Magical Theatre, six pieces for seven instruments and electronic sound by Lefteris Papadimitriou

MAGICAL THEATRE for 7 instrumentalists and 8-channel electronics

Lefteris Papadimitriou

MAGICAL THEATRE for 7 instrumentalists and 8-channel electronics (2011 - 2013)

Instrumentation: -Piano -Two percussionists -2 Violins, Viola, Cello -Electronics (3 laptops controlled through one MIDI pedal each (or a sustain pedal connected to a MIDI keyboard), 2 audio interfaces with 4 outputs and 1 audio interface with 8 outputs, 6 DPA or condenser microphones and 4 contact or DPA microphones, minimum of 8 loudspeakers and minimum of 18 channel mixer.)

Program note: Magical Theatre, for seven instrumentalists and electronics, is a modular piece in two parts, comprised of six different pieces for instruments and electronics. The piece is conceived as a kind of multidimensional ''musical mandala'', that is presented in time as gradual transformations of simple sound materials. The sound materials, although defined to a large extent by the physical properties of the instruments, may be perceived in multiple listening levels or dimensions. The musical instruments as a physical sounding object, the abstract perception of musical textures and the symbolic perception of familiar, ''everyday-world'' sounds are some such possible listening levels. This perceptional multidimensionality is supported by an open, montage form, controlled to a certain extend by the instrumentalists, inspired by similar film or television techniques. The general concept and structure of the piece is based on the Minor Arcana of Aleister Crowley's Thoth Tarot. The complex symbolic system that can be found there functions as the unifying element between the different perceptional levels. Each piece has a distinct sound world that is connected to a Tarot suit and its corresponding astrological element. The Wands, corresponding to the element of fire are connected to Electric Serpent for piano and electronics. The Cups, corresponding to the element of water are connected to the electroacoustic pieces Waterfall and Acid Drops. The swords, corresponding to the element of air are connected to Fissure for solo cello and Spider Web for string quartet. Finally, Disks and the element of earth are connected to Liquid Glass for two percussionists and electronics. Aces represent the basic ''elemental'' qualities of the sound materials. The remaining Tarot numbered cards from 2-10 represent represent gradual transformations of the basic ''elemental'' sounds. Each numbered card has a title and is connected to a section of a piece: -Wands: Dominion, virtue, completion, strife, victory, valour, swiftness, strength, oppression. -Cups: Love, abundance, luxury, disappointment, pleasure, debauch, indolence, happiness, satiety. -Swords: Peace, sorrow, truce, defeat, science, futility, interference, cruelty, ruin. -Disks: Change, work, power, worry, success, failure, prudence, gain, wealth.

Contents:

-Performance notes..................................................................................3 -Electric Serpent......................................................................................7 Part 1................................................................................................11 Part 2................................................................................................22 Part 3................................................................................................32 -Waterfall..............................................................................................33 -Acid Drops...........................................................................................35 -Fissure................................................................................................38 -Spider Web..........................................................................................44 -Liquid Glass.........................................................................................65 Part 1................................................................................................69 Part 2................................................................................................72

Performance notes: 1) Individual Pieces and corresponding elements: Magical Theatre is a piece in two part constructed by six different individual pieces played simultaneously. Each piece corresponds to a Tarot suit and its corresponding astrological element: 1. Electric Serpent, for piano and 4-channel electronics (Part 1, Part 2) (Part 2 is played as a solo piano piece in Magical Theatre, empty audio files may be used just for synchronization purposes) – Element: Fire (Wands) 2. Waterfall, stereo electroacoustic music – Element: Water (Cups) 3. Acid Drops, 8-channel electroacoustic music – Element: Water (Cups) 4. Fissure, for solo cello – Element: Air (Swords) 5. Spider Web, for string quartet – Element: Air (Swords) 6. Liquid Glass, for two percussionists and 4-channel electronics (Part 1, Part 2 ) (In Magical Theatre the order of the two parts is reverses. Thus Part 2 is played first and Part 1 second) - Element: Earth (Disks)

2) Synchronization and triggering signs Each piece is comprised of different sections or modules shown by numbers in a circle on the beginning of each section on the score. Each section is triggered by a signal given by a performer of another piece. In the case of the electroacoustic pieces Waterfall and Acid Drops, the signal indicates triggering of the instrumental pieces Fissure and Spider Web. All triggering signals are inside squares and on top of the score. Triggering signs: Capital letters indicate triggering of another piece either through a signal by the performer or through audio triggering (with pedal) in the case of electroacoustic pieces. For example the sign L.G.1 inside a square, in the score of Electric Serpent indicates that the performer of Electric Serpent triggers the first section of Liquid Glass by signalling the first percussionist. The number 1 indicates that section 1 of Liquid Glass is triggered. In the score of Liquid Glass, in that case, the performers will see the sign e.s.1 inside a square, indicating that the performer of Electric Serpent, while playing section 1, gives a signal which triggers the section on top of which the sign lies. The number 1 indicates that section 1 of Electric Serpent triggers the section of Liquid Glass on which the sign lies. The signs indicating a triggering are: L.G. indicates triggering a section of Liquid Glass. E.S. indicates triggering a section of Electric Serpent. W. indicates triggering a section of Waterfall. F. indicates triggering a section of Fissure. S.W. indicates triggering a section of Spider Web. A.D. indicates triggering a section of Acid Drops. The signs indicating receiving a trigger by another piece are: e.s. indicates a section that receives a trigger signal by the pianist of Electric Serpent. l.g. indicates a section that receives a trigger signal by the first percussionist of Liquid Glass. w. indicates a section that receives a trigger signal by the first violinist controlling Waterfall audio. a.d. indicates a section that receives a trigger signal by the first violinist controlling Acid Drops audio.

3) General structure Below is a diagram of the general structure of the piece. Lines indicate sections or modules of different pieces (diagram is not in scale). Triggers are indicated through arrows. Performers may consult the diagram in order to identify their position and role in the general structure. Red lines indicate sections of Electric Serpent. Blue lines indicate sections of Waterfall. Cyan lines indicate sections of Fissure. Green lines indicate sections of Liquid Glass. Grey lines indicate sections of Acid Drops. Purple lines indicate sections of Spider Web.

Magical Theatre: Part 1 Electric Serpent: Serpent on the Edge of an Abyss

4 Waterfall

Fissure

2 2

3 3

Liquid Glass: Liquid Drums

Magical Theatre: Part 2 Electric Serpent: Electric Currents

Acid Drops

Spider Web

Liquid Glass: Glass Flowers

4) Tech set-up and spatialization Equipment required -3 laptops equipped with Max/MSP patch used for triggering audio files and synchronization (one controlled by the pianist, one by the the first violin and one by the first percussionist). -3 audio interfaces connected to the laptops. Two of them with four outputs, for Electric Serpent and Liquid Glass, and one with eight outputs for Acid Drops and Waterfall. -3 MIDI pedals connected to the laptops used for triggering the audio files (except in the case that the performer prefers another way of triggering (e.g. MIDI keyboard, laptop keyboard)). -6 DPA microphones or condenser microphones. Two for the piano (along the string board) two for the timpani and two for the bass drums. -4 contact microphones for the violins, viola and cello (DPA microphones may also be used). -One mixer with at least 18 channels. 4 for the Electric Serpent audio files, 4 for the Liquid Glass audio files, 8 for the Acid Drops audio files (two of those channels are used for the waterfall audio files in the first part of the piece). The remaining 10 channels are used for routing the microphones to the loudspeakers. -At least 8 loudspeakers. More may be used for the diffusion of electronics (e.g. 8 more higher and 8 more closer to the audience, although in the same position of the main loudspeakers). Audio files -A Max/MSP patch with timer is required. The patch is provided by the composer. The pianist, the first percussionist and the first violinist control the patch. The performers should navigate through the piece by consulting the time indicators and the triggering signals in their score. A number in italics above each system, in the audio part, indicates the duration of each system. The time in the audio file, at the beginning of each system, is also given as are many other significant events. As duration of each system changes, relative distances in space should be observed with precision, though a certain freedom is intended. Familiarization with the audio part by listening and studying its spectrograph may be very helpful. -The Max/MSP patch is used for triggering stereo audio files routed to the loudspeakers. Each audio file name is preceded by the number (in the form 001) which corresponds to the sections of the piece. Thus 001 is triggered first. The name of the audio file is followed by a number which identifies its routing to the loudspeakers. Thus 1 means stereo audio file 1. See routing directions below. All audio files are named in the form 001name1 and put in the appropriate samples folder in the Max/MSP patch folder. -A number inside a triangle in the beginning of each section indicates the audio file to be triggered. In the case of Waterfall and Fissure and Acid Drops and Spider Web see triggering signals notes below. Routing of audio files to loudspeakers The audio files coming from the laptop through the audio interface outputs are routed through the mixer to the 8 loudspeakers. -Electric Serpent: stereo audio file 1 should be routed to loudspeakers 8 and 3 and file 2 should be routed to loudspeakers 1 and 2 (see diagram below). -Waterfall: stereo audio file to 6,4. -Acid Drops: stereo audio file 1 to loudspeakers 1,2, file 2 to loudspeakers 3,4, file 3 to loudspeakers 5,6, file 4 to loudspeakers 7,8. -Liquid Glass: stereo audio file 1 should be routed to loudspeakers 6 and 5 and file 2 to loudspeakers 7 and 4. Routing of instruments to loudspeakers The instruments should be positioned close to the loudspeakers from which they are projected. The microphones are routed to the same speakers. (If more speakers and mixer channels are available the instruments may be routed to different loudspeakers but in the same direction as those with the electronic sounds.) The instruments are lightly amplified and mixed depending on the acoustics of the concert hall. In cases of small halls the instruments may not be amplified at all. -Piano is routed to loudspeakers 1 and 2.

-Timpano 1 and bass drum 1 to loudspeaker 7. Timpano 2 and bass drum 2 to loudspeaker 4. -Violin 1 to loudspeaker 8, violin 2 to loudspeaker 3, viola to loudspeaker 6 and cello to loudspeaker 5. Balance-Spatialization: -Instrumental layers should be approached as one layer among other layers. It is important that the performers understand their role in the mix. The instrumental entrances or exit points sometimes are masked by electronic layers and at other times have a strong demarcative function. A freedom is desired when the score. The instrumentalist sometimes have the role of a ''sound mixer'' by deciding his role in the general mix of the piece. -The stage set-up is only a suggestion. The stage set-up should take in account the acoustics of the concert hall, the placement of the audience, and also the nature of the electronics and the piece. Multiple loudspeakers, in different heights, may also be used. Live sound diffusionmay be employed in that case. -Multiple variations of spatialization and stage set-up are possible. (The octagonal shape may be distorted). In that case of course care should be taken not to over-distort the balanced sound image of the piece. L.= Loudspeaker

Piano

L.1

L.2

L.3

L.8 Violin 1

Violin 2 Audience

L.7

L.4

Percussion 1

Percussion 2 L.6

L.5

Viola

Cello

Although not advised, in case which the disposition in space is not possible and only if the concert hall is reasonably small, a version with the instruments and loudspeakers on stage may be performed. The disposition of instruments and loudspeakers on stage in that case may be as the one in the diagram below: Piano L1 L2

Violin2 L3

Violin1 L8

Cello L5

Viola L6

Percussion1 L7

Percussion2 L4

Audience 5) Concert presentation The piece is advised to be presented in complete darkness or with the instruments out of sight. Alternatively the audience may be blindfolded. If the piece is presented in its spatial form, the audience should not face towards one direction. A central stage should be non existent in that case. The listeners are encouraged to perceive different sound images of the piece.

ELECTRIC SERPENT

for piano and 4-channel electronics

Electric Serpent Part 1: Serpent on the edge of an abyss Part 2: Electric currents Part 3

Program note:

Electric Serpent is a piece for piano and electronics, originally written for the pianist Sarah Nicolls. It is part of Magical Theatre, a cycle of pieces based on the four suits of the minor Arcana of Aleister Crowley's Thoth Tarot. Electric Serpent represents the fire element and the wands suit of the minor arcana. The piece explores the various spectral possibilities of the metallic piano sound. The first part is based mostly on sounds created from exciting the strings inside the piano, while the second part employs normal hammered piano and synthesized sounds. Both parts begin from the lower register of the piano and gradually cover the whole sound spectrum. That is achieved through different ways of mixing multiple layers of instrumental and synthesized sounds. The live piano is treated not much differently from the electronic layers, although the performer may provide a link to the real sound-world and human gesture, both aurally and visually. The musical discourse is approached as a single virtual, physical, sound object consisting of various closely connected “surfaces” or “frames” which are continually unfolding and transforming, providing thus different “views” of the same object.

Performance notes General: The piece is for piano and 4-channel recorded audio. There are 3 parts comprised of 10 short sections marked with numbers in circles. Part 1 is comprised of six sections, part 2 of three sections and part 3 of one. In the beginning of each section a new audio file is triggered and lasts for the whole section (except for part 3 which is for solo piano). Section 1 is for solo piano but a silent sound file can be used in order to act as a stopwatch through the Max/MSP patch. Electric Serpent is part of the larger modular piece Magical Theatre. When played as a solo piece, the silences between sections should be minimum to non existent. Sound producing techniques: Parts 1 and 3 are to be performed entirely inside the piano, by exciting the strings in various ways. -Sections 1-2 and 10 require the use of a common guitar plectrum to scrape the strings. Section 3 requires a plectrum and also hitting the strings with the fingers ( as if hitting a hand drum). -Section 4 requires the use of a 25mm bolt. The pianist scrapes or hits the strings with the head of the bolt. -Section 5 requires the use of a plastic, coarse, rectangular surface with a length of about 15 cm. It can be a small ruler, a large plastic card or anything that produces a similar sound. It should be soft enough to be able to bent a little when much pressure is applied and hard enough to resist much deformation by pressure. The pianist scrapes or hits multiple neighbour strings with the plastic surface, creating thus a dense dissonant sound. Notation: -In parts 1 and 3, the upper empty, wide piano staff depicts position along the strings. The lower line indicates the position closer to the hammers and the upper line a position farthest from the hammers, depending on the performer's ability to stretch his/her hand. An auxiliary normal 5 line staff appears in the position of the lower line when necessary (the middle line of the five line staff is also the lower line of the main upper staff). The shape of the lines indicates the relative scraping speed. Dashed lines indicate a very slow speed which creates grain beats in the bass strings. Speed is not intended to be constant in a machine-like manner, random changes in the indicated speed may occur, especially when other gestural vectors generate them (dynamics, pressure). -The lower one-line staff marked ''mute'' indicates muting of the strings with hand, behind the hammers (when pedal is pressed). A thick line indicates muting. Muting pressure and also point of pressure may be varied at the discretion of the performer. -Squares above the main staff indicate scraping pressure on the strings. Black square indicates heavy pressure that may distort sound, white square indicates light pressure, black and white square indicates normal pressure. Arrows indicate gradual changes between states. -A cross on top of a note indicates holding the hand down in order to mute the string with the bolt or ruler. Electronics-Synchronization: -A stopwatch (when played solo) or preferably a Max/MSP patch with timer is required. The patch is provided by the composer. The pianist should navigate through the piece by consulting the time indicators in the audio part. A number in italics above each system, in the audio part, indicates the duration of each system. The time in the audio file, at the beginning of each system, is also given as are many other significant events. As duration of each system changes, relative distances in space should be observed with precision, though a certain freedom is intended. Familiarization with the audio part by listening and studying its spectrograph is very helpful. -The Max/MSP patch is used for triggering 2 stereo audio files routed to 4 loudspeakers. There are 8 sets of 2 audio files corresponding to the sections of the piece (sections 5 and 6 are connected). Each audio file name is preceded by the number 001-008 which corresponds to the sections of the piece. Thus 001 is triggered first and 008 last. The name of the audio file is followed by a number which identifies its routing to the loudspeakers (see directions below). Thus 1

10 means stereo audio file 1. All audio files are named in the form 001name1 and put in the appropriate samples folder in the Max/MSP patch folder. A number inside a triangle in the beginning of each section indicates the audio file to be triggered. -At some points, for example if some fast gestures seem impossible to perform in the given time, consider deconstructing them in time (contract or expand gestures). In Magical Theatre and especially in part two a freedom of positioning of sound materials in time is to be understood almost as a live improvisational mixing of material. -In part 2 stems don't indicate time values but the connection of a series of notes in a united shape. Balance: Piano should be approached as one layer among many other layers. It is important that the pianist understands his/her role in the mix. The piano entrances or exit points sometimes are masked by electronic layers and at other times have a strong demarcative function. Audio-Amplification-Routing: The pianist should trigger the appropriate audio files in the beginning of each section, through the provided Max/MSP patch (especially when played as part of Magical Theatre) or any other suitable way (e.g. Ableton Live software). The piano should be amplified by two DPA or condenser microphones, (placed along the string board) connected to the mixer, mixed with the audio part and projected through two loudspeakers. When played as a solo piece, stereo file 1 should be routed to loudspeakers 1 and 2 and stereo file 2 should be routed to loudspeakers 3 and 4 placed in space accordingly to the diagram below. Piano should be lightly mixed with the audio in loudspeakers 3 and 4. Loudspeakers should be close to the piano. In cases of small halls piano may not be amplified at all. Audio should be loud and at some peak points completely overpowering the piano. Loudspeaker3

Loudspeaker4 Piano

Loudspeaker1

Loudspeaker2

Audience

Magical Theatre Electric Serpent is part of the piece for ensemble and electronics Magical Theatre. When it is played as part of Magical Theatre the second part (Electric Currents) is performed as a solo piece, without the electronics, although the Max/MSP patch can still be used (with empty audio files), solely for the purpose of indicating the written durations and functioning as a stopwatch. See performance notes of Magical Theatre for synchronization directions.

Part1: Serpent on the edge of an abyss 1 1 2: Dominion (Mars in Aries)

Use plectrum to scrape string (accidentals apply only to the note they precede) (low pressure)

(normal pressure)

(high pressure)

Dynamic marks signify a general volume, scraping speed and pressure controls micro-dynamic changes

Piano

very slow (grainy sound)

Mute

w â&#x2014;&#x160;Ď&#x20AC;

(change scraping speed according to the shape of the lines)

Ped. (hold pedalfor the whole piece)

0.15''

Audio

silence

(0)

L.G.4

0.23-0.36

Pno.

0.15

silence

0.15

(let ring)

Pno.

0.36

0.13

silence

0.30

0.43

l.g.4

2 2

3: Virtue (Sun in Aries)

(Use plectrum)

Piano

Mute

w â&#x2014;&#x160;p

0.15

Audio

silence

L.G.2

Pno.

Ď&#x20AC;

0.20 strings resynthesized

0.19

0.15

Pno.

0.15

0.35

0.36

0.26

Pno.

0.17

0.50

0.55

1.07

l.g.5 3 3 4: Completion (Mercury in Aries) L.G.6 (Use plectrum )

0.12 - 0.20

Piano

#w π ?

0.15

Audio

0.5.2

(smoothly move to adjacent string)

Pno.

0.18 rubbing

0.20

0.15

0.23

Pno.

#w ◊p

0.35

0.41

0.18

Pno.

0.23 synthesized bass

1.1

0.51

1.4

Pno.

nw ◊ p

#˙ ◊

nœ nœ

0.29 bass noise-snake hiss

1.14

1.21

1.48

w.3

4 4

5: Strife (Saturn in Leo)

Use the head of a 25mm bolt to scrape or hit strings

L.G.7

( notehead signifies hits with bolt on the marked position along the strings)

bolt scraping both strings always

Piano

Mute

œ ◊ f

vertical glissando on the strings

~~~~~~ ~

fast random oscillations, up-down

#œ

œ F

œ ƒ

0.9-0.15

œ #œ f

0.15

Audio

+ œ

œ œ f

œ ◊F

œ #œ ◊ f

œ œ ◊ƒ

~~~~ ~

Pno.

hold bolt down to mute string

+ œœ

0.9

#œ ◊F

nœ f

œ œ

#œ F

0.20

synthesized bass hit

hits

scraping

0.18.3

0.15

Pno.

œ œ ◊p F

œ f

0.25

œœ

œ f

# œœ ƒ

0.15 synthesized bass

0.35

0.39.2

œ ß

0.43.6

bœ œ F

œ bœ ƒ

Pno.

œœ ◊ π

+ œ

œ~~~

œ ~~~~~~~~

#œ ◊F

œ f

œ #œ ◊f

0.12

0.55.3

0.50

Pno.

œ œ+ œ+

œ ~~~~~~ œ b œœ f◊ p p

P fœ F

#œ f

#œ F f

0.20 noise

Pno.

1.16.7

1.11

1.2

œ~~~~~~~~ #œ ◊p

œ ◊œf

#œ ◊P

œœ f

nœ F

œ f

0.13 scraping

1.22

1.27.4

bass

1.32

Pno.

0.23

1.35

1.58

l.g.8

(Start together with section 5 of Liquid Glass)

5 5 6: Victory (Jupiter in Leo) Use a coarse plastic surface (small ruler or a large plastic card) to scrape and hit strings (aprox.15 cm length) (upper notehead shows accented onset) Piano

– (random low cluster according to relative position of notehead) F (touch many strings with surface

Mute

but feel free to use part of the surface at times, by fixing the one side of the surface and bending the other side as if drawing a semi circle)

0.17

Audio

silence

Pno.

0.17

silence

0.17

–

Pno.

dissapear into audio

0.15

0.34

0.35

0.42

– Pno.

–

p f

–

ƒ 0.20

0.54.2

0.49

(let ring)

Pno.

– P

lownoise 0.27

1.9 (let ring)

Pno.

–

– ƒ

–

F P

– f

–

0.17

1.36

noise

1.49

1.52

Pno.

–

– P

–

– f

– F

–

– ƒ

–+

–

& ?

0.16

1.53

1.58

2.5

2.6

6 7: Valour (Mars in Leo) Pno.

& ?

play on keayboard

(mask attack on audio)

w π

0.19

2.09

2.28

22 (Start immediately after previous section)

6 7

Part 2: Electric Currents (In Magical Theatre trigger section 1

A.D.1 of Acid Drops and

8. Swiftness (Mercury in Sagittarius)

L.G.1

0.26

accidentals apply only to the note they precede, except in immediate repetitions of notes

Piano

& ?

(w) 0.34

Audio

0.26

0.10.7

Pno.

˙ b˙ b˙ P

~~~~~~

0.17

0.34

& Pno.

0.43

0.35

≠ ≠ F

(chromatic cluster)

0.17

0.51

0.59.7

section 1 of Liquid Glass here. Hold the Low F until you hear the first timpano hit.)

& Pno.

0.10

1.8

& Pno.

1.9.5

1.13

œœœ bœ ˙ p

0.16

1.18

piano

1.23.4

1.26

s.w.1

Piano

L.G.2

(When part of Magical Theatre count two seconds after the signal is given and then play the first piano figure together with the first timpano sound of Liquid Glass )

1 2 3 7 8 9: Strength (Moon in Sagittarius) √ # –– –– b –– ? ¬ & ¬ b –– Fœ œ ƒ # œ œ ? œ &

˙˙ œ b œœ. f

Ped.

. # # #b œœœœ œ F

0.13 reversed piano

Audio

0.1

0.7.3

& Pno.

bœ #œ

b˙ f

0.10

0.22

0.13

Pno.

Pf p

#œ

œ œ œ #œ

◊

~~~~~~~~~~~

0.19.9

0.14.7

F #œ

0.22.8

0.25.7

notes with equal duration

#œ

# œ. ◊

Ped.

0.35

0.35.5

synthesized hits œ œ œ

0.18

0.49

Pno.

# # œœ œ #œ

œ.

#œ œ

P œ

~~~

# œ.

~~~~

~~~~~~~~

œœ

œ. œ

◊

F bœ

Ÿ~~~~~

#œ œ ( œ) œ # œ F p #œ f

b œœ

Ped.

◊ P

0.18 piano

1.05.5

1.01.5

0.53

˙ & #˙ Pno.

¬¬ π

P ? # ˙˙

# –– F

all trills are a semitone higher if not otherwise indicated

ƒ ¬ # ¬ # ¬¬

––# œ œ # # ––◊œ ◊œ

Ÿ~~~~~~~~~~

◊ F˙ ∏ F Ped.

0.34 reverse piano

1.16.2

1.11

Pno.

~~~~~~~~~~~~~~~~

œ´

#œ

1.29.5

F – P #– œœ

Ped.

piano

1.45

1.46

˙˙

0.18

1.56

piano

1.36.2

1.41

& Pno.

0.11 high reversed piano

2.03

2.15

s.w.3

8 9 10: Oppression (Saturn in Sagittarius) A.D.4

Piano

œ.

ƒ œœœ

(When part of Magical theatre trigger Acid Drops 4 by signalling the first violinist.)

œ #œ # # œœ # œœ n œ (The first chord is played immediately after the signal, œ while the low cluster shoud be inside the first figure of Acid Drops) œ #œ #œ œ #œ

œÿœ f

# ¬¬

œœœœ œ equal duration

˙ b ˙˙

Ped. œœœ

0.24 piano

piano chords

high reverse piano

Audio

0.5.5

~~~~

Ped.

equal duration

~~~~~~~~~~~~~~~~

π # ˙˙ .

bœ

œ bœ bœ

~~~~~~~~~~~

Pno.

œ #œ œ œœ œ œ

21.5

0.13

0.9

œ #œ

b œb œ

œ bœ œ

#œ

œ œ œ

œ œ

˙œ œ

synthesized

0.19

piano

& Pno.

˙˙

#œ œ # # ––

~~~ ~

0.32

0.26.7

0.24

–– #œ

œœ

#œ

◊

bass piano

0.43

0.48

bass reverse piano

0.40

0.36.5

√ œ œ œ

f p P #œ #œ

¬ #¬

bass reverse piano

0.16

bœ

˙˙ f

p b œ # # ˙˙

œœœ

Pno.

#œ #œ #œ

œ œ

~~~~~~

√

#œ#œ

fF P f p F

#œ

#œ #œ

œ œ F # œœ

#œ

#œ Ÿ~~~~~~~~~~~ ˙( œ ) ∏ f # # œœœ Ped.

œœœ

0.19

high reverse piano reverse piano

bass piano chord

1.04.5

0.59

Pno.

œ.

œ #œ f

~~~~~

˙ P

bœ bœ œ œ œ #œ F π œ

#œ

~~~~~~~~

1.14.3

1.11

#˙

Ped.

0.19

œœœ

low piano chord

& Pno.

1.35.5

1.28.7

1.18

√ #œ œ œ

ƒ œ

#œ

exact repetition of previous figure

√ #œ œ œ œ

b œ. f

ƒ ¬¬

#œ 0.15

synthesized hit

1.37

1.45.5

1.50.5

& Pno.

√

œ œ

œ œ œ œ œ œ œ œ

p f

&œ

equal duration

bœ

œ œ œ

√

#œ #œ #œ

œ #œ ƒ πF f p

~~~~~~~~~~~~

F ˙ # ˙Ÿ~~~~~~ ˙( œ )

equal duration

œ π

Ped.

œ P

œ F

# # ¬¬

0.22

1.40

1.52

& ?

œ bœbœ .

Ped.

n œ. ◊ ƒ

0.19

2.14

& Pno.

√ œ bœ f

w P

#œ ˙ f P#Fœ œ b œœ ◊

˙˙ f

ƒ #œ œ œ œ œ œ equal duration

Ped.

0.13

2.33

#œ #œ #˙ f F

~~~~~~

F p f ƒ Ÿ~~~~~~~ œ # ˙ (n œ ) #œ œ nœ bœ ◊

~~~~~

Pno.

œ.

œ. œ.

F f

#œ #œ pf F

œ .

#œ

œ.

# œœ œ ƒ P

~~~~~~~~~~~~~~~~

bœ

~~~~~~~~~~~~~~

√œ œ √ œ bœ œ b˙ #œ œ œ bœ

~~~~~~~

& Pno.

√œ

√ œ bœ œ f œ

~~~~~

#œ

0.13

2.46

Pno.

? # œ.

œ œ œ œ œ

~~~~~~~~~~~~~~~~~~~~~

equal duration

# œœœ f œ

pf œ

P F

#œ

œ #œ œ #˙

œ ◊

œ Ÿ~~~~~~~~~~ p ˙ π F

F w

œ ◊ 0.14

2.59

& Pno.

œœ.

b b –– f œ bœ

F b œœ

equal durations

(When part of Magical theatre the section may alternatively end here. Only in that case low c sharp is played.)

b œœ

œœ# # –– œœ – #–

# # œœ

––

Ped.

–– # ˙˙

∏

( #w ) ◊

0.11 trombone like bass

3.13

3.21.7

Pno.

–– F

~~~~~~~~~~~

√œ œ f p

F ˙

0.18

3.24

& Pno.

P w

˙ bb ˙˙ π Ped.

˙ F

∏

#w ◊

œ low sine wave

3.42

3.50.1

Piano resonance ends here when played as a solo piece

0.23

3.56

4.05

Part3 s.w.6

(When part of Magical Theatre wait for violinist signal and finish together with violin)

10 1 U

0.10 Use plectrum Piano

Hold resonance until it fades out (# ¥ ) ◊ π

(Silently pressed note, without pedal. Clear pitched resonance)

0.06

Waterfall

stereo electroacoustic music

Waterfall Program note: Waterfall is a short electroacoustic piece based mostly on FM synthesis. The three sections of the piece are connected to the three decans of the zodiac sign of Cancer. It can be played together with Fissure, for solo cello, and it is also part of Magical Theatre, for ensemble and electronics.

When part of Magical Theatre or Fissure B, F. inside squares indicate that Fissure for solo cello is triggered in the space of Waterfall indicated. E.S.4 indicates triggering of section 4 of Electric Serpent. Lower case f indicates receiving a triggering from Fissure.

Numbers in italics indicate the duration of the whole audio file.

f.1

(Triggered by Fissure)

0.23

F.2

2. Love (Venus in Cancer)

(Section 2 of Fissure triggered in that space) 0.13 - 0.23

Audio

f.2

3. Abundance (Mercury in Cancer)

0.33

F.3 0.20 - 0.33

f.3 (When part of Magical Theatre signal pianist)

4. Luxury (Moon in Cancer)

0.57

E.S.4

0.50 - 0.57

Acid Drops 8-channel electroacoustic music

Acid Drops 8-channel electroacoustic music Program note: Acid Drops is an 8-channel electronic piece. The sound material is mostly comprised of synthesized sounds and some pre-recorded instrumental sounds. The sound montage of the materials is inspired by film montage and it aims to create the illusion that the perceptible sound layers are in a continuous timbral motion, which also drives the piece forward. Acid Drops may be played together with the string quartet Spider Web and it is also part of the larger modular piece Magical Theatre. Suggested routing of 4 stereo audio files (L.=Loudspeaker):

File 1 to L.1,2, file 2 to L.3,4, file 3 to L. 5,6, file 4 to L. 7,8 The same allocation of tracks should be used in Magical Theatre.

L.1

L.2

L.3

L.8 Audience L.7

L.4

L.6

L.5

In the case of Spider Web B or Magical Theatre see individual scores for performance notes.

Sections and durations The piece is comprised of six sections. In case of Spider Web B and Magical Theatre the section are separated as different audio files and triggered by the first violinist (section 5 and 6 are connected). Capital letters (S.W.) inside square indicates triggering of Spider Web sections. Lower case letters indicate triggering of a section by another piece in Magical Theatre.

37 Numbers in italics indicate the duration of the whole audio file.

e.s.7

(When part of Magical Theatre triggered by section 7 of Electric Serpent)

1' S.W.1 (Trigger section 1 of Spider Web in that space)

5. Disappointment (Mars in Scorpio)

0.16 - 1'

Audio

l.g.2

6. Pleasure (Sun in Scorpio)

1.25''

S.W.2

0.6

l.g.3

7. Debauch (Venus in Scorpio) S.W.3

e.s.9

(Trigger file immediately after the first piano chord)

8. Indolence (Saturn in Pisces) S.W.4

s.w.5

1.28''

0.6 - 0.20

2.39''

0.6 - 0.23

(start together with section 5 of Spider Web)

9. Happiness (Jupiter in Pisces)

4.12''

6 1.54

10. Satiety (Mars in Pisces)

FISSURE

for solo cello

FISSURE for solo cello

Program note: Fissure is a short musical narrative realised mainly through the (spectro)morphological properties of physical gesture. The instrument is treated to an extent as a sound producing physical object instead of a musical instrument. The piece can also be played together with the electroacoustic piece Waterfall. It is also part of the larger modular piece Magical Theatre for ensemble and electronics.

Performance notes: General: - Non vibrato. - Always let the strings ring, especially open strings. - The piece uses a combination of metric and spatial notation and tablature and ordinary five staff notation. Headless stems are for synchronization purposes only. Bow gestures, and to a certain extend left hand gestures should feel free and not forced. - JetĂŠ indicates a free bow bouncing on the strings controlled only in its duration. - The score should be understood as a map of gestures and shapes in time rather than a detailed, rigid score. Shapes and gestures may be slightly expanded or contracted if that feels natural for the performer or if it is the result of interaction with the electronic part in the case of Fissure b. -Trills should be a semitone higher. Notation: - In the case of the tablature notation a four line staff indicates the four strings of the instrument (lower line indicates the bass string). - The lower two line staff indicates left hand motion on the fingerboard. Top line indicates approximately the bottom of the fingerboard of the Âž of the fingerboard (approximately an octave and a fifth higher from the open string). Lower line indicates open string. -Numbers inside squares below the fingerboard staff indicate fingers opening when multiple stops are employed. Number 1 indicates very close fingers (more or less ), number 2 indicates comfortably open fingers, and number 3 extremely open fingers. Multiple stops are used only when two or more strings are played together or when a fingerboard line extends to multiple strings. The performer decides on which finger to use for each string and on the fingers

direction taking in account that a rich and varied sound is desired. Performer don't need to use quadruple stops when not needed. - The three line upper staff first presented in section 4 indicates motion of the bow along the strings. Upper line indicates sul ponticello position, middle line normal position and lower line sul tasto position. - A two line upper staff indicates bow pressure. Upper line indicates normal pressure while lower line high pressure (extreme pressure which generates a noise sound). High pressure should be extreme in all cases. - Two states of speed for vertical bow movement are used: normal bow speed and still bow (in this case bow should create sound only by parallel motion along the strings (ponticello - tasto)). - Diamond shaped noteheads below the fingerboard staff indicate light left hand pressure as in creating harmonics while normal black notehead indicates normal pressure. Fissure B -Fissure can be performed together with the stereo electroacoustic piece Waterfall. In that case, the name Fissure B is used. -A Max/MSP patch is controlled by the cellist. The Max/MSP patch is used for triggering 3 stereo audio files routed to 2 loudspeakers. Each audio file name is preceded by the number 001-003, which corresponds to the three sections of the piece. Thus 001 is triggered first and 003 last. All audio files are named in the form 001name and put in the appropriate samples folder in the Max/MSP patch folder. -The cellist (or violinist in the case of Magical Theatre) triggers the audio files with a MIDI pedal and decides the entrance of the three Waterfall sections. Capital W inside square indicates triggering of a Waterfall section, while lower case w indicates receiving a trigger from Waterfall. In that case a capital F in Waterfall score indicates the Fissure triggering. -Cello should be amplified with contact or DPA microphone and mixed with the audio. Alternatively, the cello may be projected through a third loudspeaker, placed between the two loudspeakers projecting the Waterfall audio files. Magical Theatre Fissure and Waterfall are also part of the larger piece for ensemble and electronics Magical Theatre. See the performance notes of Magical Theatre for specific synchronization and triggering directions.

FISSURE l.g.3

(Triggered by section 3 of Liquid Glass when part of Magical Theatre)

1 8. Interference (Jupiter in Gemini) q = 60

Use a clear cyclic gesture on the bow (imitate, if possible, cymbal sound on Liquid Glass) 3:2

3:2

4:3 5:4

5:4

normal pessure

3:2

high poressure

5:4

sul ponticello sul tasto

4 ‰ 4

Cello

bottom

œ.

œ . œœ .. œ

œ œ

œ 3 œ 4

œ œ œ œ .. œ œ œ ≈œ ƒ

œ .. œ

œ . œ. œ‰ ≈ 44 ≈

œ œ.

≈

‰

œ œ.

œ œ œ

Jeté

(dynamic changes are at the discretion of the performer. When played together with Waterfall follow the general dynamic shape of the electronic part)

Fingerboard

open string

(open string)

œœ œ ‰ œœ≈œ ≈ ≈ œ

3 4

W.1 (Trigger section 1 of Waterfall) (wait for Waterfall to begin and then play next figure) Use a cyclic bow gesture 5:4

4:3

4:3 3:2

3:2

Vc.

3 œ 4

œ œ œ œœ œ . œœ Ÿ~~~

œœ

normal still 4 ≈ œœ œ œ œ œ œœ œ 4 œ œ œ œ œ ..

O 1

œ O

®‰

Jeté

œ œœ ..

5:4

3:2

œœ œ œ œ œ 3 ‰ ‰ Œ œœ . 4 œœ œ œ œœ œ œ œ œ œ œœœ O

OœO œ

4 4

w.1

9. Cruelty (Mars in Gemini) 5:4 3:2

Vc.

‰

œœ

≈

œ.

5:4

3:2

œ œœ œ œ œ œ< < œœ œ . ≈ œ . œ œ.

Vc.

œœ œ œœ œ œœ œœ

W.2 5:4

Vc.

4:3

‰ ‰

~~~~~

œ ≈œ

4 4

arco

œœ œ

œœ

still

normal

4:3

3:2

normal bow speed

œ œ

still

c.l.b.

≈ ‰ œ œ

œœ ≈

pizz.

œœ

arco

œ œ œ

(trigger section 2 of Waterfall somewhere between that space)

œ ≈ œ œ ≈ ≈ œ œœ ‰ œ œ œ œ œ œ

3:2

œœ

‰

Ÿ~~~~~~~~ œ

3:2

c.l.b. Jeté

Jeté

œ œ œ œœ œ œ œ ® 43

œ.

5:4

œœ

c.l.b.

still bow

4:3

3:2

‰ œœ œ ≈ ‰ œ œœ œ œ œ œ œ

‰

Jeté

3:2

~~~~

4 ≈ 4

Jeté

3:2

~~~~

(Triggered between 0.13 - 0.23 of section 1 of Waterfall)

4 4

œ œ

still

pizz.

3:2

arco Jeté

œœ ≈œœ œ

c.l.b.

œœ œ ≈ ≈ ≈ œ œ œ œ pizz.

c.l.b.

œœ ≈ arco Jeté

pizz. œ

œ p œ

≈

w.2

(Triggered between 0.20 - 0.33 of section 2 of Waterfall)

3 10. Ruin (Sun in Gemini)

Vc.

c.l.b. Jeté

arco

œ œ œ œ œ œ œœ pizz.

Jeté arco

still

œœ œœ

Vc.

Jeté c.l.b.

œ œ 1

arco Jeté

œ œ

Jeté c.l.b.

arco

normal Jeté arco

œ œ

œ œ œ. œ

norm.

œœ

pizz.

Jeté c.l.b.

œ œ œ

still

norm.

still

œ œœ

pizz.

c.l.b. pizz. œ pizz. œ œœ œ œ

Jeté

œ arco œ œ œ œ œ . œ œ pizz.

W.3

œ œœ

still

pizz.

still

œ œ . œœ

pizz.

arco

œ œ

(If section 2 of Waterfall is still playing wait here for its ending and then trigger Waterfall 3)

pizz.

arco still

pizz.

Jeté

pizz. œœ c.l.b. œpizz. œ œ œ

still

œ œ œ

SpiderÂ Web for string quartet

Spider Web for string quartet

Program note: Spider Web is a piece for string quartet which aims to create a narrative primarily through an organization of a multidimensional space defined by the physical properties of the instruments, the gestural activity of the performers and the accumulated instrumental tradition. The textural surface of the piece and its general structure are constructed through sound montage techniques inspired by film montage. The symbol of the astrological element of air acts as a concept which unifies the fragmented and multidimensional narrative. The piece can be performed together with the electroacoustic piece Acid Drops and it is also part of the larger modular piece Magical Theatre.

Performance notes General: - Non vibrato except when otherwise indicated. - Always let the strings ring, especially open strings. - The piece uses a combination of metric and spatial notation and tablature and ordinary five staff notation. Headless stems are for synchronization purposes only. Bow gestures, and to a certain extend left hand gestures should feel free and not forced. - JetĂŠ indicates a free bow bouncing on the strings controlled only in its duration. - The score should be understood as a map of gestures and shapes in time and not so much as a detailed, rigid score. Shapes and gestures may be slightly expanded or contracted if that feels natural for the performer or if it is the result of interaction with the electronic part in the case of Spider Web B and Magical Theatre (in that case the first violinist, by deciding to a certain extend the various triggers acts also as a ''sound mixer''.) - Open strings are always preferable and should be used whenever possible. A long resonance is always desirable. - Trills should be a semitone higher if not otherwise indicated. Notation: - In the case of the tablature notation a four line staff indicates the four strings of the instrument (lower line indicates the bass string). - X-shaped notes on the line above the fourth line indicates hitting the body of the instrument with the wood of the bow. Vary the timbre of the produced sound. -X head notes on the four line staff indicate bowing behind the bridge. - The lower two line staff indicates left hand motion on the fingerboard. Top line indicates approximately the bottom of the fingerboard of the Âž of the fingerboard (approximately an octave and a fifth higher from the open string). Lower line indicates open string. -Numbers inside squares below the fingerboard staff indicate fingers opening when multiple stops are employed. Number 1 indicates very close fingers (more or less ), number 2 indicates comfortably open fingers, and number 3 extremely open fingers. Multiple stops are used only when two or more strings are played together or when a fingerboard line extends to multiple strings. In the finger touching the bass string. The performer decides on which finger to use for each string and on the fingers direction taking in account that a rich and varied sound is desired. Performers don't need to use quadruple stops when not needed. - The three line upper staff first presented in section 4 indicates motion of the bow along the strings. Lower line indicates sul tasto position, middle line ordinary position and upper line sul ponticello position. - A two line upper staff presented in section 5 indicates bow pressure. Upper line indicates normal pressure while lower line high pressure (extreme pressure which generates a noise sound). - High bow pressure is also indicates with a black square while normal pressure with a white square. High pressure should be extreme in all cases.

- Three states of speed for vertical bow movement are used: normal bow speed, slow bow speed and still bow (in this case bow should create sound only by parallel motion along the strings). Stage arrangement Various stage arrangements may be employed depending on the shape and size of the concert hall. Here is a suggested stage arrangement:

Violin 1

Violin 2

Viola

Cello Audience

Spider Web B -Spider Web can be performed together with the 8-channel electroacoustic piece Acid Drops. In that case the name Spider Web B is used. -Equipment required: 1 laptop, 1 MIDI pedal, 4 contact or DPA microphones, 1 8-channel audio interface, 1 8 channel mixer, 8 loudspeakers. - A Max/MSP patch (provided by the composer) is controlled by the first violinist. The Max/MSP patch is used for triggering 4 stereo audio files routed to 8 loudspeakers. There are 5 sets of 4 audio files, corresponding to the sections of the piece (section 5 and 6 are connected). Each audio file name is preceded by the number 001-005 which corresponds to the section of the piece. Thus 001 is triggered first and 005 last. The name of the audio file is followed by a number which identifies the 4 stereo channels. (Thus 1 means stereo file 1 routed as seen below). All audio files are named in the form 001name1 and put in the appropriate samples folder in the Max/MSP patch folder. -Routing of the 4 stereo files of Acid Drops: File 1 to loudspeaker 1,2, file 2 to loudspeaker 3,4, file 3 to loudspeaker 5,6, file 4 to loudspeaker 7,8. -The first violinist triggers the audio files with a MIDI pedal and decides the entrances of the string quartet. Capital A.D. inside square indicates triggering of an Acid Drops section, while lower case a.d. indicates receiving a trigger from Acid Drops. In that case a capital S.W. in Acid Drops score indicates the

Spider

Web

triggering.

Except for section 5 of Acid Drops, which is triggered

simultaneously with section 5 of Spider Web, all other Acid Drops sections are triggered after the previous Acid Drops or Spider Web section have ended. No pauses are intended

between sections. -All instruments should be amplified with contact microphones or DPA microphones and projected to: Violin 1 to loudspeaker 8, Violin 2 to loudspeaker 3, Viola to to loudspeaker 6 and Cello to loudspeaker 5. -When played as a solo piece amplification with contact microphones is encouraged. Suggested stage arrangement for Spider Web b (L=Loudspeaker):

L.2

L.1 L.8

L.3

Violin 1

L.7 Viola L.6

Violin 2

Audience

L.4 L.5 Cello

Magical Theatre Spider Web and Acid Drops are also part of the larger piece for ensemble and electronics Magical Theatre. See the performance notes of Magical Theatre for specific directions.

Spider Web

(Triggered at any point between 0.16-60 of section 1 of Acid Drops)

a.d.1

2. Peace (Moon in Libra)

q = 60

4 &4

Violin I (Left)

4 &4

Violin II (Right)

B 44

Viola (Left)

Always let resonate

?4 Œ 4

Cello (Right)

pizz.

œ F

(high bow pressure) (normal bow pressure)

(don't exaggerate snap pizzicato)

?‰

Vc.

arco

œ f

(gliss.)

œ. P

j œ

‰

E.S.8 ?

Vc.

pizz.

œœ f

(When part of Magical Theatre first violinist gives the signal to the pianist in that space)

ord.

s.p. arco

œ F

5:4

œ p

àœ f

(free bouncing of bow on string, approximate duration)

Jeté arco

3:2

# ˙˙ F

Jeté

˙˙ π

j ‰ Œ œœ f

a.d.2

(Triggered at 0.6 of section 2 of Acid Drops)

3. Sorrow (Saturn in Libra)

pizz.

Viola

Cello

âœ ? ≈J 3:2 F

j œ

s.p.

‰

pizz.

‰ #œ F

3:2

?Ó

Vc.

‰ œ.

pizz.

F5:4

ord.

Vla.

Jeté arco

‰

j œ f

pizz.

‰

arco

≈ ‰ # œœœœ .... œ F π 5:4

≈

#œ œ ≈œ œ s.p. arco

3:2

‰ ..

ord.

?Œ

Vc.

Vla.

Vc.

pizz. # œ . ~~~~~~~ à œœ ..

(fast oscillation)

~~~~~~

Vla.

F5:4

s.p. arco

s.t.

#œ fp

‰

s.p. arco

≈ œR ˙

pizz.

áœ f

pizz.

œ p

5:4

j œ f

. ≈ œJ F

œ œ J π3:2

s.t. arco

ord.

3:2

œ.

∏

‰

œ ‰

œ. J

j œ

pizz.

3:2

œ f

ord.

≈

àœœ œ f p

c.l.b.

bœ f ƒ

œ #œ Ó J 3:2 P s.p.

s.p. arco

àœ Ó #œ J 3:2 P

L.G.3

Vla.

Vc.

‰.

® j.. œ s.t.

Jeté c.l.b. ord.

r œ œ F

pizz.

‰

ord.

F f 3:2

pizz.

‰ àœ ƒ

≈ áœ œ f F #ƒœ ~~~~~~~~

r œ ƒ

œ.

≈

pizz.

arco

(high bow pressure)

‰.

(Triggered between 0.6 - 0.20 of section 3 of Acid Drops)

a.d.3

4. Truce (Jupiter in Libra) (Headless stems are for synchronization purpose only)

Bow

pizz.

œ f

Violin I bottom

œ ƒ

Fingerboard

open string 1 c.l.b.

pizz. Bow

œ F

Violin II

Fingerboard

pizz.

Bow

arco

Viola

pizz.

œ œ p.

hit on wood

œ f

1 pizz.

Bow

œ P

Cello

Vln. I

Vla.

œ F

~~~ œœ

arco

Œ œ p

‰

arco

œ P

5:4

œ F

pizz.

c.l.b. œ œ ƒ

arco

pizz.

œ ƒ

3:2

~~~~

‰

3:2

œ f

~~~~~~~~

j ‰ œœ œ f F

5:4

pizz.

œ &æ f F

pizz.

œ ƒ

~~~~~~

œ œ œ F

œ ƒ

‰

5:4

~~~~~~~

~~~

œ œ π F

œ f

Vln. II

Vc.

pizz.

Fingerboard

œœ . P 2

œ æ p

arco

œ F

œ f

... œ

Jeté arco

pizz.

~~~

Fingerboard

œ F

œ f

œ π

arco

œœ œ Ï 3

¿ pizz. œ

arco

œ ƒ

F p œ

Vln. I

Jeté arco œ. œ. . P

~~~~

Vln. II

pizz.

œ F

œ ƒ

œœ

Vc.

œ F

œ ƒ

œ œ

œ F

Jeté . . . arco

œ f

¿. .

Vln. I

arco

œœ p

pizz.

œ ƒ

F P

Vla.

œ f

~~~~

Vc.

œ f

~~~~

œ F

œ œ œ

œ f

œ œ œ. F

Jeté c.l.b.

œ ƒ œ

P œ

œ œœ f

pizz.

F ƒ

~~~~~

œ œœ

pizz.

arco

~~~~~

Vln. II

œ f

pizz.

arco

œ F

œ œœ f F

pizz.

Jeté

œ æ p

œ f

œ œ

arco

œ ƒ

œ œ F

~~~~

œœ

arco

c.l.b.

#œ

œ ƒ

pizz.

œ f

~~~

beams signify connected shapes

f b œ. œœ f

Vla.

arco

œ ƒ

~~~~

œ f

ƒ F

œ œ

œ f

~~~~

E.S.9

Vln. I

Vln. II

œ f

Vc.

œ ƒ

œ f

Vla.

~~~~

œ œ œ œ œœ F P ƒ

Jeté

œ œ œ F f ƒ

œ œ f

œ f

~~~~

c.l.b.

œ œ F

œ œ

œ F

œ f

~~~~

œ ƒ œ

s.t.

œ f

œ œ ƒ

œ œœ ƒ

œ F œ

œ ƒ F

pizz.

arco

ord. pizz.

œ ƒ

œ f

(If section 3 of Acid Drops is still playing, wait for it to end and then give signal to the pianist)

œ ƒ

a.d.4

(Triggered between 0.6 - 0.23 of section 4 of Acid Drops)

4 5. Defeat (Venus in Aquarius)

Violin I

pizz.

œ f

~~~~~~

Violin II

1 pizz.

œ f

Cello

Vln. I

œ œ

arco

œ P

j ‰ œ

‰

j œ Ó œ f

œ f

‰

j Œ œ f œ F

~~~~~

3:2

.. œœ œœ

œ œ

c.l.b. œ œ f

pizz.

œ F

¿. ¿ p

behind the bridge arco

œ æ P

arco

Vla.

Vc.

3:2

pizz.

Vln. II

‰

arco

(don't exaggerate snap pizzicato)

pizz.

œ F

s.t.

Viola

arco œ Jeté

Jeté c.l.b.

œ œ F 3

pizz.

∏

œ F 2

œ P

œ.

œœ.

arco

Jeté

œœ œ Ff

Jeté

Vln. I

. œ œ œ œ œœ c.l.b.

sul ponticello

Jeté

Ÿ~~~~~~~~~~~ œ.

5:4

sul tasto

arco

still bow

(hold pitch) 2

sul ponticello Jeté c.l.b.

œ œ F

Vln. II

.. j ‰ œj Œ œ 5:4 f F Jeté

arco

3:2

œœ J Œ F

sul tasto

pizz.

still bow

œœ

(pause when motion of bow along the strings stops)

(hold pitch)

Vla.

j5:4 #œ Œ œ œ. f arco

~~~~~

pizz.

‰

áœ J p

œ J

s.p.

s.t.

¿¿

Vc.

s.p.

‰

3:2

œ F

Vln. I

œJeté f

œ œæ . p

œ .

œ œ.

normal bow speed s.p.

still bow

‰

≈

?Œ

‰

œ F

(hold pitch)

arco bridge

¿¿ . F

Vla.

Vc.

U œ.

When the piece is played with electronics hold this note until you hear an electronic part and dissapear in it.

‰

œ f

pizz.

œœ

Jeté c.l.b.

œœ œ œ

pizz.

2 pizz.

œ f

ƒ œ. œ

arco

Jeté

œ f

~~~

Vln. II

. ..

Jeté c.l.b.

F 1

œ.

Vln. I

œ œ

œ ƒ

~~~

arco

œ œœ œ ƒ

œ œ œ œ

œ œ

Vla.

(semitone trill) Ÿ~~~~~

Jeté s.p. arco

œJeté œ œ œ œ œ f Ÿ~~~~

equal durations

œœ œ F

Vln. II

pizz.

arco

~~~~~~

Jeté

P f

œœ

pizz.

œ f

Vc.

equal durations

still arco

Vln. I

œ œ

¿. ¿

arco c.l.b.

œ F

Vln. II

Vc.

¿.

¿¿

arco

norm.

œ p

¿. f

¿. ¿ Ó f

still

Vla.

norm.

à œœ .. s.p.

ord.

‰

pizz.

‰.

œ f

‰

œ.

s.p.

&Œ

Vln. I

&Œ

Jeté c.l.b.

œ œ F

‰

Vla.

œ F

‰

5:4

~~~~

Vc.

Vln. I

œ J

Jeté

c.l.b.

œœ f

Jeté c.l.b.

œ œ œ œœœ

œ œ

œœ F

œ œ œ œ

arco c.l.b.

œ f

æ œ

pizz.

3:2

‰ œ f

. œ œ

pizz. œ œ f 1

œœ

equal durations

pizz.

œ œ f

œœ œ œ

œ œ œ œ F

3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ œ w œ œ & J Œ Œ p π f 3:2

Jeté

œ œ

Jeté

pizz.

œœ œ f

pizz.

~~~~

Vc.

~ ~~ ~ ~ ~ ~ ~~

¿. F

~~~~~

œ F

Vla.

1 83

s.p.

œ œ

Jeté

œœ ƒ

Vln. II

3:2

œ P

s.p.

Jeté arco

c.l.b.

Jeté 3:2

œ ord. J ‰ œ. f 5:4

s.p.

Vln. II

‰

àœ

s.t.

Jeté

arco

œ f

still

¿ ¿ f

œs.t.

œ æJ

œ æ

s.p. Œ. f

œ œ œ P

5:4

æ œ œ

ord.

œ æ

œ œœ œ

~~~~~~

Vln. I

‰

s.p.

œ F

Vln. II

Vla.

‰

5:4

¿ F

3:2

¿ æ

‰

œ ƒ

s.p.

œœ æ

Jeté

œ f F ~~~~~~~~~ œ

ord.

œ p

¿ æ

Œ.

pizz.

œ œœ f

¿ f œ

pizz.

5:4

F ¿ > œ œœ

œ ~~~

pizz.

œ P

Vc.

Vln. I

œ. œ f

bridge ¿ F

. >. ¿ ¿ ¿¿

¿ ¿ f

œ f

œ P

Vln. II

Ÿ~~~

bridge

still

œ f

¿. ¿. ¿.

arco equal durations bridge

Vla.

¿.

equal durations

Vc.

œ ~~~~

still arco

pizz.

œ P œ

If section 4 of Acid Drops is still playing, wait for it to end and then start together the next section without a pause.

œ f

A.D.5

(Start together with section 5 of Acid Drops.)

5 6. Science (Mercury in Aquarius) s.p. arco

œæ

Violin I

œœ

pizz.

œœ œ

ord. . .

œ œ

œœ

arco

œ. F

œ œœ fP f

3 pizz.

œ œ ƒ

~~~

œ f

Violin II

œ œ œ

¿.

œ æ f

œ p

œ æ f

arco s.p.

pizz.

F ~~~~~

.. .

œ œ f

œœ ﬂ

Jeté

¿. ¿. ¿. ¿.

arco

~~~~

c.l.b. Jeté

Jeté

œ œ f

œ f

c.l.b.

arco

œ ƒ

Cello

œ f

pizz.

Viola

Jeté arco

pizz.

equal durations

Jeté ord.

œ F

Jeté

Vln. I

œ œ

œ œ œ œ œ æ F Jeté arco

Vln. II

Vla.

Vc.

. œ

F œ

pizz.

œ f

2 99

#œ f

>. bœ œ

¿¿ P

~~~~~

fast irregular micro changes in bow direction and/or speed (with short pauses in between)

#œ

áœ

œ f œ

Jeté

œ. œæ

œ œæ

vibrato

arco

#œ

F æœ

s.p.

œ f

pizz.

F ¿ ¿ æ p

fast irregular micro changes in bow direction and/or speed (with short pauses in between)

~~~~~~~~~~~~~

œ f

103

Vln. I

.Jeté . œœ œ

p Ÿ~~~~~~~~

‰

5:4

œ f

œ F œ

. . œ œ œ œ

œœ F

pizz.

œ œ œ

s.p.

pizz.

œ. œ œ œ . œ f ƒ P Ÿ~~~~~~~~~ arco

ord.

‰

Vln. II

F3:2

‰

3:2

œ œ

‰.

BŒ

Vla.

103

Vc.

œ œ.

3:2

arco

œ ≈?‰ ‰ # œ. œ ≈ ‰ bœ Œ œ œœ . œ F f P 5:4

arco

pizz.

Jeté

pizz.

œ F ~~~

pizz.

≈ j ≈ ¿ f

‰

Ÿ~~~~~~~~

≈ j ≈ Œ œ ƒ

7:4

5:4

œ.

arco

pizz.

œ f

#Ÿ~~~~~ œ # œ. . #œ ‰ . ≈ Œ ‰ œ œ.

r #œ Œ œ œ f pizz.

103

s.p.

c.l.b.

œ ƒ

œ œœ

Jeté

¿ J Œ

¿ J

pizz.

≈ j œ. f ~~~

3:2

1 s.t.

pizz.

3:2

¿ J Œ

¿ J

3:2

107

Vln. I

arco

still

œœ ƒ

norm.

still norm. œœ

œ æ œ

œ f

pizz. . œ arco œ œ F f

œ ƒ

Vln. II

œ œœ . œ .

œ.

œ œ

œ f

œ. . œœ

œ œ æ

pizz.

œ œ F

œœ œ

arco

~~~~~

œ f

œœ

Jeté

2 107

œ p

pizz.

Ÿ~~~~

œ F

œ œ f

norm.

still

Vla.

Jeté

#œ

Jeté

# œ.

j œ

œ. œ p

Ÿ~~~~~~~~~ œ

#œ

arco

œ ƒ ~~~ æ œ œ Jeté œ

#œ œ f

107

Vc.

œ f

~~~~~

œœ

F 2

Jeté

œ f

œœ

bœ

Jeté

œ P.

#œ œ #œ

Ÿ~~~~~~~ n œ œj

pizz.

Vln. I

œœ æ

œ P

œ œ æ

~~~~~~

œæ

111

Vla.

œ. œ. œæ

œ F

Vc.

œ œœ

arco

œ P

Vln. I

pizz. œœ œ f

œ ƒ

œœ œ

‰.

~~~~~

j ¿

pizz.

œ œ

œœ

c.l.b.

œ.

‰

3:2

# œœ.

pizz.

œœ

œ ƒ

s.t.

œœ

c.l.b.

‰ œœ‰ #œ áœ P f arco

Vla.

7:4

BŒ

115

Vc.

œ œ

pizz.

œ œ œ œ œ

œ.

arco

‰ #œ œ œ f P 5:4

pizz.

œ œ

c.l.b.

œ œ F ƒ

œ f

Jeté arco

pizz.

‰ # œr ‰ #œ P c.l.b.

Œ ∏

3:2

œ.

~~~~~~~~~

s.p. arco

œœ f

ord. pizz.

œ æ p

pizz.

œ f

bœ œ ‰ ≈ ≈ œ œ ‰ Œ œ #œ œ ƒ 5:4 3:2 f

ord.

pizz.

œ f ~~~~~

pizz.

œœ

j5:4 ≈ œœ ‰ F arco

3:2

arco

pizz.

œ F

Jeté arco

œ œ œ p

pizz.

œ F

œ. f

arco

pizz.

œ œ F 3

≈œ 3:2

œ ƒ

~~~~

~~~

œ F

s.t. still

~~~~

p f

œ.

pizz.

F 3

F œ

arco

œœ œ ƒ

pizz.

arco

ord.

pizz.

œ ƒ

Ÿ~

¿ ¿

pizz.

arco

œ.

pizz.

Jeté

œœ

pizz.

œ ~~~~~~~~~~~~~~~ ~ F

arco

# œæ œæ ‰. ≈

æ œ ‰ #œ. . ≈ #œ F f

115

≈ ≈ bœ

~~~~~~

Vln. II

F3:2

&Œ

3:2

œœ

Ÿ~~~~~~~~~

5:4

œ ‰ & œ. ‰ ƒ

‰.

3 arco

#œ œ

Jeté arco

œœ œ. œ

115

œ œ

Jeté

œœ œ

P f

111

œ œ

~ ~ ~~

2 s.p.

~~~~

œ œ p

Vln. II

arcoœ œœ œœ œ .œ œ œ f ƒ ~~ ~ ~~

arco

pizz.

~~~~

œ œœ F

111

pizz.

œ f

arco

pizz.

œ f

f F œ

arco

œ.

j ¿

¿ p

~~~

arco

œ F

~~~

~~~~~

œ œ

Jeté arco

P 3 pizz.

œ f

~~~~

arco œ

119

Vln. I

œ f

Ÿ~~

¿ P

œ f

œ œ

¿ ¿ f

Vln. II

œ f

Vla.

œ F

œœ œ

œœ œ œ œ œœ œœ œ œ œ ƒ

œœ

equal durations

¿ ¿ ¿ ¿. ¿. ¿. f

Jeté

pizz.

œ œ œœ œ œ œ œ œ œ f

œ p

œ œ Ï

œ f

œ ƒ

œ œ œ p

œ œ œ œœ

Jeté

œœ

Jeté

œœ

œ œ F

¿¿

œ f

œ F

œ œœ œ œ œ œ œ œ œ œ œ f ƒ

arco

pizz.

œ ƒ

œ œ œ œ œ

arco

œœ

equal durations

œ œ

pizz.

œ œ œ

œœ

equal durations

Vc.

119

Jeté

pizz.

119

œœ

œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œœœ f

arco

equal durations

œœ

œ f

œœ œ

œœ

Continue to next section without pause

œœ

123

Vln. I

œœ œ

~~~~~~~

Vla.

123

Vc.

œ œ

f 3

œœ P

~~~

Jeté

pizz.

œ œ œ œœ œ P

œ F

~~~

œœ œ œ

#œ œ œ. F

œœ

œ ƒ

~~~~~~~ ƒ

¿ f

¿ ¿¿

œ F

s.p.

pizz.

œœ

pizz.

p Ÿ~~~~~~~~~~

arco

œ Ï

¿ f

¿¿

arco

œ ƒ

F œ

¿ ¿

pizz.

œ Ff

arco

¿¿

œ œ œœ œ

œ P 2

# œ. ƒ

œ. F

pizz.

œ p

Jeté

¿ ¿¿

. œ

œœ

pizz.

arco

œ œ f

equal durations

# œœ æ P

arco

pizz.

œ œ æ

equal durations

Jeté

arco

s.p.

pizz.

arco

pizz.

œ f

123

œ œœ œ

Vln. II

~~~~~

123

¿ ¿

6 7. Futility (Moon in Aquarius) Create a dense and discontinuous granular texture

s.p.

s.t.

Violin I

~~~~~~~~~

slow

still

slow

~~~~~~~~~~~~~~~~~~~~~

still

norm.

fast irregular micro changes in bow direction mute all strings with left hand

s.p. s.t. still

norm.

slow

norm.

~~~~~~~~~~~~~~~~~

Violin II

still

slow

mute all strings with left hand

131

slow

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

135

~~~~~~~~~~~~

slow

still

135

~~~~~~~~~~~~~~~~~~~~~~~

Vln. II

norm.

slow

still

Vln. I

~~~~~~~~~~~~~

still

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

143

Vln. I

still

slow

~~~~~~~~~~~~~~~~~~~~~~~~~~~

norm.

~~~~~~~~~

slow

still

~~~~~~~~~~~~~~~

slow

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

143

~~~~~~~~~~~~~~

slow

Vln. I

Vln. II

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

slow

norm.

slow

still

139

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~

still

~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 139

still

Vln. II

still

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

147

Vln. I

~~~~~~~~~~~~~~~~~~~~~~~

151

Vln. I

~~~~~~~~~~~~~~~~~~~~~~~~~

147

151

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

still

~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

(When part of Magical Theatre, give signal to piano at that point and finish together with the piano gesture. Morph with the piano scraping sound.) gradually sparser bow attacks

~~~~~~~~~~~

Vln. I

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

slow

E.S.10

155

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

LIQUID GLASS

for two percussionists and electronics

Liquid Glass Part 1: Glass Flowers Part 2: Liquid Drums

Program note: My intention was to treat the instruments as everyday-world sound objects, almost completely ignoring their musical and instrumental tradition. This was easier with specific percussion instruments because of their immediate physical relationship between gesture and resultant sound. Shaping of sounds became almost primitive and tactile. At many times gestural motion in two dimensions is the agent of the musical discourse. Simple gestural motion is also present in the electronic part, consisting of synthesized and pre-recorded sound layers, as movements of parameter controlling sliders and buttons. The piece is articulated in two parts further divided into nine sections. Each sections' title is based on the descriptions of the 9 cards of the disks suit of the minor arcana by Aleister Crowley on his Thoth Tarot. Greek philosopher Plotinus referred to the metaphysical properties of the physical art of building statues and shrines in ancient Egypt: 'I think, therefore, that those ancient sages who sought to secure the presence of divine beings by the erection of shrines and statues, showed insight to the nature of the All; they perceived that, though this Soul is everywhere tractable, its presence will be secured all the more readily when an appropriate receptacle is elaborated, a place especially capable of receiving some portion or phase of it, something reproducing it, or representing it, and serving as a mirror to catch an image of it.' Plotinus, Fourth Ennead: Third Tractate, Section 11

Performance notes General: The piece is for two percussionists and recorded audio (tape). Four loudspeakers are required. All instruments are amplified. There are 2 parts comprised of 9 short sections marked with numbers in circles. Part 1 is comprised of three sections and part 2 of six sections. Part 1 is for solo percussionists while part 2 is for percussionists and electronics. In the beginning of each section a new audio file is triggered and lasts for the whole section (except for section 1 of part 1, which is for solo timpani). Section 1 of part 2 is for solo timpani but a silent audio file may be used in order to function as a stopwatch through the Max/MSP patch. Liquid Glass is part of the larger modular piece Magical Theatre. When played as a solo piece, the silences between sections should be minimum to non existent. Instruments: Percussionist 1: Large bass drum, large timpano, large cymbal upturned on timpano. Percussionist 2: Medium bass drum, large timpano, large cymbal upturned on timpano. Bass drums and timpani are amplified. Bass drum 1 is panned right while Bass drum 2 is panned left. Timpano 1 is panned half right while timpano 2 is panned half left (from the listener's perspective).

A suggested stage layout is

shown in the image below:

Notation - sound production: -In the first three sections of part 2 use small superball mallets to rub the surface of the timpani. Percussionist one should use a superball with a large and thick ball while percussionist two a superball with smaller and thinner ball. -In part 2, the upper two line staff depicts position on the surface of the instrument (either timpano, cymbal, bass drum or tom). Upper line depicts the centre of the surface and lower line the edge of the surface as shown below:

While only vertical movement on the surface is notated, the performer should freely move horizontally in order to create dynamic changes, and articulate sounds. The shape of the lines indicates also speed of motion. -In the last section of part 2 the performer could imagine that the above circular surface is moving randomly on the staff so that notated shapes are bent, contracted, expanded, etc. Electronics-Synchronization: -A stopwatch (when played solo) or preferably a Max/MSP patch with timer is required. The patch is provided by the

68 composer. The performers should navigate through the piece by consulting the time indicators in the audio part. A number in italics above each system, in the audio part, indicates the duration of each system. The time in the audio file, at the beginning of each system, is also given as are many other significant events. As duration of each system changes, relative distances in space should be observed with precision, though a certain freedom is intended. Familiarization with the audio part by listening and studying its spectrograph may be very helpful. -The Max/MSP patch is used for triggering 2 stereo audio files routed to 4 loudspeakers. There are 5 sets of 2 audio files corresponding to the sections of the piece (sections 5 and 6 are connected). Each audio file name is preceded by the number 001-005 which corresponds to the section of the piece. Thus 001 is triggered first and 005 last. The name of the audio file is followed by a number which identifies its routing to the loudspeakers (see directions below). Thus 1 means stereo audio file 1. All audio files are named in the form 001name1 and put in the appropriate samples folder in the Max/MSP patch folder. A number inside a triangle in the beginning of each section indicates the audio file to be triggered. Balance: Live sound should be approached as one layer among many other layers. It is important that the performers understand their role in the mix. The instrumental entrances or exit points sometimes are masked by electronic layers and at other times they have a strong demarcative function. Audio-Amplification-Routing: Four condenser microphones are required: -Each timpano (and cymbal) should be amplified with one DPA or condenser microphone. Timpano 1 is panned half right while timpano 2 is panned half left (from the listener's perspective). -Each bass drum should be amplified with one DPA or condenser microphone. Bass drum 1 is panned right while bass drum 2 is panned left (from the listener's perspective). The first percussionist should trigger the five audio files in the beginning of sections 4,5,6,7,8, through the provided Max/MSP patch (especially when played as part of Magical Theatre) or any other suitable way (e.g. Ableton Live software). The number of the audio file to be triggered is shown in the beginning of each section inside a triangle (sections 8 and 9 are in the same audio file). Audio should be loud and at some peak points completely overpowering the instruments. When played alone, stereo audio file 1 should be routed to loudspeakers 1 and 2 and stereo audio file 2 should be routed to loudspeakers 3 and 4 placed in space accordingly to the diagram below. Percussion should be mixed in loudspeakers 3 and 4. Loudspeakers should be close to the instruments. In cases of small halls instruments may not be amplified at all. Loudspeaker3

Loudspeaker4

Percussion1

Percussion2

Loudspeaker1

Loudspeaker2 Audience

Magical Theatre Liquid Glass is part of the piece for ensemble and electronics Magical Theatre. When played as part of Magical Theatre part 2 is played first and part 1 follows. See performance notes of Magical Theatre for detailed synchronization directions.

Part 1: Glass Flowers

e.s.7

1 2: Change (Jupiter in Capricorn) q = 60

44 centre Ó

Timpano Percussion 1

(right)

edge

x noteheads denote hitting with a drum stick or a similar light wooden mallet, (normal noteheads are to be played with timpani mallets) always let ring

Timpano Percussion 2

(left)

centre edge

Perc. 1

P Pedal

Perc. 2

Œ J

Perc. 2

Perc. 1

‰ œ Œ J f

‰ ¿ f

5:4

3:2

œ F

‰ œJ Œ F

always let ring

e.s.8

(When part of Magical Theatre count two seconds after the signal is given by the pianist and then play the first timpano hit together with the first piano figure.)

2 3: Work (Mars in Capricorn) ¿ Œ ‰ œj Œ ƒ Percussion 1 F

‰ ¿ p

Perc. 1

Perc. 2

Perc. 1

Perc. 2

‰¿ Œ F J

‰ J¿ Ó f

3:2

Œ œ Œ Ó P 3:2

3:2

œ p

5:4

3:2

Percussion 2

A.D.2

Ó Œ

‰ . Rœ P 5:4 f

‰ œ

Œ Œ

¿ ‰ œ f P 5:4

5:4

j œ Œ p

Œ ¿ Œ P

5:4

3:2

‰ œj Œ F

Ó Œ

Œ œ Œ Ó F3:2 3:2

Œ Œ

3:2

œ Ó f

s.w.2

(when part of Magical Theatre wait for signal by first violinist in order to start together with the first string sounds of Spider Web after the signal)

3 4: Power (Sun in Capricorn) Headless stems are for synchronization purposes only

œ f

Percussion 1

Percussion 2

A.D.3

Perc. 1

Perc. 2

œ P

œ f

œ œ f F œ f

¿ F

œ F

¿ p

(When part of Magical Theatre give the signal to the first violinist and then start immediately after you have heard first electronic sounds of Acid Drops.)

œ œ œ œ œ œ œ ¿ œ p f P f F ƒ f f ƒ

¿ F

Perc. 2

Perc. 1

¿ p

œ F

œ ¿ œ f p F

¿ F

œ P

œ f

œ ƒ

¿ F

œ f

œ œ œ œ œ œ œ œ œ œ œ œ œ f ƒ ƒ F

œ f

œ œ ƒ F

œ ƒ

Part 2: Liquid Drums

e.s.1 1 4

5: Worry (Mercury in Taurus) (timpano level is unpredictable and should be achieved through mallet pressure but in general it should folllow audio level)

use superball centre Timpano edge

F (move freely along the surface)

Percussion 1 Timpanopedal

Percussion 2

whole range

use superball centre Timpano edge

â&#x2C6;?

whole range

Timpanopedal

(move freely along the surface)

0.16

Audio

silence

(0)

E.S.2 (iterated sound achieved through oscillating mallet pressure)

(always let timpano ring)

~~~~~~~~

Perc. 1

(always let timpano ring)

Perc. 2

0.30 0.17

silence

0.16

0.33

e.s.2 2 5 6: Success (Moon in Taurus) Ď&#x20AC;

Percussion 1

Pedal

(iterated sound achieved through oscillating mallet pressure)

~~~~~~~~~~~

Percussion 2

Pedal

Timpani sounds

0.4

0.19

Audio

Perc. 1

Perc. 2

0.19 0.23

0.19

0.33

0.30

~~~~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ f

E.S.3

Perc. 1

~~~ ~ ~ ~ ~ ~ ~ ~

~~~~ ~~ f

Perc. 2

0.21

0.38

0.51

0.59

e.s.3 3 6

Percussion 1

7: Failure (Saturn in Taurus)

~~~~~~~~~

Pedal

Percussion 2

~ ~~~~ f

~~ ~ ~~ ~~ ~

Pedal

0.2

0.20

Timpani sounds

Audio

Perc. 1

Perc. 2

0.23 0.23

0.20

~~~ ~~~~

Perc. 1

Ï&#x20AC;

Perc. 2

~~~~~

~~~~~~~ ~

0.28

1.2

0.48

0.43

F.1

Perc. 1

Perc. 2

1.21 cymbal

1.11

~~~~~~~

~~~~~

0.35

1.34 cymbal

cloth scraping

1.38

1.46

e.s.4 4 7

8: Prudence (Sun in Virgo)

Upturned cymbal on timpano (no attack) center Use wire brush edge

Percussion 1 Mute

mute cymbal by touching surface

œ fp

Pedal

Upturned cymbal on timpano center

noteheads indicate attacks

Use wire brush

edge noteheads indicate attacks

Percussion 2 Mute

œ F

mute cymbal by touching surface

Pedal

0.10

Audio

silence

Perc. 1

(fast trill-like oscillation)

~~~~~ ~

ßp

~~~~~~

(fast trill-like oscillation)

Perc. 2

~ ~ ~~ ~~

~~ œ

(observe thickness of sonogram in order to figure attacks in the audio)

0.10

œ f

vinyl record

0.15

0.11

Perc. 1

~~~~ ~

œ ~~~~

œ P

Perc. 2

0.17

œ F

∏

Perc. 1

~~~~

~~ ~ ~~ ~~ ~~ ~

0.16

0.38

0.29.8

0.25.8

Use the head of a 25mm bolt or coin

Perc. 2

~~~~~

œ ƒ

noise

0.21

œ ~~~~~~ ~~~~~ fp

œ ƒ

0.43.3

0.45.7

0.49.3

~~~~~~~ ~~~

~ ~ ~ ~ ~ ~ ~~ ~~~~ ~

Perc. 1

œ f

Perc. 2

~ ~ ~~ ~ ~

Use the head of a 25mm bolt or coin

~~~~~~~~

0.20 cymbal oscillations

0.54

vinyl record

cymbal hit

1.1

1.4

Perc. 1

~~~~~ ~~~~~ ~

∏

Perc. 2

0.18 cymbal hit

1.14

low cymbal hit

1.20.5

noise

noise vinyl record

1.31

~~~~~~~~ f

Perc. 1

Perc. 2

~~~~~~~~~ P

~~~~~~~~ f

œ p

~~~~~~~~~~~ F

~~~~

1.36 0.10

silence

1.32

When part of Magical Theatre wait for section 4 of Electric Serpent to end and then start next section together with Electric Serpent, without pause mute cymbal

Perc. 1

mute cymbal

Perc. 2

0.18 cymbal oscillations

noise

1.42

1.50.5

1.58

E.S.5 (give signal to pianist and start simutaneously with section 5 of Electric Serpent) 5 8

9: Gain (Venus in Virgo) Use wire brush center

Percussion 1

Perform the shapes without thinking about them rationally. Draw your perception of the notated shape on the surface, in the given duration, focusing on creating a sound similar to the electronic sounds. Attacks though should be placed on the notated point in the surface.

Bass Drum edge

(no attack)

œ p

noteheads indicate attacks

let bass drum ring after every gesture except when followed by a cross:

center

Percussion 2

Use wire brush

Bass Drum edge

0.13

Audio

0.2.9

9.1

+ Perc. 1

f œ

Perc. 2

œ drum hit

0.13

0.14.7

0.14

œ F

Perc. 1

œ p

p f

(no attack)

Perc. 2

+ œ

(mute by holding down brush)

0.24

0.27 0.27.7

0.35.8

0.32

Perc. 1

Perc. 2

f œ

+ P

0.15 iterations

0.51

0.53.5

Perc. 1

Perc. 2

π +

œ f

0.17 iterations

1.20.5

1.6

Perc. 1

1.23

Ï + œ œ P ƒ

Perc. 2

1.26.2

0.11

1.28.5

Perc. 1

Perc. 2

+ P

0.22 brown noise

iterations

1.47.5

1.41

1.34

10: Wealth (Mercury in Virgo)

Perc. 1

Perc. 2

0.24

1.56

2.20