Sy. 4803 - Bernhard Lang - Game One: Self Organizing Systems [S.O.S.] (2018)

Sy. 4803, ISMN 979-0-2042-4803-2

Copyright © 2018 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH Berlin Alle Rechte vorbehalten / All rights reserved / Tutti i diritti riservati

Auftragswerk des

œnm . österreichisches ensemble für neue musik

Flöte (auch Piccolo und Bassföte) Klarinette in B (auch Bassklarinette in B)

Posaune

Perkussion

Glockenspiel, Rassel, 2 Styroporstücke, Gong (D), 3 TamTam Drumset (snare drum, 3 cymbals: ride, splash, crash; foor tom, mid tom, 3 toms, woodblocks)

Sampler

Der Sampler wird mit einem Masterkeyboard angespielt, die individuellen Samples sind Tasten zugeteilt, die Kästen über der Note zeigen den Namen des Samples.

Synthesizer / Klavier

Eines der folgenden Synthesizer Modelle ist zu benutzen: Yamaha SY77, SY99 oder TG77 (mit Masterkeyboard).

Violine 1 Violine 2 Viola Violoncello Kontrabass

fute (also piccolo and bassfute) clarinet in B b (also bassclarinet in B b) trombone percussion

glockenspiel, rattle, 2 pieces of styropore, gong (D), 3 tam-tam drumset (snare drum, 3 cymbals: ride, splash, crash; foor tom, mid tom, 3 toms, woodblocks)

sampler

The Sampler is controlled by a master keyboard, the individual samples are allotted to the keys: the label above the note shows the sample name.

synthesizer / piano

The Synthesizer to be used is a Yamaha SY77, SY99 or TG77 (with master keyboard). violin 1 violin 2 viola violoncello double bass

general explanations

All scenes and patterns (A B C D) should be sequenced without any intermissions!

designate the 4 patterns of each scene etc. designate the order of entrance for all instruments involved designate the numbers of loops being played designate approximately 3 loops designate exactly 4 loops asynchrony: player plays his/her own part independently from others “neighbours”: players form synchronized groups sync with sample: try to pick up the samples beat/tune sync metre: synchronize the metre sync rhythm: try to synchronize the rhythm, not necessarily the loop-phrase sync loop: try to play with the loop as exactly as possible (loop start/end included)

repeat on cue: wait for sign by either neighbour, patternmaster or scenemaster add rests with each loop, so varying loop-length play mute loop: rest for the precise duration of the loop-phrase approximate rhythm values within bar boundaries

Following common practice, accidentals apply for the whole measure in that particular octave. Cautionary accidentals are given frequently and do not cancel this rule.

Generally, non vibrato playing is assumed (except when instructed otherwise).

morph/transform to explicit vibrato, then back to n.v.

improvise , graphics to be understood as a suggestion only interrupt the repetitions by interpolating “mute loops”

pick one of the pitches contained in this chord, change pitch with each loop quartertone lower / higher (+/- 50Cent) - for longer passages: play Ab (quartertone lower) in any octave , change with each loop phrase noise with a significant formant: “[s] sound”

chromatic clusters in the approximate range

strings

col legno tratto + crini bowed with the wood and hair col legno tratto senza crini bowed with the wood only, no hair c.l.b. col legno battuto (strike with the wood only, no bowing) bartok pizz. s.p. sul ponticello / on the bridge s.t. sul tasto / on the fingerboard + left hand pizzicato muted pizzicato, approximate pitches half flageolett (low pressure, half pressed string) woodwinds/brass

add voice: + singing at a definite interval (octave can be adjusted according to vocal range) unisono voice: sing the same pitch while playing a multiphonic is produced by singing the upper or lower voice M multiphonic morph towards multiphonic (also with voice) slaps or slap like sounds air-sound , with discernible pitch drumset

Sampler Sounds

The Sampler is controlled by a master keyboard, the individual samples are allotted to the keys: the label above the note shows the sample name.

Scene I A game_one_scene1_A_2.wav

B game_one_scene1_B2.wav

C game_one_scene1_C2

D game_one_scene1_D.wav

Scene II A game_one_scene2_a

B game_one_scene2_B1.wav C game_one_scene2_C.wav D game_one_scene2_D.wav

Scene V A B game_one_scene5_A.wav C game_one_scene5_B.wav D

Scene VI A game_one_scene6_A.wav

B game_one_scene6_B.wav C game_one_scene6_C.wav D game_one_scene6_D.wav

Scene IX A game_one_scene9_A2.wav

B game_one_scene9_B2

C game_one_scene9_C2.wav D game_one_scene9_D2.wav

Scene X A game_one_scene10_A2

B game_one_scene10_B

C game_one_scene10_C

D game_one_scene10_D

Scene XI A game_one_scene11_A2

B game_one_scene11_B1

C game_one_scene11_C1

D game_one_scene11_D1

Synthesizer Sounds

All the sounds provided are programmed exclusively for Yamaha SY77, SY99 or TG77 (with master keyboard). The sounds are available both as Sounddiver Lib or SysEx Midi Files.

name description

Scene I A GAME1org1 Crystal Organ B GAME1org2 Marimborgel C GAME1_Ab4t Orgel "Farfisa" (tuned quartertone lower) D GAME1_Snoi S-Noise

Scene II Scene IV

A GAME1PcfM Percussive FM B GAME1PcfM Percussive FM C GAME1PcfM Percussive FM D GAME1PcfM Percussive FM

A GAME1org4t Non Vibrato Organ (tuned quartertone lower) B GAME1org4t Non Vibrato Organ (tuned quartertone lower) C GAME1org4t Non Vibrato Organ (tuned quartertone lower) D GAME1org4t Non Vibrato Organ (tuned quartertone lower)

Scene V A GAME1hBras HardSilverBrass B GAME1hBras HardSilverBrass C GAME1hBras HardSilverBrass D GAME1hBras HardSilverBrass

Scene VI A GAME1_Adro A-Drone B GAME1_Adro A-Drone C GAME1_Adro A-Drone D GAME1_Adro A-Drone

Scene VII A GAME1Fendr FunkyRhodes B GAME1Fendr FunkyRhodes C GAME1Fendr FunkyRhodes D GAME1Fendr FunkyRhodes

Scene X A GAME1_Ncrs NoiseCrescendoSynth B GAME1_Ncrs NoiseCrescendoSynth C GAME1_Ncrs NoiseCrescendoSynth D GAME1_Ncrs NoiseCrescendoSynth

Scene XI A GAME1org1 CrystalBell

B GAME1org1 StringOrgan C GAME1org1 StringOrgan D GAME1org1 CrystalBell

Series Six : Theory of Games

Rules Scene I

Player 1 (numbers in squares) starts with Model A, repeats it for the indicated times, interrupting/interpolating it three times with either Model B, C, D in a free sequence; player 2 starts after player one with Model A, repeats it for the indicated times, interrupting/interpolating it three times with either Model B, C, D in a free sequence; the following players 3-8 start sequentially with Model A, repeat it for the indicated times, interrupting/interpolating it three times with either Model B, C, D in a free sequence.

At the end of each Model there is a number of rests indicated: these should be added to each loop with each repetition.

Double Bass is SCENEMASTER: after having executed the designated repetitions, SCENEMASTER cues other players to Scene II; if other players have not yet finished or have already finished Scene I, they either cut off or wait until SCENEMASTER cues other players.

asynchrony 1x

pitch-class A flat quartertone low in any octave, with respects to dynamics

asynchrony 1x

asynchrony game_one_scene1_C2 play mute loop 1x

Orgel "Farfisa" tuned quartertone lower

asynchrony 1x

asynchrony 1x

play pitch-class A flat quartertone low in any octave, with respects to dynamics

π

asynchrony 1x

play pitch-class A flat quartertone low in any octave, with respects to dynamics

asynchrony 1x

play pitch-class A flat quartertone low in any octave, with respects to dynamics

play π

asynchrony 1x

asynchrony 1x

play pitch-class A flat quartertone low in any octave, with respects to dynamics

3 Sy. 4803/01 CopyrightbyG.Ricordi&Co./Forperusalonly

noise (without pitch) with an [s] - formant

noise (without pitch) with an [s] - formant

play noise (without pitch) with an [s] - formant

play noise (without pitch) with an [s] - formant

asynchrony

play noise (without pitch) with an [s] - formant

asynchrony

play noise (without pitch) with an [s] - formant

asynchrony

play noise (without pitch) with an [s] - formant

play noise (without pitch) with an [s] - formant

Player 1 (numbers in squares) starts with Model A, B, C or D in free permutations; repeats them for the indicated times; then repeats the entire process twice, so each Model is being played three times: e.g. A C D B D A C B B D C A or similar. Violin 1 is SCENEMASTER; player 2 joins in the same way, so do the others; Violin 1 and 2 step in as improvisers with entry 4. Violin 1 cues Scene III at end of Solo by playing synchronous cue phrase 6x (fast cut).

rhythm means: keep the beat, but not necessarily the up-beat (shift of accents is possible) neighbours: the relevant partners for interaction.

Scene III Player 1 (numbers in squares) starts with A, B, C or D; player 2, 3, 4 join in sequentially; any of the four players can now be the PATTERNMASTER, cuing the next pattern during a rest; the players can arrange a sign for A, B, C, D between them (e.g. 1 finger, 2 fingers, 3 fingers, 4 fingers).

Each pattern should not be longer than 1-2 minutes.

Piano is SCENEMASTER, cuing scene IV (cutting off all other players still active at cue-point). Piano, Cello, Flute and Trombone are neighbours

Rules Scene IV

All players start at once; fixed Sequence A B C D; tied loops result in held notes (breath/change bow imperceptibly and not simultaneously) Trombone plays 2 loops then starts with solo-phrase; cues Pattern B, continues with solo-phrase; cues Pattern C; after 11 loops all players go to D; Flute cues Scene V.

PATTERNMASTER A B C is Trombone. SCENEMASTER is Flute, cuing scene V (cutting off all other players still active at cue-point).

Scene IV q = 59 Non Vibrato Organ always quarterone lower asynchrony

p p

asynchrony asynchrony

sord.

asynchrony p asynchrony p arco st. flaut. nv.

1. 1. 1. 1. 1. asynchrony p arco st. flaut. nv. 1. asynchrony p arco st. flaut. nv. 1. asynchrony p arco st. flaut. nv. 1. asynchrony p arco st. flaut. nv. 1.

asynchrony asynchrony asynchrony asynchrony asynchrony asynchrony asynchrony asynchrony asynchrony

p

Glissando Duration 22-33 quarters

Glissando Duration 22-33 quarters

p P

Glissando Duration 22-33 quarters

Glissando Duration 22-33 quarters

Glissando Duration 22-33 quarters

Glissando Duration 22-33 quarters

glissando D p

Glissando Duration 22-33 quarters

Rules Scene V

Group 1 (Percussion, Sampler, Violoncello, Double Bass) starts sequencing A B C D (the sequence could also be permutated if manageable via cues) doing this 3-4 times. (A B C D A B C D A B C D or similar).

Group 2 (Violin 1 & 2, Viola) joins in after some time, doing any sequence of A B C D, continuing till next scene; then Synth. joins in with Group 1; then Trombone begins improvisation till next scene (Trombone is SCENEMASTER) in any sequence of A B C D; Trombone cues Scene VI (cutting off all other players still active at cue-point).

Shortly after Trombone, Group 3 (Flute, Clarinet) joins in looping A B C D in a free sequence/permutation.

individual sequence, just once each. (Each player is PATTERNMASTER for himself).

w # w w w w w #¢ w w # O w O w w

arco p p p

π

p col legno tratto + crini

unisono voice π

col legno tratto senza crini

π

w w b w w w w w w O w w o w

w #¢ w w w w w w # w w # O w w o w n¢

π π

col legno tratto senza crini

col legno tratto + crini p p p

w w w w w w w w w O w B w o w

p

π p

arco

w w n$ w b w # w o O w # # ww b w

col legno tratto senza crini p π

p

w #¢ w w w w o O w ww w

p w w w w w o w w O w # # ww w

arco p p p π

π

p

CopyrightbyG.Ricordi&Co./Forperusalonly

col legno tratto + crini

p

w w w n$ w w o w w O w w n$ w

w w w w w O w n #¢ ¢ w w

w w w w O w w w

col legno tratto + crini p p 25 Sy. 4803/01

Rules Scene

VII Here the Pattern-cues are assigned to 4 players, one cueing A, one B, one C, one D.

All players start simultaneously, syncing the beat, not necessarily the loop-phrase; whenever a player hears a phrase similar to one of his/her own, he/she can attempt “imitations”.

ABCD is repeated three times in any permutation. (CABD DBAC ABDC or similar).

After the first round of ABCD, Percussion becomes both Concertmaster and SCENEMASTER, soloing over the others, cueing Scene VIII.

f

f

f

f f

f f ß

f

Œ j œ # J œ b¢ œ œ ˙ j œ ˙ j œ Œ j œœ b œ œ # j œ J œœ œ b ‰ Œ œ n œ n¢ œ #¢ œ n œ #¢ œ # œ # œ n¢ ‰ œ #¢ œ n œ #¢ œ # œ # œ n œ n¢ œ n ‰ ‰ J œ J œ # œ œ # n¢ j œ J œ J œ Œ J œ ≥ ‰Œ‰

2-3x 2-3x 2-3x 2-3x

2-3x

CopyrightbyG.Ricordi&Co./Forperusalonly

Œ J œ b¢ r K œ #¢ J œ n¢ œ œ ˙ j œ ˙ j œ œ n œ n¢ œ n œ #¢ œ # œ # œ n¢ œ n ‰ œ n¢ œ n œ #¢ œ # œ # œ n œ # œ #¢ ‰ ‰ j œ # J œ œ # # ¢ œœ # j œ J œ J œ n¢ Œ J œ ≥ ‰Œ‰

f f ß

f

f

2-3x 2-3x 2-3x 2-3x 2-3x

f f ß 35 Sy. 4803/01

n œ

œ œ n n . œ œ b ‰ œ œ .

œ ^ œ ^ œ n¢ œ #

œ #

n

n¢ œ # œ n

b

œ #

Rules Scene VIII

Piano starts with any of the four patterns (A B C D in any permutation), followed by Violin and Violoncello, then Flute, Clarinet and Trombone, finally Viola and Double Bass. Play until all four patterns have been played at least once by each player. All patterns are to be played 1x-2x. Piano is SCENEMASTER and PATTERNMASTER, cueing Scene IX.

col legno tratto senza crini

≠ ≠

˙ ˙

loop on cue loop on cue loop on cue loop on cue loop on cue

Rules Scene XI

All players start at once (almost simultaneously), picking one of A B C D in free permutation, then switching to any next pattern, till each of A B C D has been played at least twice. Try to synchronize with the sample-loop at times, then switch again to asynchronicity.

All players play their individual patterns here to the very end; the last remaining finishes the piece.

. . . ˙ ˙˙ ˙ ˙

. . . ˙˙ ˙ ˙ ˙

˙ œ œ œ # œ œ œ # œ œ # œ œ œ œ œ a œ a œ œ œ œ œ œ n œ œ œ œ # œ # œ # œ œ # œ n œ œœ œ # œ n œ a œ œ # œ n œ œ œ n œ # œ œ œœ œ # œ œ n œ # œ # œ œ œ œ œ # œ n œ œ n œ œ œ n œ œœ œ # œ œœ œ œ œ œ œ # œ n œ œ # œ # œ œ # œ # œ œ œ # œ n œ œ # œ œ # œ n œ œ # œ # œ n œ œ # œ # œ n œ œ n œ # œ #

œ œ œ # œ # œ œ n œ œ a œ # œ œ n œ # œ n œ œ n œ # œ œ œ œ # œ # œ œ # œœ œ œ œ œ n œ # œ œ œ œœ œ œ œ n œ œ œ œ œ œ n œ œœ œ œ œ œ œ n œ œ œ œ # œ n œ œ # œ œœ œ œ n œ # œ œ # œ œ œ n œ œ œ nn œ œ œ œ # n œ œ n œ # œ œ # œ œ

. . . ˙ ˙ ˙˙ œ œ œ # œ œ œ # œ œ # œ œ œ œ œ a œ a œ œ œ œ œ œ n œ œ œ œ # œ # œ # œ œ # œ n œ œœ œ # œ n œ a œ œ # œ n œ œ œ n œ # œ œ œœ œ # œ œ n œ # œ # œ œ œ œ œ # œ n œ œ n œ œ œ n œ œœ œ # œ œœ œ œ œ œ œ # œ n œ œ # œ # œ œ #

œ # œ œ œ # œ# œ œn œ œ a œ# œ œn œ# œn œ œ n œ# œ œ œ œ # œ # œ œ # œœ œ œ œ œ n œ # œ œ œ a œœ œ œ œ n œ œ œ œ œ œ n œ œœ œ œ œ œ œ n œ œ œ œ # œ n œ œ # œ œœ œ œ n œ # œ œ # œ œ # œ n œ œ œ nn œ œ œ œ # n œ œ n œ # œ œ # œ œ œ

œ

œ œ # œ a œ œ n œ # œ n œ n œ # œ