Tucker Distances

distances swarming and encompassing for solo prepared electric guitar with optional video projection

colin tucker (bmi) 2011/ 2014

Notes on Performance A. About the Piece This piece takes as its point of departure the ruins of rock electric guitar heroics. Components of the instrument which ordinarily work together to produce smooth, seemingly effortless sonic continuities are instead modulated independently, often resulting in incongruous relationships between physical effort and sonic result, as well as between seen and heard gestures.

An ideal performance of this work will involve a committed execution of the notated actions. For the audience, the resulting intensity should not only be heard but seen and “felt.”

B. Instruments and Equipment •

Electric Guitar with tremolo bar and at least 22 frets o prepared with a spring (coil ca. 0.4 x 2.75 inches, wire ca. 0.05 inches thick) woven into the strings, roughly halfway between the bridge and neck pickups—see picture. Ensure that all strings reliably come into contact with the spring, at all possible finger pressures. To achieve this, even when it may be necessary to thread the spring alternately over and under the strings, and/or place masking tape across all strings near the spring.

•

Amplifier: configured such that changes in volume pedal level do not result in noticeable changes in the volume of the amplifier’s electrical hum. Towards this end a noise suppressor might be used, provided that it does not obliterate the audibility of dynamic differentiations in the fingers

•

Volume Pedal

•

Distortion Unit: distortion turned up moderately high

In the resulting sound, pitch should be somewhat discernible but not unambiguously clear—adjust spring position, balance between bridge and neck pickups, and distortion levels accordingly.

C. Video Projection

E. Staging

Additional equipment required: • 2 video cameras • 2 projectors • 2 projection screens

The success of this piece in live performance depends upon the audience’s ability to apprehend unusually subtle sonic and visual phenomena. Normative concert protocol may not be adequate to ensure that these nuances register to the audience, so the following accommodations must be made. These specifications are spelled out not in order to “micromanage” the performance situation, but rather because—based on past experiences—they may make the difference between a successful and unsuccessful presentation of a piece.

Camera 1: Fingerboard. Left and right frame edges coincide with bridge and nut, respectively. The fingerboard should appear horizontal on-screen—it may be necessary to tilt the camera towards this end. Optionally, this camera might zoom in (quickly) on the left hand beginning on the last note (D) of measure 4, and zoom out (quickly) to its original view on the second pitch of measure 6 (A); in the zoomed in view, the left and right frame edges coincide with the left hand’s edges on the last note of m. 4 and the first note of m. 6. An assistant may be required to make this change.

Camera 2: Volume pedal. Left and right frame edges coincide with left and right edges of volume pedal.

1. Visual Guitarist far stage left, amplifier far stage right (see diagram below). Guitarist faces across the stage (i.e. towards amp), but angled slightly so that fingerboard points somewhat towards stage left and is visible to the audience. Amplifier points towards the audience and positioned as far as possible from the player—its sound must be spatially distinct from the unamplified guitar strings’ sound.

Projection screens behind guitarist and amp, as close as possible to guitarist, with camera 1 screen on guitar side (stage left) and camera 2 screen on amp side (stage right).

D. Siting A moderately dry, less “live” (i.e. reflective/resonant) acoustic is desired. Reverberant acoustics should be avoided.

Choose a space where it is possible to minimize ambient sound.

Guitarist, amp, and screens should be on a stage or otherwise spatially demarcated from the audience. Guitarist, guitar, and volume pedal should be as visible as possible to the audience— minimize obstructions. The stage (or at least the area of the stage used for this piece) should be clear of items not used in this piece.

Possible set up:

F. Notation

screen 2

screen 1

amp

gtr

(audience)

2. Sonic Minimize ambient sound in the performance space. Consider two types of ambient sounds: continuous (i.e. HVAC), and noncontinuous (i.e. footsteps). It is absolutely imperative that noncontinuous ambient sounds are minimized. Continuous ambient sounds should be minimized as well, but are permissible if they are at a low level and cannot easily be eliminated (i.e. electrical hum from lights).

3. Performer

The upper staff (occasionally upper two staves) indicates actions of the right and left hand fingers on the strings and fingerboard, while the lower staff indicates actions of the foot controlling the volume pedal.

1. Hands/Fingers (upper staff/staves) A. Plucking/Striking and related actions: i. String is stopped by left hand and plucked by right hand:

[in some cases, e.g. m. 12, the right hand’s plucking actions are decoupled from the left hand’s fingering/striking actions; in this case, the R.H. is shown below the top staff, in open noteheads, while the L.H. is notated ordinarily] ii. Finger percussion, either hand:

Guitarist should wear neutral, non-distracting clothes.

In general, minimize movement except that specifically required to execute notated actions.

During silences, remain absolutely immobile and tense. Eyes should be frozen looking into the stand; do not blink.

[In some cases, the division of material between hands has been suggested by stemming (up=LH, down=RH) and by dividing material between two staves (upper staff=LH, lower staff=RH).

Successive repeated notes are to be played by different hands (as indicated by stemming), on the same string and fret.]

iii. String is depressed at indicated pitch:

[Usually this indication is preceded by and tied over from i. or ii. explained above, in which case, with the exception of m. 5, which is explained in context] Intensity of finger actions is indicated by dynamics: pp, p, f, ff. pp and ff should be as extreme as physically possible; gradations between intensities should be as equal as possible.

The gradations in intensity should be understood as pertaining to visual, choreographic, and muscular comportment; intensity of finger actions may or may not correspond to perceived volume, depending on the role of the volume pedal.

B. Finger Pressure/Position (indicated above upper beam): i. Finger comfortably above string, above fret indicated by the parenthesized pitch, at least one inch above string as in ordinary left hand “resting position”: C

ii. Finger closer to string, roughly half of i.’s distance from string: B iii. Light finger pressure—barely touching the string: A iv. Normal finger pressure after finger percussion attack: v. Finger pressing down as hard as is possible without undue strain: NB: i., ii., and v. apply only to the left hand and appear only in m.5, where their contextual function is further explained C. Glissandi There are two types of glissandi: • Pitch bend with stopping finger or with tremolo/whammy bar:

in context:

•

Glissando across frets:

D. Miscellaneous

maximum finger intensity at the volume pedal’s loudest position…

Regarding choreography: in general, in order to maintain tension during fermatas, change into the position required to begin the next passage before, not after, the fermata begins.

Slurs group notes which are to be plucked by the same right hand finger or thumb.

Accidentals carry to immediately repeated notes (including notes stemmed in opposite directions); accidentals do not carry between different octaves.

Chords are not arpeggiated except where indicated.

Arpeggiations should end on the beat and should be fast but not so fast that arpeggiated chords are not distinct from unarpeggiated chords.

…fills the room but is not deafening.

Quasi-trill between two positions, very rapid:

No vibrato.

Trills as fast as possible except where differentiations in trill speed are specified (e.g. m.5).

2. Volume Pedal (lower staff) loudest position softest position At the volume pedal’s softest position, the amplifier should produce no sound. Adjust amplification levels in order that the

Although ideally the trill interval should be 1/3 of the volume pedal’s total compass, in the event that it is not possible to traverse this distance at high speed the trill interval should be the largest at which it is possible to maintain a high speed.

G. Other Duration is ca. 6’30’’ at the indicated tempi. ~ Written for Magnus Andersson and Zane Merritt, with gratitude.

distances swarming and encompassing

e=72 electric guitar: 8 8

volume pedal

tr LH

V

4 pp 8 RH tr3n

.

∑∑ 5:4œ

‹Ù

..

.

tr b

∑ 3:2œ

n

f

b‹ b ‹ m m ‹n ‹ ‹ ‹‹‹

‹ b‹ n‹ m ®‰ ‹

®‹

n

∑ 5:4œ

p

3 8

ff

bend

p

.

trn

accel.

n‹ m‹ ‹ m‹ m‹ ® n‹.

V ≈ 4 8

4 8

ff frozen, tense in

playing position

m m n n‹ . n‹ ‹ ‹

m‹

during all silences:

pp

.

e=48 n

2

tr

∑ 4:3œ

‹ ‹ ‹b ‹ ‹ ‹ m ‹ Ó. ( ) ‹

V ≈

fingers

colin tucker

b‚

®‰

.

m ‹ ‹b ‹

®

‹



Œ

®Œ

3

m n n .‹ m ‹ m‹ ‹n ‹ ‹ ‹ b‹ n ‹ m ‹ ®‹ n‹

ff p

3 pp 3:2Ϸ ff 8

f

≤≤≤≤≤≤≤≤≤≤≤≤≤

pp

tr b 1

∑∑ 5:4œ

∑ 3:2œ

pp

f

∑ ‹

b‹ ‹ ‹

Ù

∑∑ 7:8œ

ff pp

‹®®

pp ff

..

m‹ n‹

ff f

sub.

p

®‰ .

P 21 8 21 8

2

3. finger releases string on G b fret, leaving F ringing

e=252^

(accel.)

1

n

fingering: 1(2)

∑ 4:5œ

5

V

21 8

≈ ‰.

tr. speed: rit. molto 2(3) A 3:

9e

m U ∑ m‹ P ‰.

trb ‹

p

ff

13e

48e U U U U UB [ B] A 7:8

‚ ‚ . ‚ b ‚‚ ‚‚ . ‚ ‚‚. .

3

≈ ‚ [ b – .]

23e 23e 23e

11e

U C

‚....

C

‚‚ [–b .]

3. finger moves from resting position above string, over G b... ...and then touches string and gradually presses it down as quietly as possible

o

144e

U

‚ Ó  P

13 16

volume pedal's level must be high enough that fingers' release is (barely) audible actions in this passage will produce little or no sound; the actions' intensity must be conveyed visually (albeit without resort to overt theatricality)

e=56 m m m‹ ‚ ≈

6

1

3(4)

6

V

13 16

ff

..

‚.

∑ œ∑

f

(freeze)

.

tr. speed: accel. molto

m

pp ff 29 16 U

(set LH for Ó next passage

before fermata)

NB: arpeg. before beat; do not begin volume pedal crescendo until top note of chord has been reached

accel.

b m b tr~~~ 7:8 ∑ 5:6 m 3 ‹. ‚ 29e ‚.

P U ‹ b‚ ‰ ‹(‹)‹(‹ ) ‰ Ù n 5

^reach this tempo on final eighth note of fermata

∑ œ∑

ff

.

n

‚

f

(freeze)

n

e=120

m5 ∑ ∑ ∑ ‰ ‹ ‹ ®.‹. b‹ 72e Nm œœ . ~~ m‚‚ m n œœ

U N n œœ P ~~ ~~ m œœ ~~ ~ œ n œœ ~~ ~~ ~~ b œ ~~ n mœ œ n œ ≈b ‹ ® ‰ ®n n œœ ® mœ ≈ œ fret gliss.

p

3

>> sf

sff

f

ff

.

. . ∑∑ 9:8œ

U

sfff 2 ff 4

3

e=56 V b‹. >

2 p 4

.

.

trn

V®

tr

‹ ‹ ‹ b ‹ ‹ ‹ m ‹ A ‹ œœ œ ( ) n‹ ≈.

3 ff pp ff ÓÓ v

‹.

>7:6

∑ œ

n‹

‹.

pp

ff

‹. ‹ .  b ‚ ÓÓ

p

b m > n‹ .

∑∑ 5:6œ

∑∑ 5:6œ

∑∑ 5:4œ

mœ œ

p

p

n ‹(.m ‹ ) m‹ ®

Ó

ff Óv

.

pp

b‹

.

.

> 5:4 f b‹ ® ‹ ‹ ‹ m‹ ‹ m ‹ ® n‹ Ó ‹ ® ®n Ó‹ ® ≈ . Ó ≈ Óv f 39 Óv 3 f

mœ

32

p

∑∑ œ

f

≤≤≤≤≤≤≤≤

.

mb 3:2 7:8 ∑ ∑ ∑ , nn m n ‚ m b n ‹ m ‹ ‹ ‹ ‹ . m ‹ .  B ‚ ‹ ‹‹ ‹ ‹ ‹ ‹ n ‹ ‹‹ ‹ m ‹‹ ‹ ~~~ n œœ . m ‹ ‹ ‹ ‹ ÓÓ ÓÓ Ó Ó b ‹ Ó ~~~~ m ‚ n œ n œ ÓÓ pp

f

œ

7 ff 32

∑ 9:7œ

‹.

.

‹ ® b ‹ b ‹ b ‚œœ m œ > 3 p bend

e=72

^ ‹

∑ 3:2œ

∑∑ œ

∑ œ

~~~~

8

tr

ff

.

p

.

3

p 11 16

ff

.

4

tr

11

V

11 pp 16

‹ n œœ .œ

5e U tr

1.5e

∑∑ 3:2œ

U

n b‹

tr

m n ffm ‹ ‹ b ‹ ( ) œ œœ œ n n n n ‹ b ~ ~~ œ n‚ m ‹ m œ ‹‹ (n ‹ ) f œ ~ ‚ n ‚ œ m ‹~~~~~~ b œ n ‚ œ Ù Ùb ‹~~.~~~~‚ ® m œ m ‹ n ‹ m œm œ n ‹ nœ œ n ‹ . ~~~ ~~~~ > n œ n ‹ p ff pp ff ÓÓ ff pp ® p sf U ff U ≤≤≤≤ ≤≤≤≤≤ . . ≤≤≤≤≤≤≤ ≤≤≤≤≤≤≤

~~~ ~~~

m‹

3

∑∑ 5:4œ

~~~ ~~~

e=56 n

∑ 5:4œ

3

accel.

A ∑∑

∑ 5:6 ~ ‚ ~ ~~~ b ‹‹‹ ... ~~~~~~~~~~~~~~~~~~~~~~n ‚‚‚ 42e .. ~~~~~~~~~~~~~~~~~~ b ‚‚ U LH ff ‹ ‹ ® ‹ . ~~~~~~~~~~ ® ‰ ® RH ® P ff ÓÓ Ó 5:6 U sf œ

21e U V ‰

12

4 4

U

˜˜˜ ˜˜ 1 2 3 4 5

˜˜˜ ˜˜˜

(above fingerboard)

1 2 3 4 5 6

∑ ~~m ‚‚ ~ m ‚‚ ~ ~ ‹~ m‚ ‚ ff n ‹‹ m m ‹‹ ~~~~~ ‹ ~~ ®

~~~~~~~~~~~~ ~~~~~~~~~~~~

sub.

(fingers change to harmonic pressure immediately after A initial finger percussion attack)

˜˜˜ ˜˜˜ ÓÓ 1 2 3 4 5 6

ff

∑ œ

.

sf

3e U ‰ P

(from here to the end: before each fermata, move into the position required after the fermata)

e=312^ ∑∑ 7:8œ

(as high as possible-

∑∑ ~ ~^^ b ‹ .. ~~ ~~~~^^ b ‹‹‹ .. ~~~~~ ~~^^ ff ≈ m ‹‹ .. ~~~~~ ‰ ≈.

P

A almost on the bridge) suddenly relax posture into a non-performing position

160e

U ‰

˜˜˜ ˜ ff ˜˜ Ó 1 2 3 4 5 6

Ó

U

3

∑ 4:3œ

4 4

U

sfff

3 NB: this gesture carries primarily visual significance

^reach this tempo on final eighth note of fermata