Gleb Kanasevich - your fortress (2017) by Gleb Kanasevich

gleb kanasevich

your fortress (2017) for string quartet and live electronics

full score

STAGING Players should sit either in a straight line or in a semi-circle, but spaced quite far apart in order to minimize the bleed through of sound through amplification and maximize the visibility of gestural interplay between the musicians. The speakers in diagrams below are numbered according to the preset spatialization of effects. Option 1

Option 2

Vn. I

Vn. II

Va.

Vc.

V N

5 1

(speaker positioned preferably on the floor)

AUDIENCE

Vc.

Vn. I

5 1

(speaker positioned preferably on the floor)

AUDIENCE

TECHNICAL REQUIREMENTS Each player should be equipped with in-ear monitors for click track, as well as a clip-on microphone for their instrument. The microphone should be attached to the bridge and hover slightly behind the bridge, to allow enough space for bowing during ‘sul ponticello’ passages. The sound picked up from individual microphones will be translated by the provided Max patch into four individual streams of processed sound, consisting of three types of noise shapes: • noise shaped through vocoder processor, according to what a specific musician is playing • the entire noise spectrum below the frequency played by a specific musician • the entire noise spectrum above the frequency played by a specific musician Everyone should consistently play with a very steady sound (to produce a steady feed of noise) at the volume only detectable by their personal microphones. The sound of the instruments should never be heard over the resulting noise feed in the speakers.

NOTATION SPECIFICS The score does not reiterate a pitch unless the note is rearticulated. Everything within the same sustaining line (or beam) is to be played consistently ‘legato.’ Starting in measure 207, all bowing should be made on the side of the instruments. Each player should transfer from playing in the appropriate ‘sul tasto’ position on the fourth string to playing on the same side of the instrument without touching the string, but keeping the bow close enough to the string to make it look like they are producing sound on the string. Violin I, viola, and cello have to play only the inner side of the instrument, while violin II has to play on both sides of the instrument. For violin II, the outer side is notated on the upper line, and the inner side is notated on the lower line. There should be no audible sound being produced starting in measure 207, and ideally the bow should move at a natural pace and not look too careful, except for the gradual slowing of the bow in violin I from measure 314 until the end.

MAX PROCESSING SPECIFICS The Max patch utilizes an overhauled version of Michael Klingbeil’s “sigmund~” object for tracking the fundamental pitches played by each instrument and feeding the frequencies to a vocoder effect module (shapes a white noise feed) or to the “pfft xover~” object (splits the white noise feed into “everything below the frequency” and “everything above”). In order to avoid unwanted accidental noises during long rests, each player’s microphone is muted between their entrances. The Max patch is fully automated, with each processing and volume change timed according to the click track at 120bpm. There is a 20 second lead-in before violin II begins. A sine tone at 26hZ fills in all the pauses between the lead-in and measure 128. Starting measure 207, all sound occurs above 17kHz, which may cause discomfort to some listeners, but may be inaudible to others. Adjust volume in that section according to the characteristics of the concert sound system.

Violin I

SPATIALIZATION CHANGES Speaker number specification and the assignment of the specific instrumental feed, according to measure numbers.

bar.beat 1.1 20.1 40.1 51.1 56.1 66.1 77.4 86.1 89.1 92.2 94.1 94.4 99.1 101.1 103.3 107.3 113.1 114.3 115.3 116.4 117.4 118.3 126.1 128.2 132.3 152.4 166.3 168.2 168.4 192.1 196.4 197.2 199.2 201.3 203.4 207.1 346.1

Violin II

Viola

Cello

1 and 3 2 and 4 1, 2, 3, and 4 2 and 4

1 and 3 1, 2, 3, and 4 3 2

3 and 4 1 2 2 and 4

1 4 2 3 and 4 1 and 2 3 1

2 3

4 2 3 and 4 4 3

2 2 and 5

1 and 2 4 4 and 5 4 4 and 5 4 4 and 5

3 and 5

3, 4, and 5 4

1 and 5 1, 3, and 5 1 and 5 1, 2, and 5 2

1, 2 and 5 1

4 1 and 4 4 and 5 3, 4, and 5 3 5

PROCESSING CHANGES Filter type and the assignment of instrumental feed, according to measure numbers: Vocoder – full white noise spectrum shaped around the played frequency. High – white noise spectrum sliced above the played frequency. 16kHz+ (and similar expressions) – white noise spectrum sliced above the specified frequency. Violin I bar.beat 1.1 20.1 40.1 51.1 56.1 66.1 77.4 89.1 94.1 101.1 107.3 113.1 117.4 118.3 123.1 125.1 126.1 128.2 132.3 135.2 141.4 144.1 145.2 152.4 155.3 156.2 161.2 164.1 166.3 168.2 168.4 169.4 174.1

Violin II

Viola

Cello

low low low+vocoder low

vocoder vocoder+low vocoder high low low+vocoder high+low low+vocoder low vocoder+low low interpolate to vocoder low low and 15.8kHz+ high and 15.8kHz+

185.4 192.1 197.2 197.3 197.4

vocoder and 18kHz+ low Vocoder and 15.8kHz+ low high and 17kHz+ high and 16.6kHz+ low and 18kHz+ vocoder and 17.7kHz+

198.2 198.3 vocoder

vocoder+low and 15.8kHz+ vocoder and 16.6kHz+

198.4 199.2

vocoder+high and 17.7kHz+

vocoder slowly interpolating to high (15.8kHz+ remains)

199.4

low vocoder low

178.3 180.4 183.4

Low – white noise spectrum sliced below the played frequency.

low and 18kHz+

vocoder high vocoder

200.3

vocoder+low and 18kHz+ high slowly interpolating to vocoder (16.6kHz+ remain)

200.4

high and 17kHz+ slowly interpolating to low and 18kHz+

high and 17kHz+ low

201.1

vocoder and 15.8kHz+ low and 15.8kHz+

206.1

vocoder low high and 17kHz+ vocoder low vocoder

207.1

vocoder and 16.6kHz+ 18.5kHz+

vocoder slowly interpolating to high high and 17.7kHz+ high and 17.5kHz+

low and 18kHz+

18kHz+

17kHz+

17.5kHz+

--------------------------------------------------------------------duration: 14 minutes

all musicians start out in res ng posi on the click track has a ten measure lead-in when musicians are inac ve, they should be completely s ll, contempla ng the musicians should be completely focused on their own click track and not communicate unless otherwise noted

your fortress (2017) gleb kanasevich

q = 120 introspectively alto sul tasto

œ Violin II

& œ all glissandi always completely steady sound produc on should occur at minimum possible volume that is detectable by the max patch, and the acous c instrument sound should inaudible to the audience

= 12

œ17

3 œ Vln. II

° &

alto sul tasto

? œ

Vc.

¢ œ = 26 Vc.

&œ

= (alto sul tasto) transi on gradually to sul pon cello

3 œ Vc.

& œ = sul pon cello ord.

œ Vln. II

° & œ synchronize bow movements while overlapping with the cellist

(ord.) sul pon cello

œ œ Vc.

¢&

2 66 alto sul tasto

3 œ Vla.

& œ

= 77

6 ord. Vln. II

° &

Œ œ œ sul tasto

alto sul tasto

6 œ

œ & Œ Œ Œ

Vla.

ord.

? Vc.

¢& œ = 94 Vln. II

° Œ Œ Œ &

100

101

Œ œ

102

103

104

105

Œ œ

ord.

Œ Œ

Vla.

& œ œ

œ œ

? Vc.

¢ œ = 106

107

108

109

110

111

113

114

115

116

117

118

119

2 3 Vla.

° &

Œ Œ

Œ Œ Œ

Œ œ

Œ Œ Œ

Œ Œ œ

Œ œ

2 ? Œ œ Vc.

Œ Œ œ

120

3 with utmost delicacy, but like a glitch

121 Vln. I

122

123

124

125

126

127

128

œ.

° &

129

130

131

132

133

134

ord.

≈‰ Œ Œ Œ

Œ œ ord.

Vln. II

& œ

œ stop and resume playing me culously and visibly

ord. (ord.)

sul tasto

Œ œ

Vla.

œ suddenly connect with the cellist

ord. (ord.)

sul tasto

? Œ œ

Vc.

¢ = 135 Vln. I

136

137

138

139

140

141

142

143

144

145

146

° &

sul tasto

Œ Œ

ord.

Vln. II

& œ

sim.

B Œ œ

Vla.

stop and resume playing me culously and visibly

? Vc.

¢ = 147 Vln. I

148

149

150

151

152

153

154

155

156

° &

Œ Vln. II

& œ

Œ œ

Vla.

sim.

? Œ Œ Vc.

Œ Œ Œ œ

stop and resume playing me culously and visibly

157

158

4 159 Vln. I

160

161

162

163

164

165

166

167

168

169

170

° &

Œ Œ

Vln. II

& œ

Œ Œ

Vla.

Œ œ

? Œ œ

Vc.

Œ œ Œ œ

Œ œ

sim.

= 171 Vln. I

° &

172

Œ Œ

Œ Œ Œ Œ

173

174

175

176

177

178

179

180

181

182

193

194

Œ Œ Œ Œ œ

stop and resume playing me culously and visibly

Œ Œ Vln. II

& œ

B Vla.

? Œ œ

Vc.

¢ = 183 Vln. I

184

° &

185

186

187

188

189

190

191

192

Œ œ sim.

Vln. II

sul pont.

B Œ Œ Œ œ

Vla.

? Œ Œ Vc.

5 195

196

197

198

199

sul tasto Vln. I

° &

200

sul pont.

Œ œ

201

202

203

204

205

206

ord.

alto sul tasto

Œ Œ

sul pont.

sul tasto

ord.

alto sul tasto

Vln. II

& œ

œ ord.

Vla.

(ord.)

alto sul tasto

Œ œ Œ œ

sul tasto

sul pont.

ord.

alto sul tasto

? Œ œ

Vc.

Œ Œ œ

Œ œ

= 207

208

209

210

211

212

213

214

215

216

217

218

220

221

222

223

224

225

226

227

228

229

230

° 6 Vln. I inaudibly

Vln. II

inaudibly

6 Vla. inaudibly

6 Vc.

¢ inaudibly

= 219

° Vln. I

Vln. II

Vla.

Vc.

6 231

232

233

234

235

236

237

238

239

240

241

Œ 6

242

Vln. I stop and resume playing me culously and visibly

Vln. II

Œ Œ 6 Vla. stop and resume playing me culously and visibly

6 Vc.

¢ stop and resume playing me culously and visibly

= 243

244

245

246

247

248

249

250

251

252

253

254

Œ Œ 6

Vln. I

Œ Œ Œ 6

Vln. II stop and resume playing me culously and visibly

Œ Œ Œ

Œ Œ 6

Vla.

Vc.

¢ = 255

256

257

258

259

260

261

° Vln. I

6 Vln. II

Vla.

Œ Œ Œ 6 Vc.

262

263

264

265

266

7 267

268

269

270

271

272

273

274

275

276

277

278

280

281

282

283

284

285

286

287

288

289

290

292

293

294

295

296

297

298

299

300

301

302

° Vln. I

Vln. II

Vla.

Vc.

¢ = 279

° Vln. I

Vln. II

Vla.

Vc.

¢ = 291

° Vln. I

Vln. II

Vla.

Vc.

8 303

304

305

306

307

308

309

310

311

312

313

314

° Vln. I very gradually slow down bow speed and reduce the range of bow mo on un l the end

Vln. II

return to res ng posi on contemplate

Vla. return to res ng posi on contemplate

Vc.

¢ return to res ng posi on contemplate

= 315

316

317

318

319

320

321

322

323

324

325

326

327

328

329

330

331

332

333

334

335

336

337

338

339

340

341

342

343

344

345

346

347

348

349

350

Vln. I

° Vln. I

catch the bow placement of violin 1. bow in exactly the same place with exactly the same speed.

Œ Œ 6 Vc.

¢ freeze un l the end. do not ﬂinch.

9 351

352

353

354

355

356

357

358

359

360

361

362

363

364

365

366

367

368

369

370

371

372

373

374

375

376

377

378

379

380

381

382

383

384

385

386

387

388

389

390

391

392

Vln. I

= Vln. I

393

394

395

396

397

398