TV Resonances, for bass clarinet and electronic sound

Page 1

TV Resonances for Bass clarinet, electronic sound and video

Lefteris Papadimitriou


The piece is part of the modular piece No Signal.

Performance notes -Performer may utilize a click track in order to synchronize with the electronic part (two extra measures with lower click sound are given before the beginning of the piece). -Dynamics are relative. The performer should aim to a general equal balance with the electronic sounds. -Dynamics changes are not indicated but the performer should freely fade in/out or smoothly change dynamics. Pause when needed (preferably for a short duration). -Arrows indicate gradual changes between parameter states. -Voice indicates a singing note close to the played note that slightly modulates the instrumental sound. -Embouchure changes notated in the upper three-line staff indicate three position of the mouth upon the mouthpiece and reed. The middle line indicates normal position. The upper line indicates that as much of the mouthpiece as possible should be in the mouth. An amplification and distortion of the notated pitch is desired. The lower line indicates that a very small part of the mouthpiece should be in the mouth. A heavy distortion of the notated pitch and/or air sound is desired. -Teeth pressure upon the reed is notated in the upper two-line staff. Teeth pressure may be achieved with lips or teeth and aims to create a high harmonic or completely distort the sound. Lower line indicates strong pressure which drastically alters pitch and timbre. Upper line indicates normal pressure. A trill line after indicates fast oscillation between the two states.

-Dynamic changes, pauses and phrasing that result from independent changes, teeth pressure and flutter-tongue are desirable.

parameters such as emouchure


TV Resonances q = 60

5:4

>

3:2

Embouchure

>

5:4

5:4

3:2

Reed

Bass Clarinet

         & 44 #w f ? 4 4

Electronics

w

TV noise

>

20'' 6

5:4

    

w

w

w

6

6

El.

& ?

w

 

>

    

5:4

w

40''

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~      

w

w

˙˙ ..

#w

>

5:4

11

w

~~~~~~~~~ 

w

3:2

11

El.

?

w

w w

     Voice

w w

     

>

 

>

w w

5:4

~~~~~~~~~

>

~~~

 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~        

ww

>

5:4

    

w

11

 ~~~~~~~~~~~~~~~~~~~~~~        & ˙ ˙˙

w

5:4

w

5:4

 Voice 

B.Cl. 11

 Voice  w

3:2

w

>

 œ

     

    

w

6

B.Cl.

~~~~~~~~~~ 

Voice

~~~~~~~~

    

w w

5:4

>

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

    


2 1'

>

16

5:4

>

>

>5:4 ~~~~

16

B.Cl. 16

&

16

El.

?

             Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j #œ ˙ ˙˙ œœ ..

˙ w

w

>5:4

>

w

  Voice 

w

1.20''

>

œ

˙.

>

w

3:2

B.Cl.

&

21

El.

?

w w

œ. Speech

j œ

w w

21

21

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

    

1.24

21

>

5:4

˙ Pink noise

5:4

    


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