Ivar Frounberg Time and the Bell
(1990, rev. 2001)
for percussion solo and live-electronics Dur. 15’
Dedicated to Gert Sørensen Commissioned by the Lerchenborg Music Days 1990
SCORE
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk
With support from the Danish Arts Foundation Støttet af Statens Kunstfond
Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg
Ivar Frounberg Time and the Bell
(1990, rev. 2001)
for percussion solo and live-electronics Dur. 15'
NOTES How does the machine relate to the musician, the logical and nonlinear to the mechanical, chaos to order, time to the clock (“the Bell”) ? As an “inter-active” composition “Time and the Bell” tries to cast light on such mutual relations, and in inverting the sequence of the contrasting pair listed above, I wish to bring about an unusual change of the role of the machine. Usually the machine, in this instance a computer, is viewed as a passive partner in its relationship with the musician; the musician, on the other hand, is understood to be the dynamic member of the pair. I wish, then, to simulate “intelligent” reactions to the musician’s responses by letting the computer monitor the slightest gesture of the musician and react upon it in ways (either predictable or arbitrary) which force the musician to counter-react if the music is going to continue. “Time and the Bell” harks back to several other works with titles which quote or evoke poems by T.S.Eliot ( from “Multiple Forms” (1986) to “A Pattern of Timeless Motion” (1989)). The electro-acoustics is considered more as an extension of the acoustic instruments than as a concertante counterpart. One may hear reminiscences af rockmusic although the pulse never stabilizes to be fixed: the trombonist George Lewis has described the labile pulsation and rhytmic modulations as “drunken rythms” I do not blame anyone who shares this view!
“Time and the Bell” was commissioned by the Lerchenborg Music Days 1990, a commission financed by “Statens Kunstfond” (The State Council for the Arts). The percussionist Gert Sørensen, to whom the work is dedicated, and who premiered it on the 5th of august 1990 at Lerchenborg Castle, Kalundborg DK, has been an invaluable help during the process of composition. Ivar Frounberg
PERFORMANCE NOTES Octapad pitches to be transmitted during the whole piece:
communication to the computer during the labyrinth:
Mixing console ( at the world premiere: ROLAND M-160 ) Input channel: Sampler out: Reverb out: Input-sens.: Send: Pan: Fader:
INSTRUMENTATION RELATIVE TO SCORE Score A1: upper stave: 5 suspended gongs lower stave: 5 toms Score B1:
5 suspended gongs
Score C1 to C6: upper stave: inbetween staves: lower stave:
octapad pitches: 61 63 65 66 67 (= MIDI note on ) 3 unpitched gongs 5 toms
Score D5 and Labyrinth:
vibraphone and marimba
On “Improvise!� at score-page C6 The two last bars in the notated part forms a 4/4-bar with a steady pulse. Keep the 4/4-meter and the steady pulse while starting recording to the computer-improviser. Any strong attack (ffff or MIDI-velocity > 110) will trigger the computer to improvise. Develop your improvisation from a 4/4-meter to more complex patterns while decreasing the dynamics (apart from the triggering strong accents!). At the end of the improvisation (when you have approx. 150 notes left on the computer-monitor) your improvisation should have the character of an intimate smalltalk (!!). When you reach zero notes left, the computer starts a gradual transformation-process to a rhythmic pattern provided by the composer in the software. You may continue the improvisation briefly, however, start on score-page D5 while the computer-interpolator reaches a state with noticeable pauses. This state is usually reached at interpolation no. 10. One bar at a time may be played during the pauses, and you may repeat or backstep as you like, as soon as you do not jump.
INSTRUMENTATION Percussion: 5 toms, 5 suspended gongs, 3 unpitched gongs ( “theatre-gongs” ) Vibraphone, Marimbaphone Electro-acoustic: AKAI S1000-sampler ( min. 2 Megabytes memory ) Mixer ( min. 10 in+ 1 stereo-send ) Reverb ( f.ex. Yamaha SPX90 ) MIDI-devices: Octapad ( “Roland” ) Yamaha DX7 w. 2 Yamaha FC-5 pedals AKAI ME30PII Patchbay/merger Computer: Macintosh Plus ( min. 2.5 Megabytes memory ) Harddisk and MIDI-interface ( modem-port ) Cabling: 4 MIDI-kables ( 2 m.) 1 MIDI-kable ( 12 m. from MIDI-patchbay/merger to sampler ) 8 audio-cables ( short, from sampler to mixer ) 4 audio-cables ( short, between mixer and reverb ) 2 audio-cables ( long, from mixer to PA-system ) PERFORMANCE MATERIAL: Score, part and 1 programme-disc 3.5’’ for the computer and 1 disc 3.5’’ with samples and programmes for the sampler.
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