GLEB KANASEVICH
GNAW (2017) for B-flat trumpet, two electric guitars, and live electronics
STAGE DIAGRAM
Tpt Gt r.
1 p
8
1
1
Am
2 p
Gt r.
2
Am
STAGE
7
6
computer + soundboard
AUDIENCE
2
3
4
5
INSTRUMENTATION AND TASKS TRUMPET IN B-FLAT Circle noteheads indicate normal sound production. Quartertones exist in approximation to create noticeable instability. Quartertone production shouldn’t be exact, but should reflect the general notated trajectory. The sound should be present, but as loud as needed for most reliable playing, with relatively gentle attacks, as comfortable for the player as possible. Circular breathe, if possible, during the extended slurred passages. Square noteheads indicate pedal tone sounds, with their relative notated pitches showing the general trajectory. The actual sounding pitches of the pedal tones should aim as low as possible, while reflecting the notated trajectory. A wah-wah harmon mute is the only mute needed in performance of this work. The player will also need a clip on microphone, that will produce enough frequency definition for live processing, while still being able to take high amplitude of violent guitar amp and speaker feedback. ELECTRIC GUITAR 1 A practice solid state amp is preferred for more controlled feedback production. A tube amplifier will most likely overshoot feedback into predominantly shrill register, which is undesirable. The guitar should have a three-pickup setup, either HIH or IIH, however the pickup closest to the bridge should be a humbucker for maximum feedback potency. The guitar amp and the guitar should be positioned firmly on a piano bench, directly facing the each other. For a 10-15W practice amplifier, use the maximum gain setting with approximately 50% volume to produce rich and relatively controlled feedback stream. A cardioid condenser microphone should be placed in front of the amp for live processing. fff dynamic indicates maximum level on the volume knob. Crescendo from or diminuendo to nothing indicates a full opening or closing of the volume knob, respectively. The diamond noteheads indicate a pickup configuration setting. The settings are indicated on spaces between staves with the lowest space being the pickup closest to the bridge and the highest space is the pickup furthest from the bridge. The triangle noteheads indicate pick scraping, starting from the pickup furthest from the bridge and ending at the pickup closest to the bridge. Each staff line indicates a string, the low E string being the lowest staff line and the high E string being the highest staff line.
ELECTRIC GUITAR 2 A practice solid state amp is preferred for more controlled feedback production. A tube amplifier will most likely overshoot feedback into predominantly shrill register, which is undesirable. The guitar should have a three-pickup setup, either HIH or IIH, however the pickup closest to the bridge should be a humbucker for maximum feedback potency. The guitar amp and the guitar should be positioned firmly on a piano bench, directly facing the each other. For a 10-15W practice amplifier, use the maximum gain setting with approximately 50% volume to produce rich and relatively controlled feedback stream. A dynamic microphone should be placed in front of the amp for live processing, smoothing out the source sound for processing of E.G.2 fff dynamic indicates maximum level on the volume knob. Crescendo from or diminuendo to nothing indicates a full opening or closing of the volume knob, respectively. The diamond noteheads indicate a pickup configuration setting. The settings are indicated by each stave, with the lowest staff line being the pickup closest to the bridge, and the highest staff line is the pickup furthest from the bridge. The triangle noteheads indicate pick slides, starting from the pickup furthest from the bridge or the beginning of the fretboard and ending at the bridge. Each staff line indicates a string, the low E string being the lowest staff line and the high E string being the highest staff line. ELECTRONICS Inventory: Computer+max/msp+8 output interface Individual microphones on each instrument/piece of equipment used in the piece 8 speakers positioned as shown in the diagram Written for International Contemporary Ensemble – Nathan Davis, Peter Evans, and Dan Lippel. Approximate duration: 17 minutes
1
3
2
e = 88 - 92 harmon mute
Trumpet in Bb
° ¢&
µ, ææflz.
∑
, ææ
, ææ
s ææ ‰ ™ Œ R
#
#
∑
con nuously present sound, approx. f, but gentle a acks
Electric Guitar 1
° ¢
# 3 3™ 3 o fff
#
# 3:2
Electric Guitar 2
° ¢
3 3™ 3 o fff
3
‰ Œ o
∑
∑
∑
∑
=
4
E. Gtr. 1
7 ° √ # ¢
#
#
#
#
3 3™ 3 o fff
#
#
35" E. Gtr. 2
° ¢
∑
∑
=
12
E. Gtr. 1
° ¢
#
#
#
√ # 3™
18" √ E. Gtr. 2
° ¢
#
#
#
#
r 3≈ ‰ Œ o
r ≈ 3 o
5 2 17
#s Bb Tpt.
° ¢& Œ
,
,
, ™ s
s
#s
s
µs
s
‰ J
s
ns
J 7:4
E. Gtr. 1
° ¢
3 3™ 3 o fff
#
j 3 #
j 3™ 3
#
3
#
3 3 3:2
5:4
E. Gtr. 2
° ¢
3 3™ 3 o fff
#
#
#
#
#
#
=
6 ≈ B,
24
Bb Tpt.
7
s ™ J ≈ Œ ,
° , ¢&
#s ∑
Ó J 5:4
8" j 3 3 #
≈ E. Gtr. 1
° ¢
#
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#
3™
j 3 3™™
#
3 ™™
r 3 o r 3 o
7:4 5:4
E. Gtr. 2
° ¢
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Œ ∑
=
8 ≈ <#> , ° ¢& 30
Bb Tpt.
s Ó
∑
∑
∑
∑
∑
3:2
11" E. Gtr. 1
° ¢
3 3™ 3
#
∑
#
#
#
#
j 3 3 3
# o fff
E. Gtr. 2
° ¢
∑
3 3™ 3 o fff
# #
#
5:4
3 37
E. Gtr. 1
E. Gtr. 2
° ¢
#
° ¢
#
3 3
#
#
#
#
#
#
#
#
#
=
9 43
E. Gtr. 1
E. Gtr. 2
° ¢
#
#
#
° ¢
#
#
#
#
#
# #
#
#
#
#
=
10
11
12
50
, µs Bb Tpt.
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∑
s ,
,
Ó
‰ Œ 5:4 3:2
E. Gtr. 1
° ¢
j 3 #
j 3 3™
#
r 3 ≈ ‰ Œ o
#
r 3 ≈ ‰ Œ o
#
3
# 7:4
E. Gtr. 2
° ¢
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j 3
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#
#
13
14
15
4
Bb Tpt.
E. Gtr. 1
56 ° s ¢&
s
B, R ≈‰
° ¢
∑
∑
∑
‰ 333 ∑
∑
∑
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3™
∑
3
#
r 3
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3:2
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o
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E. Gtr. 2
° ¢
∑
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∑
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#
3 3
#
=
16 √ ,
63
Bb Tpt.
s
s ™
° <B> , ¢&
,
, µs
J 3:2
as long as possible
E. Gtr. 2
° ¢
r 3 o
3 ™™
#
∑
∑
∑
=
17
Bb Tpt.
68 ° <µ> s ™ ¢&
mute out 5:4
6 6
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)
3:2
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)
s ll present
E. Gtr. 1
° ¢
1™ 1 1 o fff
1
1
1
1
1
1
1
1
1
1
1
1
18 5 75 3:2 Bb Tpt.
E. Gtr. 1
E. Gtr. 2
° ¢&
° ¢
° ¢
5:4
6
6 6
j 6 6 6
1
1
1
1
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5 32
6 6 6
6™
1
1
1
∑
6
∑
1
∑
j ® 6
∑
4 8
5 32
1 1
4 8
5 32
∑
4 8
1
∑
1
1
3 3™ 3 o fff
#
1
=
19
20 X13
harmon mute in
µ-s ≈J ≈Œ
82
µs Bb Tpt.
° ¢&
™™
∑
∑
™™
∑
Ó
s
ΠJ
Œ
∑
7:4
X13
E. Gtr. 1
° ¢
1
™™ 1
1
™™ 1 1
1
™™
∑
1
1
1
1 1™ 1 o fff
!
1
1
1
1
1
X13
E. Gtr. 2
° ¢
™™
3 3≈Œ o
∑
!
!
=
Bb Tpt.
E. Gtr. 1
89 µ, ° ‰ ¢& 5:4
° ¢
1
∑
µ-s µ-s µ-s µ-s ns ≈J ≈≈J ≈ ≈J ≈≈J ≈ Œ Œ ‰ 7:4
1
1
1
1
1
1
1
1
5:4 E. Gtr. 2
° ¢
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,
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1
!
5:4
j 1 1™
3:2
1
1 !
21 √ ,
6
√ s
95
s Bb Tpt.
22 √ , √ ∑
° ¢& as long as possible
15" E. Gtr. 1
E. Gtr. 2
° ¢
r ≈ ‰ 1 o
Œ
° ¢
r ≈ ‰ 1 o
Œ
∑
√ ∑ ∑
√ ∑ ∑
∑
=
23 99 ° #s Bb Tpt. ¢& J 6 6
s 3:2
3:2
3:2
3:2
3:2
J 6 6 6
6 6 6
6 6 6
6 6 6
6 6 6 6 6 5:4
5:4
E. Gtr. 1
° ¢
E. Gtr. 2
° ¢
11 ™™ 11 ™™ 11
5:4
=
11
j 11 11
11 11 ™™ 11 ™™ 11 11 11 ™™ 11 ™™
11 ™™ 11 ™™ 11 11 11 ™™ 11 ™™ 11 11 11 ™™ 11 ™™ 11 ™™ 11 ™™ 11
j 5:4 11 11 11
j 5:4 11 11 11
24
5:4
j 11 11 11
5:4
11
5:4 j 5:4 j 11 11 11 11 11 11
j 11 11
25
106
mute out
, Bb Tpt.
,
° ¢&
Œ
∑
∑
3:2
√ E. Gtr. 1
° ¢
#
#
#
#
32" E. Gtr. 2
° ¢
3 ™™
√
r 3 ∑ o
r 3 3 ™™ o fff
#
26
27 7
110
harmon mute in Bb Tpt.
E. Gtr. 1
7:4 ° ‰ ¢& )™
° ¢
j 6 6™
#
r≈ ‰ Œ 6
6 6
#
∑
r 3≈‰ Œ o
#
∑ √
17" E. Gtr. 2
° ¢
#
#
j ™ 3 3
#
#
=
28
29 µ-s . -s . -s . -s . -s .
115
Bb Tpt.
30
° ¢&
∑
∑
≈
‰
≈
∑
∑
∑
9:8
E. Gtr. 1
° ¢
∑
∑
r 3 3™™ o fff
∑
j # 3
#
5:4
E. Gtr. 2
° ¢
j 3 #
3™
3 3
#
#
3 3
= 121
Bb Tpt.
° ¢&
∑
∑
∑
31 B-s . -s . -s . -s . -s . -s . -s . -s . -s . -s . -s . ‰
X4
B-s . -s . -s . -s . -s . -s . -s . -s . -s . -s . -s . -s . -s . ™™ ™™
13:8
13:8
X4
E. Gtr. 1
° ¢
j 3 3™
3:2
#
3:2
# 1
1
1
™™ 1
™™ 1
1
X4
5:4
E. Gtr. 2
° ¢
#
#
3 3™
#
™™ #
™™
32
33
8
#-s . -s . -s . -s . -s . -s . -s . #-s . -s . -s .
126 X5
Bb Tpt.
° ¢&
∑
∑
™™ Œ
∑
Ó 11:8
11:8
X5
E. Gtr. 1
° ¢
1
1
1
1
1
™™ 1
1
1
1
1
X5
5:4 3:2 3:2
E. Gtr. 2
° ¢
j 3 3™
#
j 3 #
11
™™ 1 1
3:2
11
11
11
11
=
34 131
E. Gtr. 1
° ¢
1
™™ 1
1
1 o SILENCE
14" 3:2 3:2 E. Gtr. 2
° ¢
11
11
11
™™ 1
1 1 o
=
35 133
Bb Tpt.
36
mute out
° ‰ ¢&
‰ 6™
6
5:4 E. Gtr. 1
° ¢
11 o
11
j 11
j 5:4 11 11 11
j 6
Π6 5:4
11
11
j 11
SILENCE
5" o fff
E. Gtr. 2
° ¢
r 3 3 ™™ o
#
3™
r 3 ≈ o
11
9
38
37 136
harmon mute in
Bb Tpt.
° ‰ ¢&
∑ 6™
) 3:2
3:2
3:2
SILENCE E. Gtr. 1
E. Gtr. 2
° ¢
° ¢
11 11 11 o fff
11
11
11 11
11 11 11 11
6" o
r 3 3 ™™ o
r 3 o
3 ™™
#
=
40
39
7:4
7:4
41
7:4
139 7:4
Bb Tpt.
E. Gtr. 1
7:4
° ¢& Œ B-s -s -s -s -s ‰B-s -s -s -s -s -s Œ B-s -s -s -s ‰ B-s -s -s -s -s Œ
‰B-s -s -s -s -s ‰ ‰B-s -s -s -s Œ
° ¢
11 11 11 11
11 11 11 11 o fff
11 11 11 11
° ¢
‰ 11 11 o fff
11 11 11 11
11 11 11 11
11 11 11 11 o
5:4
E. Gtr. 2
7:4
5:4
11
11
j j 5:4 11 11 11 11
5:4
11
11
j j 5:4 11 11 11 11
5:4
11
11
j 11 o
42 10 X17
145 Bb Tpt.
mute out
° ¢&
™™ æ æ )
ææ flz. )
™™ æ æ )
ææ )
X17
E. Gtr. 1
° ¢
SILENCE
1 o
9"
1
™™ 1
™™ 1 1
3
#
fff
X17
E. Gtr. 2
° ¢
r 3 3 ™™ o fff
™™ #
™™ #
#
=
Bb Tpt.
° ¢&
pick up the trumpet harmon mute in
43 E. Gtr. 1
° ¢
44
45
21"
14"
11"
6"
E. Gtr. 2
° ¢
=
46 (harmon mute) 149
Bb Tpt.
µs s ° ‰≈ R ¢& s
Œ
ns ™ s ™ Œ ≈J
µ, ‰
∑
Œ
s ™ J ≈Œ
3:2
E. Gtr. 1
° ¢
#
#
#
j 5:4 31 1 1 1
5:4
j 11 11 11
µs s ‰ 3:2
5:4 j 5:4 j 11 11 11 11 11 11
j 5:4 11 11 11
5:4
E. Gtr. 2
° ¢
#
#
#
#
#
#
j 3™ 3
3 3™
11 157
Bb Tpt.
° <µ> , ¢&
µs ∑
∑
∑
,
Ó
∑ 3:2
5:4 5:4 E. Gtr. 1
° ¢
j 11 11 11
j 5:4 11 11 11
5:4
j 11 11 11
j 11 11 3
3 3™ 3 o o fff
11 11 11 11 11 11 11 11
3:2 3:2
E. Gtr. 2
° ¢
# 3
#
#
3
3
3 3™ 3 o o fff
j 3 3™
3 #
=
47
48
49
164
Bb Tpt.
µs ™ s ° ¢& ≈ J
µs ™ ‰
s Œ
∑
<n> s ™ s ≈ J s
Ó
∑
3:2
3:2
E. Gtr. 1
E. Gtr. 2
° ¢
° ¢
11 11 11 11
11 11 11 11 11 11 11 11 11 11 11 11
j 3 # # 5:4
3:2
r 3 ‰™ Œ o
∑
3:2
11 11 11 11 11
3 3™ 3 o fff
3™
3 3≈Œ o
j 3 #
50
51
12
Bb Tpt.
171 ° , ¢&
µs s Œ J
µs , ∑
,
Œ
3:2
5:4
5:4
E. Gtr. 1
° ¢
≈3 3 3 o fff
r 3 ŠΠo
3™
j 3 11
‰ 3 3 # o fff
11
j 11 11
11
3:2
E. Gtr. 2
° ¢
#
3 #
#
j ™ 3 3
3 3
#
=
53 177 X4
Bb Tpt.
° <µ> s ¢&
Œ
∑
∑
5:4
5:4
™™
∑
∑
™™
∑
4 8
X4
E. Gtr. 1
E. Gtr. 2
j 5:4 11 11 11
° ¢
° ¢
#
3:2
j 11 11 11
j 11 11
#
r 3 ≈‰ Œ o
11
3:2
™™ 11 11 11
3:2
™ 11 11 11 ™ 11 11 11
X4
™™
∑
∑
™™ Œ
r ‰™ 3 4 o 8
=
54
55
56
183
Bb Tpt.
° 4 ∑ ¢& 8
Bs ™ s Œ ≈J s
‰
∑
3:2
2" E. Gtr. 1
° ¢
#
#
#
#
#
#
#
LEAVE THE SETUP FEEDING BACK FOR A LONG TIME
fff
E. Gtr. 2
° ¢
25"
4 8
4 8
# fff
4 8