Two Fragments on Water and Light

Transcription

1 To ragments on Water and Light or voice and invisible instruments Thomas Royal I. Levis Exsurgit Zehirus II. Nubibus Atris

2 Note: A erformance of To ragments on Water and Light requires the use of additional custom technology in the form of hand-built controllers. urther, a erformance of this iece requires the use of a Max/MS atch. If you are interested in erforming this iece, additional resources and information are required. lease contact the comoser directly (troyal7563@aol.com or tmroyal@uncg.edu) in order to receive the Max/MS atch and the instructions on building and connecting the controllers.

3 Levis Exsurgit Zehirus for voice and invisible instruments By Thomas Royal

4 Levis Exsurgit Zehirus for voice and invisible instruments Levis exsurgit zehirus Et sol rocedit teidus, Iam terra sinus aerit, Dulcore suo difluit. Lightly rises the est ind And the sun roceeds teidly, No the earth bares its breast, Seet in its floing aart. rom Cambridge Songs, No. 40 (Loose literal translation by the comoser) Levis Exsurgit Zehyrus is a iece for solo voice and to erformers using controllers built by the comoser. One erformer lays the Torion lus and, hile the other lays the Lichtflöte and controllers the automated electronics using a foot edal. Toriton lus: This controller, designed by Sebastian Tomczak at the Electronic Music nit, Elder Conservatorium of Music, niversity of Adelaide, consists of bol or late of ater hose surface is disturbed to roduce sound. This might be done by bloing or touching. Generally, this controller is used to control a hysical model of ind chimes. 1 The controller might also be used to rocess other sounds, or to lay back the voice in an altered ay. : The Bls are made u of four ooden bols ith contact microhones attached to each of them. The sounds of the bol being struck or scraed are icked u by contact microhones and fed into a banded aveguide model of a bell. 2 The tuning of the bell is determined in advance, though it changes throughout the iece. The art is notated on a five line staff. Each of the saces corresonds to one of the bols. If bols of different sizes are used, the largest should be number 1, and the smallest should be number 4. It is notated thus: Note that this does not indicate hat sounds are made, but hat motions are used to create the sound. Lichtflöte: The Lichtflöte is a tube that lights u at one end. It also has three keys at the oosite end. A light source is laced at the other end of the tube. This instrument is used to control a hysical model of a flute. 3 The ider the mouth is oened, the louder or more intense the sound of the hysical model. itch is controlled using the keys at the oosite end and the other hand, hich covers u the other end of the tube. The choice of itch is imlemented like a brass instrument. Electronics: The erformer ho lays the Lichtflöte is also resonsible for ressing the edal at indicated oints. The staff for the electronic art indicates the aroximate tuning of the hysical models, hether or not a sound is being samled, various actions taken by the comuter, and the routing of sounds into the delay line of various hysical models. 1 Cook, erry. "hysically Informed Sonic Modeling (hism): Synthesis of ercussive Sounds." Comuter Music Journal 21, no. 3 (all 1997): Essl, Georg, Stehania Serafin, erry R. Cook and Julius Smith III. Theory of Banded Waveguides. Comuter Music Journal 28, no. 1 (Sring 2004): Cook, erry. "A Meta-Wind-Instrument hysical Model, and a Meta-Controller for Real Time erformance Control." roceedings of the ICMC (1992.) Referenced by Hind, Nicky, hysical Modelling Synthesis. htt://ccrma.stanford.edu/softare/clm/commus/clm-tutorials/m.html. (Accessed December 4, 2007)

5 Levis Exurgit Zehirus for voice and invisible instruments nmeasured, but very sloly. ainfully soft as fainly as ossible Le v v v vi (sss) Toriton lus chimes, blo on the surface of the ater (crescendi indicate breath seed) ñ ñ Lichtflöte Electronics notes ## chime tuned to ith exressive vibrato ñ lute sound ñ ñ accelerating vibrato voice fed into bell model tuned to record voice to buffer ñ voice and tori fed into flute, flute fed into revious bell model tori granular synthesis of buffer. hisered, ithout itch f r > ex - (sss) accel. sung rit. # # # - sur git very freely, sounding embellished f # ze hi rus (sss) > ß voice altered, brisk sish of the ater Ÿ~~~~~~~~~~~~~~ no routing ñ # tuning of blls similar to > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ # Route voice to this C Rotue flute to revious to bell models

6 - et very freely # sol et # # sol et # # sol ro - ce - dit et # # sol ro - ce dit et begin first five events ith ensemble, but roceed indeendently through each event each attern is layed quicker than the revious simile (l.v.) roceed indeendently of ensemble - ith exressive vibrato no routing dam revious resonances establish ne bls tuning ith voice # # b b f # # # # sol ro - ce - dit te - i - dus et # # # # sol ro - ce - dit te - i - dus et # # # # # n sol ro - ce - dit te - i - dus k k reeat attern an undetermined number of times indeendent of others accel. f f cut resonances - 2 -

7 Í # # # # n ushing forard # b, # # # n # b b iam te - rra si - nus a - er it a - chimes, disturb surface of ater using a circular motion ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sustain by scraing body of instrument ith ood stick ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ struck # n b # chime tuned to bell model tuned to route tori. to bls. on B bell model tuned to b - no routing tori tuning : indeterminately high frequencies n b b n er it a - b b b b er it n high sounding chimes ~~~~~~~~~~~~~~~~~~~~~~~~~~ b b n b retune bls. b b # # - 3 -

8 highest note that can be sung quietly dul co re #, # # su - o and gradually accel both instruments are alligned at first, becoming more indeendent as they seed u k j k accel. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rit. route voice to active bell models remove voice routing sloly fade flute into bell model disturb surface of ater in an irregular manner motions ill make no sound, rather, they ill rocess the voice hen it sounds f hisered di ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f - lu i t. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ amlitude of voice is altered by tori the flute sound is tori sound into the revious bell models amount of tori sound fed is controlled by lflt. mouth, hich is also fed into models - 4 -

9 Nubibus Atris Nubibus atris condita nullum fundere ossunt sidera lumen. Si mare volvens turbidus Auster Boethius The notation and erformance methods of Nubibus Atris are very similar to Levis Exsurgit Zehirus. There are a fe imortant differences. : There is no indication of itch given in the score. There are moments hen the vocalist is called on to hiser, sing, do both, or even transfer beteen one method of vocal roduction to the other. lease follo all erformance instructions as given by the score. Toriton lus / : The are often sent to delays ith feedback in this iece, not an organized aveguide. The music should be layed in the same ay as the revious movement. Lichtflöte: or the most art, itch is not indicated for the Lichtflöte. Rather, lines are given to indicate the level a articular hole of the light flute is to be oened or closed. The holes should remain closed throughout the iece unless otherise indicated. At certain moments, the letters C and O aear. The letter C indicates a hole that is comletely closed. The letter O indicates a hole that is comletely oen. At some laces, traditional note heads are given. roduce the sound as done in the first movement, by oening the mouth to lay a sound, and closing it to end the sound. inally, a trill line ith a symbol of six circles searated by a slash is a trill indication. Alternate beteen the to fingerings given by the notation.

10 Nubibus Atris for voice and invisible instruments Toriton lus Hurried, hisered, ametric b - b ith immense quiet energy, hisered begin this figure hen reetitions of voice sound start to decay 5 very raidly slo. accel. rit., f sss briskly disturb surface of ater ith hand granular sss Raid and violent Í semi soken and hisered > RÔ R. >. R.> > J J. * tr s kk d t 3 3 j > Mouth Lichtflote Hand both ends are alays closed unless indicated otherise very sloly from oened to closed (remain closed) (close mouth) Í (very lo note) (gradually raising in itch) Electronics notes voice and bls. fed into sub audio delay lines the length of these delay lines are controlled by hand of lflt. voice delay off delay lines at audio rate voice and tori fed into reverb, et mix controlled by lflt. mouth record voice into buffer recorded voice used for granular bls. delay lines at sub audio, lflt. flute model near sub audio rate hand of flute controls delay line length of bls and flt. * KK - Create a fricative sound ith backof throat

11 4 u (itches need not be exact) subtly, gracefully, molto dolce gliss. n # G.. (rather long, ait until instruments are silenced) mm ff audibly blo on surface of the ater ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (close mouth and hand) delay lines at audio rate voice fed into bls. delay lines and reverb tori. creates chime sound using voice as imulse chime and voice fed into reverb controlled by lflt

12 7 (loudly hisered) Í.> R R., Í Í, d ss t(ss) si - > > > (start very sloly) æ Í f Í Sheard Tone bells voice and bls. fed into sub audio delay lines the length of these delay lines are controlled by hand of lflt. voice fed into reverb voice and tori fed into reverb, et mix controlled by lflt. mouth very lo flute Sheard tone bells - 3 -

13 9 transition from hisered to soken >. (si) de - ra lu men. soken, ith much energy (obey sirit of rhythm, not the letter) 3 ß, 3 > > -.. >... Si ma - re vol - vens tur - bi - dus au - ster k Í / Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ reeat attern an undetermined number of times accel. k lay this attern as many times as ossible 3 k k Ï three glissandi, ad libitum Bls tuned to inharmonic bells ith distortion - 4 -

14 12 very brief ause hisered, held as long as ossible > Nu-bi-bu n sss ß R deliberately, slightly sloer ß 3 R > > > J a - - tris con - di - ta very brief ause very raidly 5, sim. 3 very brief ause J J these noteheads indicate shar attack 3 EDAL AGAIN WHEN VOCIE CTS O rocessing as in the beginning lflt mouth, reverb mix ltflt. : lo flute bls. Sheard Glissando Bells - 5 -

15 16 Í slightly sung gliss.gliss. gliss. nul lu m (not too high) gradually transition from f to hisered u to soken u gliss. blo audibly on the surface of the ater ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Í f u (n) - de re disturb surface of ater in an irregular manner ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > >> >> >> > 3 (close.) / Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > distorted bells voice fed into distorted bells remove distortion from bells tori. cuts u voice sounds, lflt: breath of flute lo bls. lo E from last movement. cease voice into bells flute ith breath sound only chime sounds - 6 -

16 19 half hisered, half sung. gliss. r > hisered >. J. J voiced, but eak, dying aay J. RÔ. RÔ > 3 - ~~~~~~~~~~~~~~~~~~ os - su - n t (sss) d r l m n Si ma - re very raid, r j > 3 Ø bls. Sheard Glissando Bells lflt hand:seed of sheard gliss lft mouth: reverb et mix inharmonic bells ith distortion lo flute sound - 7 -