Break [excerpt]

AARON EINBOND

BREAK for baritone saxophone and live electronics

BREAK for baritone saxophone and live electronics

AARON EINBOND 2008 duration ca. 10 minutes

Written for David Wegehaupt NOTES Âľ,B

1/4-tone sharp, flat. Accidentals apply only to notes they precede and repeated notes.

Gradual change between pitch and breath.

Breath sound on indicated fingering, with a slight echo of pitch but clearly distinct from an ordinary note.

Quarter notes are indicated with solid noteheads, all other values by hollow noteheads.

Closed slap tongue at indicated pitch.

Open slap tongue. Fingering may be adjusted to produce sound at indicated pitch.

Keyclick: forcefully depress keys to produce indicated pitch.

Tongue indicated pitch to produce quiet altissimo harmonics following indicated contour.

For the final two pages the saxophone may be prepared with a piece of tin foil or plastic partially covering the bell, producing a distorted sound on low A but leaving other notes unaffected.

Technical Specifications

BREAK Aaron Einbond Equipment - 1-2 cardioid microphones - 1 MIDI pedal (optional) - 1 Apple MacBook Pro 2.4 GHz, 4GB RAM, Max 6.1.9 with FTM 2.6.0.BETA. - 1 audio interface, 1 in, 4 outs, 1 pedal in (optional) - stereo reverb (optional)

Audio Setup - The piece may be diffused in stereo or four channels, positioned as follows:

Saxophone 1

2 Audience

4

3

One or two cardioid microphones are used to give the best possible coverage of the instrument. One microphone may be clipped to the bell. The electronic events are triggered by the saxophonist with the pedal, or from the computer by an assistant. The electronic patch provided requires the computer program Max 6.1.9 and the signal processing package FTM 2.6.0.BETA, provided with the patch. The audio input to the patch may be lightly compressed.

I gratefully acknowledge David Wegehaupt for his samples and experimentation. I thank Diemo Schwarz, Alexis Baskind, Eric Daubresse, Mikhail Malt, Emmanuel Jourdain, and Jean Lochard for their technical assistance and Max/MSP abstractions and externals.

Later he became conscious of his damaged wings and of their construction and he learned to think and could not fly any more because the love of flight was gone and he could only remember when it had been effortless. —Ernest Hemmingway on F. Scott Fitzgerald, A Moveable Feast Break is an image of culture analyzed and alienated. The saxophone is recorded and fragmented in real time, refracted by the computer according to the timbral components of the sound. The computer extracts pitch from noise, the saxophonist isolates breath, slaps, and key sounds, and the player's vocabulary is reassembled according to new rhythmic hierarchies.

The soloist controls the action yet the results are unpredictable. A brief quotation from a famous Charlie Parker "break" is mixed in as a crackling icon, a familiar voice in a foreign land.

to David Wegehaupt

BREAK

AARON EINBOND 2008

for baritone saxophone and live electronics Cold, precise (q » 60-72, e »120-144)

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