Brian Riordan Laniakea 2015

Transcription

1 Brian Riordan Laniakea 215 or pipa, horn in, double bass, piano, and laptop

2 erormance Notes: The tempo o the entire piece is somehat lexible. All tempo markings are suggestive. It is preerred that a conductor is not used or the perormance. It is important that the entire ensemble reads rom the score. This symbol is placed above the sta o the instrumentalist that is to make a gestural cue to the rest o the ensemble. Dotted lines are provided through all staves as a arning to the rest o the ensemble that a cue is being made. In addition to the cues marked in the score, it is encouraged that the perormers cue each other throughout the piece. At times, adustments must be made to either catch up or all back to stay ith the rest o the ensemble. For graphic notations indicated by zig zag lines, X s or O s on one lined staves, ollo the text instructions provided at the time o the graphic notation. Follo the duration as ell, but the placement o the graphics are to be loosely interpreted by the perormer. The pipa is tuned, rom loest to highest strings sounding A2, D, E, A. The pipa is notated an octave higher than it sounds. Tablature is provided in some sections hen ingering is diicult. iano reparation Notes: All notes rom F to E5 are to be prepared by placing a piece o Blue-Tac on a node, located at the octave, completely covering both strings. Additional Equipment required: The horn player needs a thin metal sheet, preerably aluminum, that is ide enough to cover the bell o the horn or pages 1 and 1. The piano player needs a plastic case used or clarinet reeds or pages 6 and. A shoe polish brush or a piece o tape to mute the top octave o the strings on pages 1 and 1. Hard marimba or vibraphone mallets are needed or page 1.

3 Notes or the electronics: In contrast to earlier electro acoustic music, there are no pre-recorded sounds. There is no tape used in the perormance. This brings back the usual lexibility o tempo that is a hallmark o live perormance. All electronic sounds are generated in real time by the laptop perormer. An assistant ho knos the proper balance beteen the instruments and sounds produced by the laptop should sit at a mixer in a good listening position in the hall and adust the volume as necessary throughout the perormance. A rehearsed soundcheck should take place ithout the presence o the audience so the assistant could become amiliar ith all sounds and balances o the piece. The ideal sound or optional ampliication o instruments is a clear and rich close sound. The microphone should be quite near the instrument. The amount o ampliication naturally depends on the concert venue, but the ampliied sound should be equal to the sounds generated rom the Laptop. The general level could be set rather loud, but not painully so. To house speakers should be placed in ront o the perormers to prevent potential eedback. They should be placed on either side o the perormers to proect a proper stereo mix to the audience. Generally a monitor speaker should be placed on the loor close to the perormers so that they can hear all electronic sounds and optional ampliied eects. The soundboard setup should be in ront o the speakers located anyhere along the center o the venue so the assistant can mix proper audio levels throughout the perormance. All musicians must sit in a position here eye contact can be made ith each member o the ensemble. A perormance diagram ollos: Bass Horn ipa iano Laptop Let Speaker Right Speaker Soundboard

4 Laptop Setup Equipment needed: Macintosh laptop (Macbook) containing at least 2 USB ports and 1 Fireire port (ith OS 1.6 or higher) Novation Launchpad connected via USB Korg Nanokontrol connected via USB Audio Interace (such as a MOTU 6HD via ireire) ith 2 audio cables sending out Let and Right audio mix to Soundboard Some sotare (Max/MS) is available rom the composer. Additional sotare (Ableton Live) must be provided by the perormer. A template, or set, ill be provided by the composer. A perormance diagram or the Laptop Setup ollos:

5 Novation Launchpad: This device contains a grid o 6 buttons arranged x. This piece requires that the grid be divided up into individual quadrants o 16 buttons each arranged x. Each quadrant is noted 1 through as, Q2, Q, and Q arranged rom let to right on the top, and let to right on the bottom. An image presenting each individual quadrant ollos:

6 Each Quadrant on the Novation Launchpad is divided into 16 buttons arranged x ith the letters A, B, C, and D representing the ros, and the numbers 1, 2, and representing the columns. An image representing the arrangement o buttons ithin each quadrant ollos:

7 List o Novation Launchpad sounds: When a button is lit up, that means the corresponding sound is currently sounding. Most sounds turn o hen you touch the button a second time. : A1: Randomized glitch sounds : A2: Clicking sounds : A: Bass Crunch : A: Noise Sirl Q2: A1 and B1: ipa drones (E) Q2: A2, B2, C2: Horn drones (EH) Q2: A, and B: Bass drones (EB) Q2: A and B: iano drones (E) Q: A1, A2, A, A, B1, B2, B, B: Horn Solo Drones Important note: unlike other buttons on the launchpad, the buttons in this quadrants do not turn o hen you touch the button a second time. Q: A: Horn Drone O

8 Korg Nanokontrol: This device contains many buttons, knobs, and aders. Not all o them ill be used or this piece. Located on the let side o the device are several rectangular buttons. They are not notated in the piece itsel, but their unction is important or the overall usage o the Laptop setup. The buttons to be used are as ollos: ress this button to turn all sound On. lease press this button prior to perormance. ress this button to Mute all sound. ress this button i desired hile perormance is not taking place to make sure that no accidental sound is produced. This button should only be used in the unlikely event here accidental latency occurs beteen pressing buttons and sound occurring. This ill reset some o the audio settings to get rid o any unanted latency. This is only to be used in an emergency. This button is located right next to separate LEDs. Make sure LED 1 is lit up during perormance. I not, press this button until LED 1 is lit. The Korg Nanokontrol ill not ork properly i any o the other LEDs are lit up. The volume or various parts o the electronic sounds produced by the Laptop are controlled by various knobs and aders located on the Korg Nanokontrol. Follo crescendos and decrescendos ithin the score that are listed belo the sta to control ader positions. A ader pulled all the ay don is mute (marked as a ), pulled all the ay up is ull volume (Marked as a 1 ). Notation or knobs are listed above the sta. A knob all the ay to the let is and all ay to the right is a 1. All ader and knob positions are relative based on balance o ensemble in realtime. Make adustments during perormance I a sound seems too loud, too quiet, or too active.

9 Korg Nanokontrol Sounds: Observe the channels o the channels on the image belo: Each channel is assigned to a dierent sound. The aders alter the volume hile the knobs alter the sound ith an eect. Each channel is linked ith a button or a set o buttons o the Novation Launchpad. Channel 1: Algorithmic cloud knob: density and requency o algorithm Channel 1: ipa drone sounds (linked ith Q2: A1 and B1) Channel 2: Horn drone sounds (linked ith Q2: A2, B2, and C2) Channel : Bass drone sounds (linked ith Q2: A and B) Channel : iano drone sounds (linked ith Q2: A and B) Channel 5: Solo electric horn (linked ith Q: A1, A2, A, A, B1, B2, B, B, C1) Channel 6: Clicking Sounds (linked ith : A2) Dial: ilter seep Channel : Bass crunch (linked ith :A) Channel : Noise sirl (linked ith :A) knob: Intensity

10 Score Laniakea or pipa, horn in, double bass, piano and laptop Brian Riordan 215 (channel 1) I ã A1 1 set dial beteen and 5 at least c. 12 sec. c. 2 sec Improvise ith dial beteen and 6, some silence may occur in playback 1 5 II c. 2 sec c. 1 sec U 1 ipa Sparse Random Natural Harmonics o o o o o o o F ã Keep dial in vicinity o, increase and decrease to interact ith pipa. A1 (o) (q = c 6) Solo, lexible tempo 12 1 ipa.. mute strings > >. b. R " p F p Ÿ p ã A1 (on)

11 2 c. 1 sec a tempo ipa L.V. bb ~~~~~~ Slo String Scrape, drag ingers against rets ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) > F. b b :2 b ~~~~~~~.. 6 ã Keep dial in vicinity o, increase and decrease to interact ith pipa ipa 6 Random non pitched muted sounds. Begin sparse, increase requency p ~~~~~~~ F. b b b n ~~~~~~~ ã 6..

12 ipa b ~~~~~~ ~~~~~~ b Random non pitched muted sounds. ã ipa o.. o.. b. F. b ã.....

13 ã ipa b b sul pont. 1 1 b b.. n n b.. accel. ~~~~~~~ ã ipa n.. b n n F b n b n... U U 1

14 ~~~~~~~~~~~~~~ 5 ipa III q = c 6} Horn in F Follo iano throughout p b b.. b. b Double Bass.. p Follo iano throughout n. J. b n. iano ~~~~~~~~~~~~~~~~~~~~~~ b >.. b r r r r n.. n edale sempre until "drastic cuto" on page 12 ã A1 (o) Ó

15 6 ipa Hn. n. b b.. b. b D.B... n. J. b n... no.. " b. ~~~~~~~~~~~~ " bb. b... Inside the iano. > Scrape clarinet reed plastic case aay rom dampers Over duration o rhythm, sloly change angle o case rom straight up and don to pointing aay rom you.

16 ipa Hn. n. b b.. b. b D.B.. J. b. n... no. b b b n n b b b b Ó Inside the iano * * Scrape corner o the clarinet reed plastic case on pianostrings beteen elt and tuning pegs rom let to right (sub ponticello)

17 ipa Hn. b b b.. b. b n. D.B. n. J. b n. Sul E.. n. no. loco b ~~~~~~~~~~~~~ b b. ~~~~~~~~~~~~~.. b. " b. n b b b Ó.. n ~~~~~~~~~~~~~ b b b Ó b b. r. r ".. n

18 ipa ". Hn. b.. b. b n. Ó D.B. J. b n... Ó no. n b n Ó r b Ó n. n b b " r r b b n b 5 b n 6 n b n n b Ó Mute ith inger 2 inches rom dampers

19 1 ipa IV ( = -5 sec.) Horn in F Ÿ n Ÿ i Double Bass Vib..S.. F S.. M.S.. S...S.. S.. iano Ÿ (Continue pedale sempre until "drastic cuto" on page 12) Ÿ E. ipa (channel 1) A1 1 E. Horn (channel 2) Q2 E. Bass (channel ) E. iano (channel )

20 11 ipa Hn. irregular (emulate rhythm o E. piano sound) Ÿ i D.B. irregular (emulate rhythm o E. piano sound) Ÿ Ord. S.. Ord. Ÿ i n Ord. S.. Ord. no. Ÿ Ÿ b " E EH B1 1 Q2 EB C1 E Ḋ1 1

21 12 ipa Hn. Ÿ i Ÿ i Drastic cuto Inarticulate/irregular Random inger trills quasi hal valve/hal stop (emulate rhythm o E. piano sound) U D.B. Vib. ".S.. S.. F M.S.. S.. M.S.. no. E EH Q2 EB Ÿi 1 B2 1 C2 Ÿ i 1 * A2 1 B A2 (o) B (o) 1 U E D2 1 D2 (o)

22 1 ipa V {q = c. 6) rubato sparse clicking sounds (mute strings close to sound board) progressively more requent clicking sounds Horn in F F p U F ull stop ith metal sheet n p F b. p Double Bass iano sparse clicking sound (mute strings, highest octave) progressively more requent clicking sounds : Glitch (channel 6) Q2: E Bass (Channel ) U. Q: E Horn (Channel 5) A1 B1 C1 A U D1 A2 B2 C2 D2 A

23 1 rantic clicking sounds Hn. ( ) sing top note (luctuate voels), ( ) ave metal sheet around F D.B. gradually increase pressure " " F " F " " overpressure rantic clicking sounds A2 1 A2 (o) : G 1. Q2: EB 1 C2 Ó (o) Q: EH

24 15 VI {q = c } Solo, lexible tempo IV 6 > Bass > III. IV b > IV III IV III n... 5 DB O.. Ord a p b. Wild glissando 5 DB p.. n F 5 5 Mute strings at the octave. Crunch ith bo DB. b 2 2 n Mute strings at the octave. Crunch ith bo Ó. Ó I p IV.. > III..

25 16 DB r b. p F,.. n n J n J 5 5. DB. n.. 5 : b. b p DB accel.... n n n n pizz. arco U > l l Behind Bridge DB W > increase pressure.. " O.. Ï 1 1

26 1 lip bass around DB 1 6 aggressively crunch bo against back o bass 1 6. C1 Channel : 1 Hn. VII {q = c 6}. p. U DB U no. Roll string ith hard mallets inside piano $ > Í b * C1 (o) D1 Channel : 1 1 U

27 1 VIII {q = c 6} T A B 1 ipa 6 rolling 5 Ó b b. iano loco irregular repeated rolling 6 b F b F edale sempre ipa Ó b b 5. Ó b. no. Ó F b Ó 5 5 F

28 1 1 ipa b 5 b " 6 no. bb F b 5 5 b F " " 6 6 Channel 1: A1 Channel 1:

29 ipa 6 Ó b b.. p 6 " 5 no. 6 6 b F b F b b Ó F b b Ó 6 6 " "

30 ipa no. 5 5 Í. Í Í

31 22 IX 12 ipa " 6.. " no. " " 6 6 F " " W 5 6. Let Ring. Keep pedal don Improvise ith dial or c secs. Turn o :A1 hen inished. Let sounds ring 1