gleb kanasevich
SUBTRACTION (2017) for clarinet and automated live electronics
CONCEPT OF THE WORK AND PERFORMANCE DIRECTIONS Subtraction is an in-progress large-scale body of work, which focuses on antithetical approaches to playing a variety of musical instruments. This version for clarinet focuses on approaching the instrument as a tube without holes. Instead of starting with an open G fingering and gradually closing holes to modify pitch, this piece experiments with the inverse approach by gradually opening holes in the body of the instrument to raise pitch. Furthermore, the work aims to eliminate numerous “stressors” that are products of imposition of counter-intuitive motions and behavior in order to produce a culturally conditioned “beautiful” sound. Ultimately, Subtraction aims to provide the performer with a score that provides an intricate framework for a wide array of highly interpretations and explores a number of possibilities for individual types of sound production. It will test the perception of standards of performance excellence, both instrumental and dramatic.
TECHNICAL DEMANDS The piece is to be performed using the mouth setup that is the most natural and comfortable for the executor. This performance key will make an attempt to avoid as many conventional clarinet technical terms as possible, in an attempt to direct the executor in a clean and uninhibited direction. Whether the executor is a trained clarinetist or approaching the piece as a performer who has no knowledge or connection to the clarinet or woodwind instruments, this score will aim to either eliminate or shift existing stressors of conventional performance excellence in order to help them interpret the work in a completely unjaded way. “Existing stressors of conventional performance excellence” can be any rules imposed by the establishment in order to retain boundaries of a performance practice. In case of the Western classical clarinet practice, it is the smoothness of crossing over the break, the color shading of sound (dark, bright, etc.), the concept of focused/unfocused sound, uniformity of sound across the registers, standards of intonation (twelve-tone equal temperament), precision of articulation, stability of articulation, consistency of articulation, overtone “squeaking” as an undesirable sound, stability of multiphonics, “melodic clarity” and its interpretation, notated rhythmic precision, dynamic control, and many more. Subtraction proposes a variety of frameworks for unveiling the linear narrative of the work; however, there is no “quality” standard for technical execution of the framework spontaneously chosen by the executor. As formal structure of the piece is variable, so are the technical demands; each performer has the full right to make choices to enhance the score and make it cater to their best qualities. Moreover, there is no notated fingered pitch content beyond the register key break in order to retain the full resonance of the natural frequency spectrum of the clarinet and allow the executor to dwell in the same fingering plane.
There are no notated dynamics in the score. The executor is to produce an ongoing stream of sound using dynamic trajectories derived from the chart below:
um m i x ma lume vo f) (fff
SILENCE
mi n vo imum lum e (pp pp)
natural volume range
As one essentially cannot sustain pitched sound for approximately 45 minutes, there are three types of sound to which the cycle of dynamics can be applied in order to weave them into a perpetual stream of sound. These types of sound are: • Pitched sound • Air • Key clicks The priority of each sound layer or plane can shift to the point of complete silence of all but a single layer, which can assist the executor to take a breath while continuing the stream of activity. For example, all pitched sound and breathing may cease, while the player sustains a noticeable canvas of key clicks. When the breath has been taken (the breath can be audible or silent – audible breath is classified within the “air” sound layer, following the aforementioned principle of dynamic curves), unpitched air or pitched sounds may fade back in or resume suddenly from the loudest dynamic possible. Ultimately, the cumulative dynamic of the raw acoustic sound produced by the executor is not to cease from the beginning of the performance until the end.
HARMONY
The piece is built on three fundamental pitches – the lowest notes E3, F3, and F#3, as they are the closest to the completely unadulterated full-length clarinet bore. By opening one hole with a finger on the right hand and one more hole with a finger on the left hand, each fundamental yields two related pitches that form a trichord and serve as an equivalent of a subdominant and dominant.
Furthermore, each of these three notes yields a microtonal scale, with each fundamental fingering remaining partially ingrained in every subsequent fingering in the scale. For example:
Due to acoustic qualities of the clarinet, the F-based scale is the most stable and therefore is a major harmonic structural marker. It is the most reminiscent of the third and fourth octaves of the natural overtone series. Logically, the intervallic content of the E-based scale is more augmented, and the intervallic content of the F#-based scale is more compressed. These scales are slightly harsher in character and help propel the multi-layered oscillating material of the piece.
MECHANICAL APPROACH, MOUTH POSITIONS, AND TIME
The resulting pitches may differ greatly depending on the instrument. Adjusting the barrel length only alters the upper pitches of the scale and only lower the “throat� register pitches. For optimal resonance uniformity and best microtonal definition, use a 65mm barrel fully pushed in. If the intervals between D and D1/4#, D# and E, or G and G# are indistinguishable, adjust the distance between the lower joint and the upper joint to bring down the lower pitches of each dyad. The length of pulled out lower joint space may be as great as 3mm.
In this work, the register key break acts as an inversion axis, with overtone and hybrid multiphonic pitches being the “counter-material” to the natural “root” content that is simply being fingered within the chalumeau and throat registers of the clarinet. That counter-material can act as complementary counterpoint, or as anti-matter of sorts, negating the perceivable spectral clarity of the fundamental tones. The counter-material can be produced by numerous means: • voicing depth/oscillations • embouchure oscillations • hybrid fingerings, supported by: o volume (usually on the louder extreme) o quick obstructions with grace note figures on side keys (usually more conveniently done with the right hand thumb), the throat G# and A keys, and the register key o embouchure oscillations o voicing depth/oscillations The overtone “counter-material” can also exist in three different register spheres, if explained in the context of Western classical tradition: • one, in the range of the clarion register • two, in the range of the altissimo register • three, in the range beyond altissimo (pitches usually produced by placing teeth on the reed, which may result from extreme lower lip overpressure, with the lower lip residing either too close or too far to/from the edge of the mouthpiece) The aforementioned technical/physical variables are notated, or rather guided, through a multi-stave notation, particularly in Part 2 of the piece. The M brackets above the top staff indicate a loosening of pressure from the bottom lip, and intensifying the pressure from the sides of the mouth, forming more of an “O” shape. This technique usually assists a player to split a fundamental tone into a multiphonic/chord. The top stave indicates an approximate finger sequence, while the bottom stave indicates the depth of voicing, which may alter the color or even the register of a fundamental or overtone pitch. All of these techniques combined should yield a highly risky environment, which should be embraced and taken advantage of, to produce a tremendously varying rendition of the piece every time.
Additional specifications: • The boxed bold number indicates the b.p.m. marking per eighth note. • “F field,” “E field,” and “F# field” indications indicate to retain the right hand positions, as shown earlier in the microtonal scale diagrams, for the entire duration of a section until otherwise specified. • The trill markings indicate a rapid oscillation of either the left hand index finger or one of the right hand side keys (most conveniently done with the right hand thumb while resting the bell between the executor’s legs). • Subtraction actively rejects the stress of articulation. The piece is to be performed as smoothly as possible, avoiding any tonguing entirely. If the executor enters audible sound zone from the silent zone from the “maximum volume possible” direction, the entrance is to be done entirely with air, without any tongue assistance. • Rhythmic integrity is a fluid concept. The fingering sequence is to be followed according to the comfort of the executor. Time may and should be taken to complete a gesture when needed. Tuplets are relative and mostly serve a proportional tempo change function. They are not to be counted precisely over the eighth note beats. Avoid artificial rhythmic regularity!
AUDIO SETUP/ELECTRONICS
Proper execution of the piece requires at least a 4 mono speaker surround setup. The provided MAX patch has three spatialized versions: 4.0, 6.0, and 8.0. The speakers should have an excellent bass response, as there is not subwoofer in the spat mix. For best sound definition, use two cardioid condenser microphones with excellent high frequency response, one positioned closer to the barrel/top of the upper joint and the other positioned across from the pinky keys of the lower joint. The player should be positioned at a 90-degree angle, with the right side of the instrument facing the audience for maximum finger motion visibility. The chair and microphone setup should be located sufficiently behind the front pair of the speaker, ideally at least 3m, in order to minimize the chances of feedback. Lighting in the audience should be as dark as possible (preferably pitch black), with a relatively bright small spotlight aimed at the executor/performance station. For approximate elapsed time navigation use the visual metronome screen in the MAX patch. The effects patch is fully automated and programmed to time codes, lasting up to 45 minutes. The piece may end earlier. Part 1 should last approximately 23 minutes. Part 2 should take up the rest of the time. The programmed effects will shape the received raw signal and will provide a textural and harmonic framework, which should assist the executor in their breathing and dynamic choices.
SPEAKER SETUP DIAGRAMS
clarinetist
6
8 7 7
4
5
AUDIENCE
6
3
4
2
4
AUDIENCE
3
AUDIENCE
1
3
1
2
1
laptop
5
mic 1
2
mic 2
MAXIMUM SECLUSION YIELDS MAXIMUM RESULTS --------------------------------------------------------------------- approximate duration: 45 minutes
part 1
F FIELD (hold down right hand F pinky+low A fingering posi on for the en rety of part 1
° (fingered pitches) &
s s
s 30"
90 - 120"
40 - 60"
CLARINET IN Bb in part 1 the voicing choices are le up to executor's discre on
(voicing)
¢
= M
s s s # s s #s s
µs
s s s # s s #s s
µs s
25 - 45"
40 - 60"
40 - 60"
=
M
µs #s
#s
s 35 - 45"
35 - 45"
35 - 45"
60 - 80"
=
M
s
s
s
Bb s 35 - 45"
40 - 60"
40 - 60"
30 - 40"
=
M
M
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#s
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µs
s 35 - 50"
30 - 40"
40 - 50"
30 - 40"
2
#s
Bs
Bs
s
s 30 - 45"
30 - 45"
30 - 40"
20 - 25"
35 - 50"
=
Avoid using the tongue. Produce the rhythm with quivering the bo om lip at regular and propor onal paces. The tempo is flexible - at player's discre on.
s Bb s s
two full breaths
one full breath
one full breath
Take me with each breath. Make sure there is no silence. A single breath of playing + taking a breath may take as long as 40 - 50 seconds.
=
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5
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one huge breath
=
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one full breath
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one huge breath
=
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s 40 - 50"
35 - 45"
s 45 - 60"
60 - 90"
5 8
3 part 2 M
52
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21:16
m 5:4
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· ‚
e
·
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7:4
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7:5
7 Bbe 8 #e
j
5:4 7:4
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· · Bbe ‚ Be # e # e e : e e e ™ e ™ # e µe # e e # e e #e # e µe e ne ne # e e ÆJ Æ
5 Bbe 4
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e #e
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Be ™ e µe µe #e
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~~~~~
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m
#e
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4
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10 (mul phonic posi on un l the change to E field)
M
218 RIGHT HAND THUMB OFF 5:4
7:4
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3
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7:4
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19 4
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81:76 5:4
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225 T
6:4
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5:4
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~~~~~~
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2 4
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5 8
236 T
~~~~~
T
~~~~
3
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5
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T
5:3
5 4 #e
5 4
~~
T
5:4
e e e Be e e ™ n e e Be Be µ e ne ne # e # e µ e Be
~~~~~~~~
3:2
7 16
7 16
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T
~~~~~
7:5
5 8
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T
5:3
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3:2
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~~~~ 3:2
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3 4
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11 M
243 E FIELD
T
5:4
°3
M
~~~ 5:4 3:2
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7:6 5:4
T T
~~~~~~~~~~
T
6:5
‡ · 5 ‚ B e Be e ‚ e e e µeBbe e µe ·‚ e Bene : e : e e 4 4 #e e e # e #e <B> e e Be Be e e Be Be #e µ e µ e e e e e Æ Æ Æ Æ ÆJ ÆJ J J J J ·
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~~~~~~~
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~~~~
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~~~
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T
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~~~
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~~~
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~~~~~
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~~~~~~
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~~~ T
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256
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~~~
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~~~
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262 5:4
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~~~~
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~~
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~~~~~~~~
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~~~~~~~
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~~~
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~~~~~
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12
X3 M M F FIELD T
~~~~~~~~~~~~~
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~~~~~~~~~~~~~~ M
273 8:5
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~~~~
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~~~~~~~
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m
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3:2
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5:4
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286 M
m °4 4 #e
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T
5:4 3:2
~~~~~~
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~~~
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7 Bbe 16
~~~~
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~~~~
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~~~~~~~~
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j
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~~~
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~~~~~~~~
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~~~
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· ‚
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M M
297 T
j
~~~
m
m
m
j T
~~~~~~~~~~~
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~~~~~~~~~~
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m
j
m
m
T
~~~~~
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~~~
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3:2
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4
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13
M M
303 T
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~~~
mj
j
m
j T
~~~
m
T
j
~~~~
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mm m
3:2
m
T
~~~~
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~~~ 3:2
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· ‚
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e
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