coins, One on each extreme of the bar. (i.e. 1, 2 or 5 â‚Ź cents). Use gaffa tape to keep half of each coin attached to the bar. This will ensure the coins remain in place while allowing them to resonate when the note is played.
Cover the bars with a piece of cloth, cotton or similar. Folding a larger cloth in two layers for further dampening is advised. Use the same cloth for adjacent bars that have this preparation (2 or 3 notes). If necessary, use Gaffa tape to ensure it stays in place.
Non-prepared bars.
Use a piece of tinfoil that hovers freely on top of those bars (1 piece of tinfoil for the whole section). Use a mic stand or similar to hold it in place.
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The vibraphone motor is used on the third movement. 5 different speeds are called for: 20, 40, 60, 80 & 100 BPM. To achieve that, the motor should be controlled with a slider (and not 5 fixed positions). Try it out before the performance and add marks on the slider where the selected tempi can be found. 100BPM should be around the middle of the slider. Usually ca. 20BPM will be the lowest speed possible. If the vibraphone used differs from that slightly, then adapt the other tempi to be multiples of that slower tempo. (i.e. 22, 44, 66, 88, 110)
About the electronics: The first movement requires a 4 PA speakers system setup set in a classic quadraphonic fashion. (Front + Surround Stereos). The second movement doesn’t feature electronics. However, it is strongly advised to amplify the vibraphone through the front Stereo PA’s. For the third movement, two small speakers that are hidden underneath the vibraphone are used. The impression must be to feel like the sound comes from within the instrument. For that, it is advised to use cheap non-professional battery powered lo-fi speakers, such as the JBL GO or other domestic bluetooth speakers. Its narrowed frequency response mirrors actually the mid-frequency range that the instrument has quite well. In order to avoid connectivity problems and / or audio latency, the minijack line ins should be used instead of the bluetooth sync. The microphones amplifying / processing the vibraphone should have their signal split (for instance: by using a Y XLR splitter) so its signal can go to both the main mixer and to the computer processing the electronics. The processing signal should be muted every time there is processing, to avoid feedback problems. The whole patch uses Ableton Live and Max MSP through MAX for Live. Some of the settings are site and concert specific.
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I. Entrée (3-6’) electronics, video and audience.
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“The Table I Write on, I say, Exists, i. e. I See and Feel it. (…) There was an Odor, i. e. it was Smelt; There was a Sound, i. e. it was Heard; a Colour or Figure and it was perceiv'd by Sight or Touch.”
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I. Entrée As the first members of the audience enter the hall, the Ableton Live patch is played. Four microphones capturing the audience sound are placed in the four corners of the hall. Front Left & Right, Back Left & Right. Four PA speakers are positioned alike. We will name those microphone inputs and those Speaker Outputs as 1, 2, 3, 4 (Front L, Front R, Back L, Back R). A Max for Live Gate will trigger a midi note each time a certain threshold is reached. The threshold will depend and will need to be adjusted depending on many factors such as the acoustics of the hall, the sensitivity of the microphones (small diaphragm phantom-powered condenser microphones are advised) or how many people there are on that day etc. Some of those changes will need to be adjusted on real-time, if the patch advances to slowly or too quickly. The total duration of the movement should be about 3 to 6 minutes. As each of the 4 inputs reach the first threshold (i.e. -30dB) a midi sequence is triggered. Each microphone will trigger sound on a single speaker. To avoid possible feedback problems, each microphone will be output on the furthest away speaker. That means that; - input 1 (front L) goes to output 4 (back R) - input 2(front R) goes to output 3 (back L) - input 3 (back L) goes to output 2 (front R) - input 4 (back R) goes to output 1 (front L) This midi sequence will control the gate, outputting the coming sound from the microphone only when there’s a midi note. Find a graphical representation of that sequence on next page. Since the sound will be output as is, the rhythmical perception might differ depending on more or less transients (i.e. coughs, speech, sound of chairs) is found on that particular moment. Since each channel will trigger the threshold in a different moment, a certain “canon” or counterpoint will be present, that being of course different on each performance. A video will be triggered once the 4 channels are active. The video will consist only on a still image with the quoted text, fading in from black for 2 minutes and then keeping the image still. Once the audience is seated, at the same time the lights go off the composer (or technician in charge of the electronics) manually triggers a fade out (stop clips on Ableton) making the 4 channels stop gradually from playing as they finish the sequence for the last time. That trigger will also send a video that will fade out the same still image to black during 45 seconds. How to read the score: Please note that this is only intended as a graphical output and not a performance tool. There’s no pitch information since the sound is just a gated signal from the audience sound. Each small rectangle equals a 16th note. A dot or short MORSE sound takes 1 piece on the grid. A line or long MORSE sound takes 2 pieces on the grid. The dots and lines are centred for aesthetic reasons, it should be understood that the dot takes the whole piece on the grid, and the line takes the whole 2 pieces on the grid. It should also be understood that the sound starts at the beginning of each piece on the grid.
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I. Entrée
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II. En Mouvement (5’30’’) vibraphone and video
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“But say you, surely there's nothing easier than for me to imagine Trees, for Instance, in a Park, or Books Existing in a Closet, and no Body by to perceive them. I answer you may so, (…) But what is all this, (…) more than framing in your Mind certain Ideas which you call Books and Trees, and at the same time omitting to frame the Idea of any one that may perceive them?”
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II. En Mouvement This movement features vibraphone playing throughout. A video is synchronised to the performance, showing white lights over the black screen as the performer plays and adding the text as it progresses so the audience can read it. In order for that to work, the performer uses a clicktrack.
How to read the score: The score, for vibraphone this time, uses a similar approach as with the first movement. Two “voices” are shown: The top voice is what the percussionist should play with the right hand, while the bottom line is for the left. Each piece of the grid can have different sizes or lengths, and can change from word to word. There is always a long sound that is the double of the short one, in relative terms. (i.e. 16th & 8th, or 8th and 4th, or 20th and 10th —> with different tuplet subdivisions). In order to put into account how the rhythm should be, the triangle markers show the beginning of each quarter note beat. In bars with other denominators on their time signature (i.e. 7/8) the markers also show each quarter note, and then a shorter beat at the end of the bar. Except for the very beginning of the movement where 2 drumsticks are used, 4 mallets are held for the rest of the piece. Each voice (left and right hands) contains its pitch information at the beginning of the word. If there’s only one pitch, that one will be played throughout the word and is indicated with the dots and lines in the middle of the grid. If there’s two different pitches, the high will be shown on top and the low on the bottom of the grid. If there’s 3 different pitches they will be shown on top, middle and bottom of the grid. Dynamics are always indicated on top for the right hand, and on the bottom for the left. They are always meant to be independent for each hand. Phrasing is hinted by the use of dynamics. Some decisions are up to the performer. Pedal should be used throughout, for the most part. Decisions on how to use more or less pedal are also up for the performer. The idea of short notes as dots and long notes as lines can also be interpreted in each context. For instance, a dot could be interpreted as a dead stroke without pedal, if that’s what the music asks for.
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25 Entrée / En Mouvement / Encore - Xavier Bonfill © 2016
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26 Entrée / En Mouvement / Encore - Xavier Bonfill © 2016
26
III. Encore (6’30’’) vibraphone, electronics and video
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28
“Upon shutting my Eyes all the Furniture in the Room is reduc'd to nothing”
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III. Encore This movement is played without a clicktrack. The tempo is determined by the 5 marks on motor’s speed slider. 20, 40, 60, 80 & 100 BPM. Each chord represents a letter. The first time a letter is played it is performed by the percussionist, and recorded by the computer. When that letter appears again it is played back by the electronics, into the small speakers hidden underneath the microphone. This is shown on the score with grey (instead of black) notes. When a tempo mark is shown in blue it means the player should change the motor accordingly. When it is shown in grey it is just a reminder that the “sampled” chord will play at its original speed and not the current tempo. When it is shown in black there is something to be “played” afterwards but doesn’t require to change the motor speed (that would be because there has just been a “grey” tempo mark before). The electronics, besides playing back the recorded sounds as they are, add progressively a layer of granular sounds, creating a drone. This is played on the 4 main PA speakers first and later moved to the 2 small speakers. Once the performer doesn’t have any other chords to play, he walks out of the stage and sits with the audience, leaving the instrument “playing itself”. The video is created from still images, showing the text growing letter by letter. Each change will be manually triggered by the composer / technician operating the electronics.
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2 4
q= 80 q= 60 q= 40
E 18
Vib.
3 3 U # œ # ˙ œ ˙ ˙ œ ˙ œœœœ 2 6 # ˙ œ ˙ œ Œ ˙ œ ˙ &4 4 œ # œ. p p f
3 œœœœ Œ UŒ 2 # œœ UŒ 7 ## ˙˙ 4 4 ˙˙ œ # œ. p pp
˙˙ ˙˙
˙˙ ˙˙
U 4 Π4
√ ∑
5 8
q= 20
L
A 23
Vib.
j 5 œ œ & 8 œœ . p
œœœ œsfz
U Œ
3 3 j 3 # œœ œœ œœ œœ ‰ UŒ 4 ## œœ œœ œœ œœ
f
p
f
p
3 3 j 3 # œœ œœ œœ œœ ‰ UŒ 4 ## œœ œœ œœ œœ
f
p
f
4 4
√ ∑
p 31
Entrée / En Mouvement / Encore - Xavier Bonfill © 2016
q= 60
q= 40
q= 60
27
Vib.
U Œ
& # ˙˙˙ ™™™ #˙ ™
7 4 n œœœ ™™™ #œ ™
f
œœœ ™™™ œ ™
œœœ ™™™ œ ™
pp
q= 100
√ ∑
4 4
6 4
p
q= 40
q= 100
q= 60
R
F
5 U 3 œj œ œj U 4 ˙ Œ 4 # œœœ œœœ œœœ ‰ Œ 4 # ˙˙ > ˙
31
6 & 4 # œœœœ
œœœ œ
p
˙˙˙ ˙
œœœ UŒ 49 # ˙˙ œ ˙ #˙
f
mp
˙˙ ˙ ˙
ww w w
p
f
q= 100
4 & 4 # ˙˙˙ ™™™ #˙ ™
U 9 # ˙˙ Œ 4 # ˙˙
f
p f
œ U 3 U œœ Œ 4 # œœœ œœœ Œ 44 œ œ. œ >
pp
ppp
mf
q= 40
5 U 3 œj œ œj U 2 # œ U 4 Œ 4 # œœœ œœœ œœœ ‰ Œ 4 œ Œ 4 > # œœ.
36
Vib.
U Œ
2 #œ 4 œ n# œœ .
f
q= 40
Vib.
U Œ
œœœ ™™™ œ ™
˙˙ ˙˙
ww ww
p
f
q= 80 q= 60
p
f
√ ∑
3 4
p
q= 100
41
Vib.
3 & 4 # œœœœ
U Œ
œœœ œ >.
4 ˙˙ 4# ˙ ˙
mf
œ œœ œ
pp
√ ∑
U Œ
ppp
q= 60
q= 40
44
Vib.
U Œ
& # ˙˙˙ ™™™ #˙ ™
7 4 n œœœ ™™™ #œ ™
f
q= 100
œœœ ™™™ œ ™
œœœ ™™™ œ ™
pp
q= 40
U Œ
œœœ ™™™ œ ™ f
2 # œœ 4 n# œœ .
U Œ
4 4
√ ∑
3 4
p
q= 100
5 7 7 j œœ œœ œœj‰ UŒ 8 # ww # ww # ww UÓ # ww # ww # ww UÓ 9 ### www 3 & 4 # œœ œœ œœ 4 # ww ww ww 4 w # ww ww ww >
48
Vib.
f
p f
f
p
f
p
Entrée / En Mouvement / Encore - Xavier Bonfill © 2016
p
ww w w
U 4 √ 3 Œ 4 ∑ 4 32
q= 60 53
Vib.
3 & 4 # œœœœ
7 ## ˙˙˙ 4 ˙
U Œ
œœœ œ >.
mf
˙˙ ˙˙
˙˙ ˙˙
U Œ
√ ∑
4 4
3 4
pp
q= 40
q= 100
D 56
n ˙˙ 5 4 ˙˙
5
Vib.
œœj œœ œœj ‰ UŒ 3 & 4 # œœ œœ œœ > f
p
2 # œœ UŒ 4 # œœ. p
f
œœ œœ œœ œœ UŒ
9 # ˙˙ 4˙ #˙
ppp
˙˙ ˙˙
ww ww
U Œ
4 4
U Œ
4 4
p
q= 40
C 60
n ˙˙ 5 4 ˙˙
6
Vib.
4 & 4 ## ˙˙˙˙ p
œœ ˙˙ œœ ˙˙
œœ œœ
f
f
p
q= 60
U Œ
2 # œœ 4 # œœ. p
œœ œœ
œœ œœ
√ ∑
ppp
q= 100
64 7
Vib.
U Œ
& # ˙˙˙ ™™™ #˙ ™
8 4 ## wwww
f
# wwww
U Ó
# wwww
f
√ ∑
4 4
p
q= 100
q= 60
67 7
Vib.
˙ & # ˙˙ ˙
œ U 8 œœ Œ 4 ## wwww œ
pp
ppp
# wwww
# wwww
f
U 4 Ó 4 n ˙˙ ™™ # ˙ ™™ #˙
p
U 7 œ ™ œ ™ œ ™ œ ™ U 3 Œ 4 n œœ ™™ œœ ™™ œœ ™™ œœ ™™ Œ 4 #œ ™ œ ™ œ ™ œ ™
f
q= 100
pp
f
q= 60
71
Vib.
3 & 4 # œœœœ mf
œœœ œ >.
U Œ
4 ˙˙ 4# ˙ ˙
œ œœ œ
pp
ppp
U Œ
™ 5 ## œn œœ ™™ 4 œ™ ff
œœ ™™ œœ ™™
œœ ™™ U ≈ Œ ™ œœ ™ J
p
pp
Entrée / En Mouvement / Encore - Xavier Bonfill © 2016
4 4
√ ∑ 33
Published on Feb 1, 2017
For vibraphone, live-electronics, video and audience.
Published on Feb 1, 2017
For vibraphone, live-electronics, video and audience.