Simon Løffler: b

Simon Løffler b (2012) for 3 players, 6 effect pedals, 3 neon lamps, and a loose mono jack cable Dur. 8 30

Commissioned by the Curious Chamber Players

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Simon Løffler b (2012) for 3 players, 6 effect pedals, 3 neon lamps, and a loose mono jack cable Dur. 8 30

PERFORMANCE NOTES This piece is for 3 players sitting close to each other in a straight line. Player 1 is on the left, seen from the point of view of the musicians.

In addition to turning specific daisy-chained guitar pedals on/off, the musicians turn 3 fluorescent lights on/off to use the static electric field around them to create an electric circuitry that flows through their bodies, the size of which will vary when they touch each other (skin on skin). This is made audible when player 1 touches the loose jack cable (1/4 inch).

GUITAR PEDALS Function The function of the pedals is to use the feedback pitch that they create when they are turned all the way up, and there is no sounding input (although they do have a cable physically in the input)This happens when player 1 is not touching the loose cable. When the cable is touched, the hum eliminates pitches. As the pedals are daisy-chained, their different pitches modulate each other. There should not be a lot of noise coming from the pedals, only pitches.

Type The pedals used are: 3 BOSS MT-2 Metal Zone, 2 BOSS EQ’s and 1 Whammy pedal.

Some or all of the BOSS Metal Zones can be exchanged with the FAB Metal pedals.

Other distortion pedals might work as well, but they will have to be tested first and the composer must be consulted.

Daisy-chaining and mixer routing Input 1 on mixer: Loose jack cable of player 1

BOSS Metal Zone 2 Player 2

BOSS EQ 1

Aux 1

Whammy

BOSS Metal Zone 1 Player 1

BOSS Metal Zone 3 Player 3

BOSS EQ 2

Input 2 on mixer

Both input 1 and 2 are heard through the speaker, and they should be at approximately the same volume. This means that input 2 should likely be turned down considerably.

Note: If it seems impossible to make the pedals create clear pitches, and all you get from them is noise, try turning the input aux 1 of input 2 up very slightly. This will create a real feedback in the mixer. BUT: The danger of this approach is that the touching of the loose cable loses its effect, to the extent that there will be a constant pitch/feedback sound. Remember that the pitches of the pedals should be killed by the hum sound of the loose cable. Therefore it’s important to experiment in order to find the right sound.

Whammy The output from the whammy is the “wet added”. Using version 4 the setting should be on shallow with the whammy pedal pressed all the way upward. Using version 5 the right setting is somewhere else, and likely so with other versions, please read the next paragraph for a description of how the whammy should behave.

The function of the whammy is such that when it is turned on, and one or more of the distortion pedals is on also, the whammy automatically bends the pitch. One does not ever depress the whammy, it bends the pitch automatically.

The whammy pedal should be turned upwards all the time to make the glissando as slow as possible.

Pedal pitches The pitches of the pedals vary according to venue and type. Therefore no precise pitch indication is given. The range should not be lower than the 3rd octave above middle c.

Since the first half of the piece consists of one single melodic development where new pedal combinations are added regularly to introduce new pitches, it is important to find a pedal setting that permits a melodic progression characterized mainly (but not necessarily exclusively) by semitone, whole tone and minor and major third intervals.

That setting should also permit a clear glissando when the Whammy comes in at letter D. Player 1 – small light Instead of having 2 guitar pedals, as players 2 & 3 do, player 1 has one pedal and one small fluorescent light hidden under his/her shirt on the back. This light should be a smaller one of about 8–13 Watt. It is turned on & off with a foot switch just as everything else.

It is important that this light is not seen, as it will confuse the logical impression of the 3 main fluorescent lights situated by the 3 players, that logic being one light per player. The small light is only used for its sound. As it is important that it turns on more or less immediately, as opposed to the 3 visible lights, it should be a fluorescent light of the T5 type.

Pedal combinations chart Below is a chart that lists the different relevant guitar pedal combinations until letter F, after which the piece is almost exclusively about fluorescent lights: Bar: 1

3, 4th beat

27, last 8th note 36, last triplet 39, last triplet 40, 2nd beat

43, 2nd beat, 2nd triplet 44, 3rd triplet

87–89

Player 1 Dst. Player 2 Dst. EQ

Player 3

Dst. EQ

Black and white noteheads The pedals are notated with black noteheads when they are to be switched on, and white noteheads when they are to be switched off.

If one makes a mistake and finds that a pedal is on when it should be off, try to correct it musically, according to the general rhythmic nature of the music at that particular moment. This means that if the rhythmic texture consists mainly of triplets at the time when the mistake is made, either add or skip a triplet note on the next beat for instance.

FLUORESCENT LIGHTS Type The fluorescent lights employed should be the T8 type with an old fashioned coil, not an electronic coil as employed in the newer T5 types. The reason for the preference of the old T8 types is that the flickering at the beginning of their ignition creates the most interesting sounding textures.

Player 1 & 2 should each have a 15 Watt light. Player 3 should have a 18 Watt light.

The lights used by the composer are made by the company Sylvania.

Problems with attaining the right lights At the time of writing (July 2017), T8 15 Watt fluorescent lights have become unattainable in Denmark through regular commercial distribution, and this is likely the case too in other countries. However, 18 Watt lights are still in distribution, as are the 15 Watt light bulbs.

It is possible therefore to take the coil from an 18 Watt light and use it to re-create a 15 Watt light as the two are very similar. Please consult a qualified person about this, and do not attempt it on your own without proper knowledge of the dangers of electricity.

Placement of lights There are 2 preferred ways of placing the lights permitting their clear visibility regardless of music stands.

The first is to place them on microphone stands vertically to the right of each player (seen from the point of view of the musician):

The second is to place them on a table in front of the musicians, where the score can also lie flat:

CONTACT Players 2 & 3 each use their left hand to touch the person to the left of them, with their left hand indicated in the score on the staves contact. This transfers the static electric field of the fluorescent light to the next person. It is therefore always the case that when player 3 touches player 2, player 2 will also be touching player 1, as everything is heard through player 1’s touching of the loose cable.

The touching action should be simple and precise with the outside of the hand against the other person’s wrist or thereabouts. It should not be a theatrical gesture.

Always touch skin against skin. No clothes in between.

Starting from letter I, players 2 & 3 also begin to touch the light with their right hand, resulting in an even louder sound of the lights.

A dashed o above the contact staff indicates to touch the light, and an o indicates to remove the hand again:

LOOSE CABLE Player 1 touches the loose cable in two different ways: Tip – indicated with (forte) in the score, and ring – indicated with

in the score:

Always use a cable with rubber isolation on the point where one holds the cable, as plastic or metal isolation will make the sound less pronounced.

‘Pop’ sound The short accented 16th notes indicate to touch the tip very fast and lightly, resulting in a ‘pop’ sound: ’

FEET ERGONOMICS In the experience of the composer, the feet of the performers should be raised so that the ankles have a 90-degree angle when the feet are resting on the pedals. It is therefore recommended to put something under the heels. If the angle is less, the ankles can get tired very quickly. This will of course be a matter of personal preference.

SPEAKER In a smaller venue, it is preferred to have just one speaker standing next to the players.

VENUE LIGHTING It is preferable to play in a dimmed room to allow the fluorescent lights to be seen clearly.

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whamm. boss m. z. 1 light switch

6

6

y ‰ y Œ

‰ ^!6!‰ Œ

boss hyp. eq 2 switch

^

y ‰ Ó

‰ ^!6!‰ Œ

boss m.z. 2 eq 1 switch

cable

3

Œ

‰ y y y ‰ ‰ Œ

"

3

boss hyp. eq 2 switch

Œ

6 Ó

ÿ ! ‰ Œ !‰ Œ

Ó Œ

6!‰

76

cable

Ó

ÿ ! ‰ Œ

ÿ ! ‰ Œ

Œ

‰ ÿ !

E

"

6

! ‰ Œ

Ó

"

Ó

Œ

‰

boss m.z. 2 eq 1 switch

6

! ‰ Œ

Ó

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Ó

Œ

boss hyp. eq 2 switch

6

! ‰ Œ

Ó

"

Ó

Œ

y

y

y

‰

^ ! Œ

whamm. boss m. z. 1 light switch

82

cable

y

whamm. boss m. z. 1 light switch

‰

boss m.z. 2 eq 1 switch

^

boss hyp. eq 2 switch

Œ

‰

y ^ ! ‰ ! ‰

y

y

f

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6

6

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boss m.z. 2 eq 1 switch

6

!‰ Œ

boss hyp. eq 2 switch

6

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whamm. boss m. z. 1 light switch

6

! ‰

‰

boss m.z. 2 eq 1 switch

6

! ‰

!

^

boss hyp. eq 2 switch

6

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whamm. boss m. z. 1 light switch

6

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4 4 4 4 4 4

98

cable whamm. boss m. z. 1 light switch contact boss m.z. 2 eq 1 switch boss hyp. eq 2 switch

44 ‰

G

y f

y

y

44 ! ! Π^ 6 44 Πy

‰

^ ! 6 ! ‰

4 ! ! Π4 ^ 6

‰

y

4 ! ! Π4 ^ 6

104

cable

y

y

whamm. boss m. z. 1 light switch

‰

contact

y

^ ! ‰

boss m.z. 2 eq 1 switch

y

6 ‰

^ ‰

! 6 ‰

whamm. boss m. z. 1 light switch contact boss m.z. 2 eq 1 switch contact boss hyp. eq 2 switch

y

6 ! ^ ‰

"

6 ! ‰

Œ

‰

whamm. boss m. z. 1 light switch

Œ

116

contact

Œ

contact boss hyp. eq 2 switch

Œ

y

f

‰

^ ‰

6 ! ^ ! 6

"

6 ! ^ ! ‰

!

!

6

6 ‰

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y

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y

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y

y

y

6 ! ‰

Œ

y

! y.

y

y

y

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Ó

Touch the light fixture with right hand (in the following notated with ). Dont remove the hand untill the sign .

p

y

‰

^ ! 6 ! ‰

o

‰

y f

y

y

y

y

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y

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6 ‰

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^

y

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6 ! ^ ! ‰

y

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y

^ ! 6 ! ‰

y

6 ‰

y

6 ! ^ ! 6 ! Œ

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y

y

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^ ! 6 ! ‰

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6

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^ ‰

y

y

^ ‰

! y.

^ ! ‰

! 6 ! ^ ! 6 ! ^ ! 6 ! ^ ‰

y

6 ! ^ ! 6 ! ^ ! ! 6 ‰

cable

boss m.z. 2 eq 1 switch

Œ

^ ! ! 6 ‰

‰

y

^ ! 6 ! ^ ! 6 ! ‰

y

y

^ ‰

!

^

y

y

^ ! ‰

!

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y

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! ^ ‰

6 ‰

y

y

‰

6

y

f

y

^ ! ‰ y

!

y

^ ! 6 ! ‰

‰

110

cable

^

y

^ ! 6 ! ‰

y

^ ! 6 ! ‰

contact boss hyp. eq 2 switch

‰

y

! y.

p

y

y

! ^ ! 6 ! ^ y ^ ! 6 ! ^ y ! 6 ! ^ ! 6 y 6 ! ^ ! 6 y

! ^ ! 6 ‰

o

y

^ !

122

cable

y

whamm. boss m. z. 1 light switch

!

contact

y

boss m.z. 2 eq 1 switch

‰

contact boss hyp. eq 2 switch

6

whamm. boss m. z. 1 light switch contact boss m.z. 2 eq 1 switch contact boss hyp. eq 2 switch

y

y

y

p

‰

^

!‰

y

y

! !‰ ! ! Ó 6 ^ 6 ^

y

y

contact

p

y y y y

boss m.z. 2 eq 1 switch contact boss hyp. eq 2 switch

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p o

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6 4 ‰ y y f 6 4 ^ !6 !Œ 6 y 4 Œ

136

whamm. boss m. z. 1 light switch

y

f

y

See notes on page 5 bottom.

cable

‰ y y

y

! ! ‰ !‰ ! ! ‰ !‰ ! ! ‰ ! ‰ ^ 6 ^ 6 ^ 6 ^ 6 ^ 6

y y.

129

cable

y

" "

7 4 ! ! ‰ 74 ^ 6 7 4 ! ! ‰ 74 ^ 6 7 4 ! ! ‰ 74 ^ 6

K

7 ‰ y y 4 f 7 ! !Ó 4 ^ 6 7 Œ y 4

143

cable

whamm. boss m. z. 1 light switch contact boss m.z. 2 eq 1 switch contact boss hyp. eq 2 switch

whamm. boss m. z. 1 light switch

y 6 y

boss m.z. 2 eq 1 switch

‰

contact

y

boss hyp. eq 2 switch

^

^

! ‰

6

!

y

Œ

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y

y

y

Œ

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boss m.z. 2 eq 1 switch

^

contact

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boss hyp. eq 2 switch

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f

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p

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