Giffen Good by Louis Goldford

::: performance score :::

Giffen Commissioned by David Whitwell

Good

for trombone + live, interactive electronics

Louis Goldford (2014) [ dur. ca. 11â&#x20AC;? ]

instrumentation

installation

trombone, with — — Harmon mute & stem — alto saxophone mouthpiece

Software is available as a Max package folder, containing all patcher files and links to user libraries (downloaded separately), compatible with Max v6.1+ or Max 7 (download from www.cycling74.com/). The piece also runs in the free version, Max Runtime, also from the provided URL.

live electronics* *Software and assistance are available from the composer: ljgoldford@gmail.com.

ideal stage setup performer

[client]

[stage] [mix position] [audio interface]

[engineer]

[host]

All 3rd-party user libraries, whose rights are bound by their original licenses, are linked in the provided README.txt file. Without these externals, the piece will not run. For assistance or software download requests — ljgoldford@gmail.com.

1. a laptop, situated at eye level for the performer on stage, running the “Client” patch (i.e. software); 2. a laptop, at mix position, running the “Host” patch. This computer processes sound, is linked to a mixer, and is run by a Computer Assistant; 3. a reliable wireless router, possibly in addition to House WIFI, providing for communication between Host and Client; 4. an audio interface connected to the Host laptop (recommended: MOTO 828 mk. III) > The piece runs in either stereo or 4-channel surround; 5. a condenser microphone placed appropriately for the soloist, ideally in a cardiod polar pattern; 6. a mixing console, amplification, and loudspeakers. > Digital reverb and all DSP are implemented in the Host patch.

[computer assistant]

alternate stage setup Giffen Good may be performed in the absence of a Computer Assistant. The software download contains an earlier version of the Host patch (then called “Parent Patch”), which allows the soloist to control the pacing of the electronics. Using this version of the piece, the soloist will not need a router but will need a simple USB-pedal, a.k.a. “stomp box,” for advancing cues from the stage. The computer on stage will then need to be routed into the mixer, as it is the only computer outputting sound.

A complete walk-through of the software setup, including screenshots of the interfaces, is provided later in this score preface.

performance notes As described on page 1 of score, tempo is somewhat free and ad lib. As a generative piece, certain score elements are controlled by the the state of the current price of gold. Since these moveforunpredictably, David Whitwell a kind of improvised counterpart between the solo part and the electronics is expected, and the soloist is asked to respond to the electronics flexibly — i.e. stretching phrases, sometimes waiting or pushing ahead, though always responding musically.

Giffen Good

†

trombone electronics Please note that this is NOT a piece for fixedfor media, and therefore + thelive soloist is NOT asked to simply “follow” the electronics Before starting piece, press "INIT" (with thevexception of athe transitionary section, marked Tempo Liberamente II°.) Louis GOLDFORD (2014) and be sure "ready to go" appears on screen.

Tempo Liberamente I° [ q = c. 130 ]†† Harmon mute, stem in (fully)

Trombone

? 42 ˙ 1 Sp

ÖÖ á 9 38 ‰ 42 16 œ . œ ≈ . œ œ ≈ µ œ F Ö

o+ œ. œ œ #œ #œ

o ƒ

o+ o N œ ˙ ˙ Ö á œ. Circled numbers indicate triggered on the 8 á Host á laptop (or by tapping the µ œ . by theµÖœspacebar # œcuesœ in. ≈the3electronics, œ b œ . 7 in the score.38 These 2 appear UNDER16 9 USB-pedal? in the “alternate stage setup”) at the 5 horizontal position always . ncues Œ Œ µ œ b œ œ 8 16 16 4 the staff. Additional comments describing changes in the electronics also appear here. J P sub. ƒ Í (Begin analyzing, indexing, building a Markov chain, live resonant models...)

Ö ÖÖá Ö á ÖÖÖ 14 5 3 ? 16 9 ‰ ‰ ‰ ‰ . 42 œ œ. 8 ‰ œ.µœ 16 ≈ µ œ # œ- . n œ # œ- œ P sub. +o œ¨ ≈ 24 1 ¨ 2 1 ?‰ µœ. . œ 8 4 8 œ œ b œ œ . ≈ b œ ≈ nœ œ œ. > > Ö o+ á. o o+ . œ œ œ œ ≈ 31 ¨ Ö Ö Öá ? 5 3 #œ Œ j 16 n œ 42 4 ≈ µœ. œ . #œ Í f (P) ﬂ 16

Ö Ö Ö á

42 µ œ b œ œ B œ µ ˙

3 4 œ µœ. ˙ ≈ n œ . µ œ n œ P sub.

œ bœ. œ

9 16 ‰ ‰ ‰ ‰ . 2

9 16

(Enable live GOLD quote glissandos.)

œ . œ ≈

2 4

Tempo Liberamente I° [ q = c. 130 ]

P Giffen Good

Harmon mute, sub. stem in (fully)

œ o+( f ) S # œ. œ œ œ #œ ˙

˙ o+ µ >˙

ÖÖ Ö á † o+ o for trombone + live electronics ? 2 9 3 2 ‰ > one 16 œ . œ ≈ œ . œ ≈ 8 µ œ n >œ 4˙ œ œ . ≈ ess "INIT" 4 ˙144 Louis GOLDFORD (2014) ears on screen. ƒ Í . 2 ≈ µ œ . Fœ œ( œ) œ ≈ 1 Sp? 9 ‰ ‰ ‰ ‰ Œ Œ œ h b œ d œ œ + œ # œ = œ †† & ( œ) 16 o+ o 4 o is in quarter tones. po Liberamente [ q = building c. 130 ]a Markov chain, live resonantTuning (Begin analyzing,I° indexing, models...) o+ P sub. S# œá # œ ˙ N œ˙ n mute, stem in (fully) (f) ˙ ˙ Ö Ö œ œ . . ≈ œ ÖÖ Ö á á á µœ. 2 œ µœ bœ œ. #œ œ. - 3 9 5 ‰ 4µ œ 16 7 38 b œ . n œ 2Ö Ö Ö á 9 ?16Œ œ Œ. œ 151≈ œ 38œ 8µ œ 16 4 16 µ œ œ . œ ≈ œ œƒ. œ ≈ 2 µ ˙ J 9 Í P?sub.F bœ ˙ œ . ≈ 16 ƒ4 15 Í Fchain, sub. live resonant indexing, building a Markov o+ o 3 models...) [D] [C] 6 vib. norm. o+ N œ ˙ ˙ [A] [B] Ö á ÖÖÖ á á groupings . œ≈ 9 œÖ‰œ ‰Ö. Ñ. ‰Ö ‰á# Ü.œ 2µ œ .Ñ ˙ Ü µÖœ1bÖœ áœ . Désormière subdivisions ˘œ of assymetric meters. or durations. A pair of 5 3 œ? . [A]8 orÖ‰ asuggesting .áµ œof 42sixteenths œ œ œ µ œ b œ œ a triple of eighths 4 4 16 16 3 5 7 3 2 9œ µ ˙duple subdivisions; 5 Ö eighth notes pair [C] show .≈ µ œ #bœ-œ. n œœ 8 b œ . n œœ œ œ . 8 8 Œ 15616 Œ . #Œœµ œ œŒ16 o œ µ œ b œ B 4 16 ≈ [B] or [D] subdivisions. -œ .sub. œ ≈ n œshow compound J 7of sixteenths 2 ? œ ≈P J ≈ 16 Í µ œ +o 4 nƒœ . œ ≈ œ . œ ≈ œ œ . ≈ (f) S ( P ) 6 (Faster models / glissandi...) œ¨ ≈ P sub. 4 signals witho+"Back [F] +o op to score!") o+ 2 Ö oá Ö Ö Ö [E] ¨ > ˘ 1 3 9 ‰ ‰ ‰ ‰. ? > 24# œ ‰ ˙µ ˙ 41 8 b œœ 16 54œ .œ œ . 38 µ‰œ .œ . µ œ 42 œ . 81 4 16 . ≈ œµ œ œto normalnmute œµ œ. 157 ≈ #≈œb. œn œ≈ ≈In addition positions from open-to-closed [E] and œofB œopenœµ.˙(o) andœclosed µ œb .œ (+), ˙œ a fast motion(Enable #. . .œ-.¨ b œœ2::≈10/09/15 œ œ œ µ œ b œ . Goldford live 3 µ œ N œ œ from closed-to-open [F]>are also used. Both should be executed quickly regardless of the duration of the note ? signals with œ ˙ 2Œ GOLD Œ Œ Œ ‰U. . P ‰ . sub.4~15" (Laptop 4 > # œ quote "Back to score!") below it, to enhance articulation and provide a clear “wah” or “ow” vowel formantization. J glissandos.) Ö So+ á. ( P ) . o +oœ¨ p (f) o+ œ œ œ œ ¨ ≈ ≈ 1 . ¨ 9 3 o. .µ.œ Ö Ö o+ Öá ¨ . 2 1 3 . 5 . 2U 9 signals with 42"Back to score!") Ö?Ö Ö > á j œ . 8 43 # œ164 Œ ‰ ‰ ‰~15" ‰ . (Laptop œ œ . 4 16 n œ b œ 16 4 16 ≈ ≈ ≈ œ œ ≈ œ . µ œ . œœ . 2 µ ˙ n œ œ œ µœ. ˙ live # œ indicated duration. ≈ a fast motion from ≈ n2œ . (Enable 4 Í f over the µ œthisnquote œcase, attackœthe. ¨noteœ with > change mute positions Gradually In 163 > ( P ) GOLD fl to>open hes. Rhythmic / phrase shapes may vary from the ˘ suggestions above. .¨ move open-to-close, as.in. [E], and gradually Pover sub. the course of seven . . .sixteenth notes. ? glissandos.) > position . . Ö á . . o+ . . e from measure 46. o . . > œ œ . µœœ œ . á Œ Ö Ö Ö ÖáÖo+¨ Ö á á ≈ 7 œ µ[ē]áœ Öœ . µ œ [ō] œ . Gradually µ œ . vowels œ ≈ formed change by the throat while playing Results in a glissando of bands of [ō] normally. [ē] 3 2 9 2 ≈ Œ œ œ œ œ # œ n œ ? 2 3 9 3 2 higher harmonics, i.e. a change of spectral envelope. Do not sing. At other is asked to 4 to16the screenGiffen 416once 16 pitches. 4Œ Œ timesŒ theŒperformer and≈ improvise again on newly analyzed 5 œ . ‰ 16 7 Turn 9 ≈ 16 Good :: Louis Goldford :: 10/09/15 5 2 j 4 4 will indicatethe "Back from measure at 16 such what to sing and . the≈program œfsing; œ 15" # œ œmoments œ .to score!" ≈169.what to play will be clear. ≈ ndistinction Í4 œµ˙≈˙ œ +o. œ œ≈ After µ œ nbetween œContinue œ œ . . ≈ # œ ≈ µ œ á Ö Ö µœ . ˙ œ [ <q > ] (V.S.)~10" >+œmodels / glissandi...) fl Dense, dramatic P sub. U µ œ > +o o+ (Faster o +o œ +o 6 . p ≈ o > 165 >œ . > > ¨ µ œ œ œ ¨ . ˙ J 38≈ b œ areœÖ169 7 2 n œ .MaxMSP á ?œ patches Ö á á Ö á instructions. Ö Ö Œ and setup (ljgoldford@gmail.com) with complete installation oavailable≈ from the≈≈composer µ œ 16 4 [ō] [ē] † [ō] ? 7and somewhat 2 marking is used≈ 38 œ names≈imply. œ There are two main tempos, I° and II°,3and2both are semi-free as their I° is slowerremove morebflexible. This 3 æ ~~~~~~~~~~~~~~~~~~~~~ ‰ Œ ≈ mute 9 2 œ + Ö á j 16 4 Œ Œ Œ Œ œ phrasingƒtremolo µ54œ Rapid, œ::conrols hen the liveŒ7 market price of 16 gold, fluxuations, the of the Markov generator. Therefore, even though I° suggests a Œ. theGiffen Œ unpredictable Œ::4Louis jintoitsthe 16 16˙respond Good Goldford 10/09/15 5the phrasing . ntogranulation.) œchanges unmeasured between & closedinmute positions, accompanied by the Œ pulse ‰ ‰ . eady of 130 BPM, player must phrasing of the "market." Adapt the notated part atopen will as well as œ ≈ œ ≈ n ˙ ˙ . # œ œ S 4 16 (Expanding / contracting . f ≈ # œ œ ≈ µ œ against thewhere bell /the mute as it(V.S.) tremolos. S modelsá (Faster SÖ opening ˙handtherattling .Dense, he œ onsetp of resonant (as in the section). Try toleft insert onsetœof new phrases Markov generator leaves space; or respond to Öµ œ p sub.dramatic models /dynamics glissandi...) 8q [ ] Í p < > ~10" sdels increased density of activity with similar and tempo. Do the same for the live resonant models when they are captured and played back U œ > p / glissandi...) œ . "waves" of≈partials; leave space for these or respond dynamically. II° is more rigid, and functions as a guide for the proportional notation that of trombone; chorus of trombone textures.) without mute ïnstallation orresponds sequenced electronics at cue with #13. complete These bars of 2/4 at BPM are not strict; they are provided simply as a convenience for J 7 2 ble from theto composer (ljgoldford@gmail.com) and150 setup instructions. Œ Flz. (rapid double-tongue) (Laptop signals with "Back to score!") pproximating the times given in seconds above each bracketed phrase. 16 are.á semi-free 4etc. ÖI° isÖslower r Ö µ œasII¨their r similie (trig.) #VœVII #V,imply. s, I° andœII°, and≈both names and(Flz.) somewhat more flexible. This markingb œis used Ö b œ µ œ œ B œ ‰ + > mute œof theGoldford >œrights >˙ I° suggests a œ >˙Œ inŒ its fluxuations, œconrols the©2014 Louis (BMI). All reserved. ˙ remove phrasing Markov generator. Therefore, even nthough o b 179unpredictable Œgold, ¨ ¨ ¨ œ will to changes inbthe œ phrasing as well as player must respond to the phrasing of the "market." Adapt the notated part nat . 5 3 9 ƒ . R æproduced R space; ≈(Expanding œ where / contracting granulation.) flutter tongue (Flz.) by double-tongue .æœ. 16section). (as in? Try ∑ to Rapid, insert theunmeasured onset of new phrases the Markov generator leaves æ æ or respondor tofast . opening ∑ single tongue. ∑ ∑ 8 16 P œ . .y with ≈ µtheœ.similar œ same forœ theœ8live resonant models . the - andµ œtempo.œ Do dynamics when they are captured and played back 3 a guide for the proportional 3 pace for ß these or respond dynamically. II° is more ƒ rigid, and functions as notation that ƒ f ectronics at cue #13. These bars of 2/4 at 150 BPM are not strict; they are provided simply as a convenience for f > f œ above (Granulation Ö á in seconds each bracketed phrase.setting #2.) 9 with "Back to score!") ≈ œnœble-tongue) ≈ r r œLouisœGoldford similie (Flz.) (trig.) #V,µetc. 5©2014 2(BMI). bœ µIIœ#V VII16 All rights reserved. > á Ö 3 4 > > ˙5 same-noteb œslide glissandosn ˙as described in Dempster, œ pp. 21-23: ¨ the sound should be Èrough, # œ µ œ +on œ ˙ ¨ +o Rapid (lip) bringing out nœ bœ . 16 ‰ ~~~~~ Ÿ R R VII V, etc. tube length æ“slotting” between œæ œthe. partials œ æat IIItheVindicated ∑slide positions. The lip∑fights>against the changing ∑P >˙ >œ∑. the > for the same note, but the sound should emphasize the disruptively changing partial structure. #œ ¨ µœ œ œ œ œ >˙ Ö 188 3 3r ben marcato ƒ ƒ ≈ B œ œ µ œ ≈ µ œ >œ 2 µ œ˙o+. œ ≈B œ # œ f ≈ 3 ∑ f æ #œ f ‰ œ(Granulation µ? Œ œ >œ . #2.)boœ .9 4 setting J œŒ œ œ 8. Œ alla marcia 3 > 3 f ƒ f P sub. f ( ƒ ) œ µ œ . œ ≈ œ . œ µ œ 4 ≈(V.S.) È ~~~~~ (lip) (OFF.) 10 (Granulation Sœ ≈+o 11 Ÿ III V VII V, etc. setting #3.) >œ . > #œ ¨ µ >œ œ œ œ œ S F >˙ r ≈ B œ œ µ œ ≈ µ œ Ü #œ B (lip œ #≈+œ diaphragm)≈ ∑38 æ ‰ brato Œ . J œ œ œcracked, . 2 raspy 5 5 IV VI IV II, etc. 3 œ œ ≈ µ œ µ œ 4 œ œf. œ œ¨ 8 µ œ . # œIIIƒV VII 16 V, etc.P sub. f œ ¨ 3 > ¨ molto vib. µ œ 10 196 (OFF.) (Granulation 3 11 f > setting #3.) ? ∑ ‰ ∑ Œ j nœ ‰ ≈ µ œ œ n œ µ ˙ ÖÖÖ Ö Ö á œ œá ƒ ƒ 7d,6 raspy 2 3 3 P sub. (Granulation setting #4; œ œ ≈ 4 16III V VII V,8 etc. . j IV VI IV II, etc. grain rate increaes...) 12 œ ≈ œ œ µ œ ¨œ ˙ œ ¨ #œ ¨ molto vib. 3 ‰ ∑ Œ j œ ‰ œ œ nœ µ˙ œ œ ƒ ≈ µP ƒ sub. (Granulation setting #4; r >œ œ grain > rate increaes...) 12 œ µ n œ ¨ ¨ œ œ œ ^ # œ^ # >˙ #œ sharp

flat

three quarters flat

natural

quarter flat

quarter sharp

three quarters sharp

(with a tense left arm rattling against bell — left hand begins AHEAD of note)

the glissando-swells. For convenience, the approximate lengths have been meaured out in bars of 2/4.)

6Liberamente

208

Good :: Louis Goldford :: 10/09/15 II° (proportional) [ Giffen q = c. 150 ] UU

O ( O O tO µO )

2nd 1stswell: swell:~12" ~9"

(Harmonics will gliss. naturally.)

? n˙ o

form vowels: [ū]

[ē]

(Each large fermata in this section spans an increasingly longer fade in / out of a steady downward glissando in the electronics. Very doppler-like. 210 PLAY: (slow gliss.) (Take breaths as needed but performer preserve overall dynamic This section is the only tempo-relative-dependent in the piece. The should attemptcurve.) to scale the length of the following phrases with the glissando-swells. For convenience, the approximate lengths have been meaured out in bars of 2/4.) r

bœ

∑

(OFF with granular fade out.)

(Electronics adds ceramic-tile synth playing Markov-generated phrases. Phrasing is controlled(proportional) by the live gold[data.) q = c. 150 ]

U 2nd swell: ~12" O O) ( O O t O µstaff) Vowel harmonics (upper whileGoldford playing a ::gradually fundamnetal pitch (lower staff). As indicated, stagger breath where Giffen Good :: Louis 10/09/15changingU 7 & necessary, but taper breaths and preserve overall dynamics. The upper staff suggests a range of vowels (though this should be customized o o P The curve above the upper staff indicates the approximate pedal tones) by223 each(non-pitched player to obtain the approximate upper partials given). shape of the U 4th swell: ~16" 210 PLAY: (slow gliss.) (Take breaths as needed but preserve overall dynamic curve.) ? vowel movements (that is, the approximate glissando over the range of given partials). This sound mimics digeridoo playing. At times, ? Sing these pitches (upper staﬀ) against those to be played (lower staﬀ) to produce combination tones. r ∑ tone. the player is asked to sing an indicated pitch in the lower staff while playing and executing these glissandi for an enriched, complex n˙ ˙ ˙(Ad lib. quietly; randomly permutate pitches.)# .˙ . . . . . . . . . . . . . . . . . . . . increase density / frequency . . .b. . . . . o b po b p n p pP Pp F F p (OFF with granular fade out.) , (Electronics adds ceramic-tile synth playing Markov-generated phrases. ˙ #˙ œ , , #˙ ˙ ˙ by the live gold data.)# ˙ Phrasing is controlled ( ) B 3rd swell: ~14" .F p UU P Liberamente II°

(Harmonics will gliss. naturally.)

(~7")

form vowels: [ū]

[ē]

(~9")

ub.

similie KO 223 (non-pitched pedal tones) (KO µO O BO )

(~7")

f sub.

(~7")

similie pitches.) . . . . . . . . . . . . . . . . . . . . . increase density / frequency . . . . . . . . b pœb p ´ n p p (Ad lib. quietly; randomly permutate > ? Fr ˙ 3 b >œ µ œ´ . n œ´ œ ¨ 3 >œ œ n p˙ œ µ œ´ # œ¨ ≈ Œ b µ œ Œ Œ o n œ J in Dempster, p. 43: the tongueµ œinterrupts f sub. Non- or semi-pitched pedal tone as described the airoutflow to produce a “thuck” (Granular fade BEFORE (+ MFCCs5of trombone; chorus of trombone œ textures.) # œ . the live trombone this time.) Í sound, much like afwoodwind slap tongue. f ing in here: > U 3rd swell: ~14" onant model: 01.02-no-odds-70.txt :: D + = perceptible tonic P sub. 231

[ū]

[ē]

(~6")

red by sounds of the Dutch Stock Exchange.)

(KO µO

similie

(~7")

O BO KO )

similie [ē] O O O) O O d Of tsub. ( BU

? similie & o n ˙ I ¨ 2 239 VII similie gliss. sub. ? µ >œ œ µ >œ . œ n œ Œ ? (+singfXMFCCs of trombone; chorus of trombone textures.) ö ö n˙ #˙ F ˙ o play F (+trig.) o 231 (~7")

[ū]

(~7")

(~11")

(WITH alto sax mouthpiece:) [ū] [ē] (appx. slide movement)

(Insert alto sax mouthpiece into trombone mouthpiece.)

O O)

VII

ö r

5th swell: ~18" III

ö ö #œ #˙ o P V

VII

(Granular fade out BEFORE the liveö trombone this time.)

o r b œp

o r

p œ

(~7")

( B O O d O t O into the trombone mouthpiece, and begin playing (with a saxophone embouchure) the Insert the alto saxophone mouthpiece indicated slide positions and&pitches. By playing the alto saxophone mouthpiece we obtain low subharmonics. similie

[ū]

? VI n˙ ö play o ö ˙ ˙o ƒ 239

∑

[ē]

(~6")

Play a saxophone mouthpiece, sing similie gliss. in this context, should not require any cumbersome or novice struggle. The use of a saxophone r mouthpiece X IIon the trombone has beenIdeveloped by trombonist David Whitwell, who may be contacted about the technique.

(WITH alto sax mouthpiece:)

b >œ . µ œ n œ > œ. J Œ F sub. f

(Resonant model a bit louder...)

ö r

#œ

U B œ B >œ œ b œ¨ œ¨ n œ¨ œ 3

ö #˙ f

VII

ö r

∑

(Remove alto sax mouthpiece.)

µœ

b œ¨

µ œ b >œ œ µ œ b >œ œ ¨ Œ nœ 3 F sub. f

p œ

(~6")

3 (V.S.)

program note I certainly wasn’t expecting David Whitwell to ask for a piece that was “economics-themed.” But when he approached me with the idea I thought back on my years of study (one of my undergraduate degrees was in economics) and realized how much has changed since then. This was just before the financial crisis of 2008. Our speculative financial world, once dominated by the big hedge funds, has been turned on its heals. I set out to compose a piece that would metaphorically acknowledge the trends rapidly shaping our new socioeconomic era. A Giffen good is one that is consumed more as its price rises. As the price of alternative goods rises, the substitution effect causes consumers to buy less, and to seek out substitute goods. Violating a traditional law of demand, few of these goods have ever actually been found. The Irish potato famine is the classic example. Giffen goods are still in demand when their prices rises along with other goods, because it is still a cheaper and necessary alternative to other goods whose prices (or opportunity costs) are rising more rapidly. Since 2008, some have suggested that this mere footnote in an economics textbook has become a reality. The liquidity trap has caused investors to sell off shares of increasingly higher risk stocks and buy low-risk, safe financial assets instead. Some have even suggested that gold, the ultimately liquid form of wealth, may be showing signs of “Giffenness.” Pictured is a model of the price of gold from 2001 to 2014, where one can observe steady increases much more rapidly in the most recent years; an effect of the world recession. If more investors are moving their assets into low risk, highly liquid goods, what will the consequences be at various levels of society years away? In the music, I’ve used this curve to generate rhythms for the notated part, a kind of talea against a colour in the form of a second order Markov chain that indexes an analysis of samples I prepared with trombonist Brennan Johns at Indiana University. A similar Markov chain is also used in the live performance; it indexes the live performance and generates score material. This Markov process, once used to predict the movements between bear, bull, and stagnant markets, echoes the presence of live gold data pinged from Yahoo Finance during the course of the piece. Its fluxuations are magnified and heard throughout. How important are these micro-movements in price? What will be their long term impact? Similar statistical methods are adopted to match audio descriptors such as mel frequency cepstrum coefficients. Audio analysis / resynthesis methods pervade the structure of the piece and its texture. Louis Goldford May 2014 Bloomington, IN

software setup instructions — next page

software setup — overview of the HOST patch Download and unzip the master patches folder. Place this inside your Max/packages folder and open the README file. Follow its instructions to download the various libraries, placing them in the appropriate folder (either /packages or /patches). Once you’ve completed this, launch Max and open 02-GiffenGood-MAIN-PATCH-05.maxpat —

DE F C

J K L

B G I N M This Host patch, or “Main Patch,” runs the piece from mix position. A Computer Assistant follows the score and advances each cue by pressing the spacebar, adjusting levels throughout alongside a mixing engineer. Here is an order of operations for the Host patch — A. Adjust audio driver settings.Be sure the output is set to the audio interface. B. Click the ‘INIT’ button; C. This changes the prompt from “NOT INITIALIZED” to “Ready to go.” D. If using a text file with previously-recorded stock data, select “previously collected quotes” from this menu and choose your text file after the prompt. If using live stock data, just skip this step! (More on the use of previously collected quotes soon.) E. Once the piece begins, this will flash, ensuring that the system is either live scraping stock quotes or reading from a text file. F. If you need to record stock data prior to a performance, click here and follow the easy instructions. G. DEPRECATED: If using an earlier patch for on-stage control, use this to test the pedal. Easy to follow instructions. H. Set up the network for communication with the Client patch. Easy to follow instructions, steps 1—5. The blinking “set client’s IP address!” button will stop once this process is complete, or you may click the button to stop it manually. I. If diffusing on a stereo system, select “stereo.” This should default to four-channel, a.k.a. “quad” output. J. BEGIN THE PIECE! Press the space bar. Notice this changes from cue 0 to 1, and will continue to update throughout. This is the current cue of the piece. K. System information about what’s happening gets printed here. For example, check this box during cue #13 to be sure you’re playing with the correct “swell” structure. L. Low pass filter to boost low end in lieu of a subwoofer. Could be especially helpful in last two pages of the piece. M. Metering of individual synthesis components. Computer Assistant adjusts balance throughout. N. For cues #3, 5 and 7, the system generates pitches to improvise on and sends them to the Client patch. After 15 seconds, the words “Back to Score!” will blink in red.

software setup — overview of the CLIENT patch On the stage laptop, open 03-ein.LiveTrombone-005.maxpat —

D E

This Client patch receives information from the Host and tells the performer where the piece is. This is NOT the patch used to perform the piece from the stage without a Computer Assistant. Here is an order of operations for the Client patch — A. Same simple instructions for setting up the network to communicate with the Host patch. B. When the Host clicks the “INIT” button, “Ready to Go!” will appear here. If the Host patch crashes, it will reset to “host offline...” C. Reprints system information (K on previous page). Useful for cue #13. D. Current cue number. E. For cues #3, 5, and 7 the system generates pitches to improvise on (N on previous page). After 15 seconds, the words “Back to Score!” will blink in red.

capturing live gold data for performances during non-market hours Parts of the score are generated by the live stock price of gold. It is recommended that the piece be performed during regular market hours (i.e. between 9:45 am and 4:00 pm EST Monday through Friday). Realizing that this is hardly an optimal performance time, for performances that take place outside of market hours, one must record a stream of data in a text file as close as possible to the performance. For example, if a performance should take place on a Saturday night, the perfomer is kindly asked to record stock data for about 10 minutes late in the afternoon on Friday. This is an easy on/off click that is handled in the patch ein.recordGOLDquotes.maxpat, which can also be accessed from F on the previous page. During a performance, the text file recording of gold quotes is loaded into the Host patch via D on the previous page.

contact information

Louis Goldford // composer www.louisgoldford.com

hmh

ljgoldford // ljgoldford@gmail.com issuu.com/louisgoldford

f l i ! v

facebook.com/louis.goldford twitter.com/einbahnstrasse instagram.com/einb0hnstrasse soundcloud.com/louisgoldford vimeo.com/louisgoldford

Giffen Good was commissioned, premiered, and toured by David Whitwell. This piece is dedicated to David, who has performed it extensively and whose advice and instrumental command have become central to the work. Some performance highlights include â&#x20AC;&#x201D; The Composit New Music Festival, Rieti, Italy, 7/12/2014 James Madison University, Harrisonburg, Virginia, 10/6/2014 Mars Hill University, North Carolina, 10/8/2014 Virginia Commonwealth University, Richmond, 10/9/2014 Brooklyn College, NYC, 10/20/2014 New York University, 10/22/2014 Spectrum, NYC, 10/24/2014 Manhattan School of Music, NYC, 10/30/2014 and

The 41st International Computer Music Conference (ICMC) Lyric Theatre, University of North Texas, Denton, 9/27/15

for David Whitwell

Giffen Good

for trombone + live electronics†

vBefore starting the piece, press "INIT"

Louis GOLDFORD (2014)

and be sure "ready to go" appears on screen.

o+ # œ. œ œ #œ œ

Tempo Liberamente I° [ q = c. 130 ]†† Harmon mute, stem in (fully)

Trombone

? 42 ˙ 1 Sp

ÖÖ á 9 38 ‰ 42 16 œ . œ ≈ . œ œ ≈ µ œ F Ö

o+ Nœ ˙ Ö Ö á 8 á á µœ. # œ œ . ≈ œ . µœ bœ œ. 3 ?Œ Œ 38 5 7 16 µ œ 16 8 b œJ . n œ 42 P sub. Í (Begin analyzing, indexing, building a Markov chain, live resonant models...)

Ö á ÖÖÖ ? 16 9 ‰ ‰ ‰ ‰ . 42 14 5 3 . .µœ œ œ ‰ œ 16 8 # œ- œ ≈ µ œ # œ- . n œ P sub. +o œ¨ ≈ 24 ?‰ 18 ¨ 42 µœ. . 81 œ b œ . b œ œ ≈ ≈ œ œ nœ œ œ. > > Ö o+ á o o+ . . œ œ œ œ ≈ 31 ¨ ? Ö Ö Ö áj 5 3 #œ Œ n œ 42 16 4 ≈ µœ. œ . #œ Í f (P) fl 16

?2 4

[ē]

3 16

[ō]

œ ≈

9 16

Ö Ö Ö á

#œ.

œ ≈

3 16

[ē]

j µœ .

2 4

43 œ µ œ . ˙ ≈ n œ . µ œ n œ P sub. [ō]

†

œ µœ p

o ƒ

42 µ œ b œ œ B œ µ ˙

Ö ÖÖá

ƒ 9 16

œ bœ. œ 9 ‰ ‰ ‰ ‰. 16 2

9 16 Œ Œ

(Enable live GOLD quote glissandos.)

œ . œ ≈

2 4

Œ Œ

(V.S.)

MaxMSP patches are available from the composer (ljgoldford@gmail.com) with complete installation and setup instructions. †† There are two main tempos, I° and II°, and both are semi-free as their names imply. I° is slower and somewhat more flexible. This marking is used when the live market price of gold, unpredictable in its fluxuations, conrols the phrasing of the Markov generator. Therefore, even though I° suggests a steady pulse of 130 BPM, the player must respond to the phrasing of the "market." Adapt the notated part at will to changes in the phrasing as well as the onset of resonant models (as in the opening section). Try to insert the onset of new phrases where the Markov generator leaves space; or respond to its increased density of activity with similar dynamics and tempo. Do the same for the live resonant models when they are captured and played back as"waves" of partials; leave space for these or respond dynamically. II° is more rigid, and functions as a guide for the proportional notation that corresponds to sequenced electronics at cue #13. These bars of 2/4 at 150 BPM are not strict; they are provided simply as a convenience for approximating the times given in seconds above each bracketed phrase. ©2014 Louis Goldford (BMI). All rights reserved.

Giffen Good :: Louis Goldford :: 10/09/15 ~15" (Laptop signals with "Back to score!")

.¨ . . . ..

˘. .

>> >

¨ . . . ...

3 16

Turn to the screen and improvise on the given analyzed pitches. Rhythmic / phrase shapes may vary from the suggestions above.

3 After 15" the program will indicate "Back to score!" Continue from measure 46.

Ö Ö á bœ µ œ . œ ≈ á Ö n œ ≈ ≈ b œ œ œ œ . . . œ œ œ œ ?3 7 2 5 9 J 16 16 4 #˙ 16 œ . ‰ 16 P sub. o+Ö Ö Ö á o o >œ . œ . # œ ≈ 54 +æ ~~~~~~~~~~~~~~~~~~~~~ Ö á ? 5 7 n˙ 5 ‰ ‰. µ œ 42 Œ ˙ ˙ . 16 4 16 ‰ # ˙ œ Í p f F > (+ MFCCs of trombone; chorus of trombone textures.) ÖÖÖ á

(with a tense left arm rattling against bell — left hand begins AHEAD of note)

Ö á

? j œ.

≈ œ œ . P sub. œ

j ≈ # œ

2 Œ Œ 4 œ . µ œ ≈ n œ . œ µ œ

? 16 5

Ö Ö Ö

≈ µ œ œ .

œ µ œ n œj œ . œ vib. norm.

á Ö Ö Ö Ö + o 5 3 9 42 œ . ≈ µ œ œ 16 œ- . µ œ œ . œ 8 œ œ ≈ œ 16

+ œ

o ? œ œ . 16 6 œ œ . ≈ 43 ˙ P sub. +o >˙ 67 Ö Ö Ö á ? 16 9 œ. œ ≈ 42 S 60

# œ µ œ3 n œ

œ. œ

o+ >œ . o alla marcia > 3 j µ œ 4 ≈ œ µ œ œ . ≈ œ . œ œ . œ ≈ S F

5 8 nœ bœ œ >

2 œ ≈ µ œ 4 œ œ . œ >

molto vibrato (lip + diaphragm)

7 œ œ ≈ 42 µ œ . 16 œ œ ≈ ˙ P sub.

Ö Ö Ö

5 ‰. 16 œ

Ö Ö á

3 16

5 8 µœ. µœ f >

38 œ ≈ œ . á

ÖÖÖ

5 16

j œ µœ

œ µ œ ≈ p

#œ µœ

≈ œ œá œá œ ≈ œ œ ≈ µ œ µ œ . ¨ . . . ...

˘. .

Giffen Good :: Louis Goldford :: 10/09/15

85 Œ Œ . Ñ

œ.

Œ Œ.

~15" (Laptop signals with "Back to score!")

¨ . . . ...

5 Turn to the screen and improvise once again on newly analyzed pitches.

After 15" the program will indicate "Back to score!" Continue from measure 104.

o+ >˙ .

?3 4

104

o œ ≈ œ œ

2 4

F sub.

≈ b œ . œ P

(Electronics add resonant "pings" here to thicken texture.)

µ˙

? 42

119

126

n œ-

µ œ^ œ-

F sub.

? 2 µœ 4

132

œ ≈

œ-

µœ

œ bœ

œœ

>˙+

¨ 5 œ œ ≈≈ 42 ≈ œ 16 J ≈ µ œ . œ S Ö á

111

≈ µ œ . œ

≈ # œ- . π nœ.

œ Œ π

o + > ≈ b œ œ .

o >+ œ ≈ b œ œ

œ . ≈ œ

≈ œ . œ ( π )

œ µœ œ

µœ

≈ µ œ .

µœ œ 3 16

+o n œ¨ ≈≈ S

¨ œ Bœ ‰ P

>œ Ö á ≈ ≈ œ 3 5 2 5 µ œ œ ≈ 2 µ œ 8 16 œ œ . 4 16 4 œ œ ≈ P > ≈ œ œ ≈ œ . ¨ µœ ˙ Œ Œ ≈ œ # œ # œ (V.S.) S F Ö Ö Ö

Giffen Good :: Louis Goldford :: 10/09/15

œ œ œ. #œ ≈ œ . ≈ ¨ œ S (f) o+ µ >˙ 9 ‰ ‰ ‰ ‰ . 42 16 (f)

vib. norm.

? ≈ µ œ . œ P sub.

molto vibrato (lip)

138

?Œ

144

151

F sub.

? œ ≈ œ . ?

≈ µ œ . œ P sub.

+o ˘œ b ≈ ≈ S

œ ≈

n >œ

9 œ. bœ ˙ œ . ≈ 16 o+ ˘ µœ Ö Ö á o b œ œ œ ≈ n œ ≈ 7 2 J œ 16 ≈ µ œ 4 nœ. S (P) P sub.

µœ µœ (P)

#œ Nœ œ

¨ . . . ...

˘. .

163

œ nœ.

œ- µ œ

156

157

œ µœ

œ.

Ö Ö

œ J

o+ o >œ œ . ≈

œ ≈ 2 µ ˙ 4 á

œ ≈ œ œ . ≈

œ ≈ œ .

6 (Faster models / glissandi...)

~15" (Laptop signals with "Back to score!")

¨ . . . ...

7 Turn to the screen and improvise once again on newly analyzed pitches.

After 15" the program will indicate "Back to score!" Continue from measure 169.

169

o+ > ≈ µ œ . œ

µœ œ S (Faster models / glissandi...) p sub.

œ ≈ ‰ Œ

7 16

j nœ bœ #œ .

2 4

+o >˙ f

≈

+o >œ .

≈ 38

? 38

165

+o µ >œ

Giffen Good :: Louis Goldford :: 10/09/15

œ ≈

>œ . 7 J 16 á

µœ

Dense, dramatic [ <q > ]

24 ¨ Œ remove mute œ ƒ (Expanding / contracting granulation.)

~10"

without mute Flz. (rapid double-tongue) r II #V VII #V, etc. bœ

>˙ œ ¨ ∑ ∑ æ ƒ f (Granulation setting #2.)

>˙ ?æ ß

179

? ∑

œ¨

µœ

nœ

#œ

n >˙ æ f

∑

r #œ

‰ Œ

ben marcato — vib. norm.

Œ ‰ ≈ B œ œ µ œ ≈ µ œJ 3 ƒ P sub.

(OFF.) 10

#œ

∑

(lip) ŸÈ ~~~~~ µ >œ œ œ >œ œ

(Granulation 11 setting #3.)

IV VI IV II, etc.

III V VII V, etc.

? Œ #œ. œ œ µœ œ nœ. J 3 sub. f

203

bœ R

r bœ

III V VII V, etc.

ben marcato

cracked, raspy

196

nœ R

>˙ ? œ µœ. œ . Bœ #œ bœ œ œ œ . ∑ æ f (ƒ)

188

b >œ æ

similie (Flz.) (trig.)

‰ ≈ µ œ œj n œ µ ˙ ƒ P sub. molto vib.

∑

¨ ƒ

(Granulation setting #4; grain rate increaes...) 12

>œ œ œ¨ œ¨ n >œ œµ ^ # œ^ # >˙ #œ µ œ œ œ . µ œ^ n œ^ æ 5 7 ƒ (Release of granulation and long echo.) 13 (Gliss./swells follow — See next page.)

r œ

(V.S.)

Giffen Good :: Louis Goldford :: 10/09/15

208

1st swell: ~9"

(Each large fermata in this section spans an increasingly longer fade in / out of a steady downward glissando in the electronics. Very doppler-like. This section is the only tempo-relative-dependent in the piece. The performer should attempt to scale the length of the following phrases with the glissando-swells. For convenience, the approximate lengths have been meaured out in bars of 2/4.)

Liberamente II° (proportional) [ q = c. 150 ] O ( O O tO µO )

(Harmonics will gliss. naturally.)

210

form vowels: [ū]

[ē]

n˙ o

PLAY: (slow gliss.)

(Take breaths as needed but preserve overall dynamic curve.)

(Electronics adds ceramic-tile synth playing Markov-generated phrases. Phrasing is controlled by the live gold data.)

KO (KO µO O BO )

[ū]

[ē]

similie

n˙ f sub.

( BO

similie gliss.

[ū]

(~7")

3rd swell: ~14"

o r bœ (Granular fade out BEFORE the live trombone this time.)

O O dO tO O )

similie

? singX n˙ o play

(~7")

f sub.

(+ MFCCs of trombone; chorus of trombone textures.)

239

∑

(OFF with granular fade out.)

(Ad lib. quietly; randomly permutate pitches.) . . . . . . . . . . . . . . . . . . . . . increase density / frequency . . . . . . . .

similie

231

r bœ

223 (non-pitched pedal tones)

bp bp np p p

2nd swell: ~12"

[ē]

(~7")

p œ

Giffen Good :: Louis Goldford :: 10/09/15

248

(~9")

˙ sub. F

, ˙

#˙ œ

>˙

˙ P

#˙

œ œ´ ´ # œ¨ ≈ µœ Œ f

5 (Fading in here: Resonant model: 01.02-no-odds-70.txt :: D + = perceptible tonic Filtered by sounds of the Dutch Stock Exchange.)

¨ B µ >œ œ µ >œ . œ n œ Œ F

266

(WITH alto sax mouthpiece:) (appx. slide movement) I

ö ˙ (+trig.) o ?

ö #˙ F

VII

∑

ö ˙ ƒ

ö ˙o

b >œ . µ œ n œ >œ . ? J Œ F sub. f

286

(Resonant model a bit louder...)

ö r

#œ

U >œ œ b œ¨ œ¨ n œ¨ B œ B œ 3

( ) p

b >œ µ œ´ . n œ´ œ f

VII

ö r

(~6")

¨ µ œ µœ Œ

5th swell: ~18"

ö ö #œ #˙ o P III

VII

ö r

(WITH alto sax mouthpiece:)

#˙

(~11")

(Insert alto sax mouthpiece into trombone mouthpiece.)

>œ œ Œ nœ J 3

#œ. œ P> sub.

#˙ p

(~7")

278

4th swell: ~16"

Sing these pitches (upper staﬀ) against those to be played (lower staﬀ) to produce combination tones.

sub.

257

(~6")

ö #˙ f I

VII

ö r

∑

(Remove alto sax mouthpiece.)

µœ

b œ¨

µ œ b >œ œ µ œ b >œ œ ¨ Œ nœ 3 F sub. f

(~6")

3 (V.S.)

Giffen Good :: Louis Goldford :: 10/09/15

( bO KO KO

similie

293

play

& sing

similie gliss.

[ū]

jO kO #O ) +O hO O tO BO nO [ē]

(~8")

6th swell: ~20"

n˙ p

bœ

302

~7"

+ 14 (Change model: 01.03-tutti-70.txt :: D = perceptible tonic)

>œ #˙ œ # œ œ n äœ # œ n œ œ µ œ # œ¨ ‰ ‰ µ >œ ¨ ? 43 µœ. œ J Œ Œ Œ Œ µœ ‰ >œ 3 3 3 Í f Í (f) 3 f 3 f œ > >œ µ œ . n œ œ # µ œ 309 >œ œ µ >œ . œ n œ¨ ¨ ¨ µ œ µ µ œ ? Œ µœ J Œ Œ Œ b œ œ µ œ ≈ Œ Œ 3 F äœ œ¨ >œ # # µœ ˜œ µœ. > 314 œ µ œ #œ #œ ?Œ µ œ J Œ Œ Œ Œ Œ Œ ‰ µœ œœ œ 3 3 sub. P 15 f sub. P 3 sub. F sub. f (Resonant model a bit louder...) #œ œ #œ 319 nœ œ. ? œ Œ #œ œ #œ Œ Œ #œ œ œ Œ Œ Œ J ˜œ 3 3 p 16 f sub.> Tempo I° [ q = c. 130 ]

304

324

œ.

œ¨ Œ J

#˙.

(Change model: 01.05-stretchvol-70.txt D b = perceptible tonic)

#œ # œ¨ ‰ Œ Œ Œ J œ µœ ˜œ. 3 sub. P

µ >œ . B œ œ

sub.

µœ

˜œ µœ ‰ Ë P 3

bœ.

?Œ

329

>œ n œ ? J

334

338

>œ .

j ˜œ œ > f sub. ¨ œ ≈ Œ œ

œ. ˜œ œ

Giffen Good :: Louis Goldford :: 10/09/15

´ ´ µ œ´ œ µ œ œ # œ . Œ #œ Bœ Œ #œ 3

? sub.

>œ

¨ ˜ œ Œ >œ

œ µœ 3

(f)

‰

#œ.

œ a >œ

˜ >œ œ

354

œ Bœ œ µœ.

>œ

œ œ

µœ

œ œ œ µœ. ‰ > œ

œ¨

œ.

# œ œ ˜ œ œ¨ 3

#œ nœ Bœ µœ ÿ ÿ ÿ ÿ (Increase intensity until last note...)

´ n œ´ ´ µ œ¨ # œ Bœ Œ ‰ µœ Ë

#œ

Œ µ œ¨

(Again, a bit louder...)

>œ

´ ´ ´ ¨ #œ nœ Bœ µœ Œ

#œ nœ Bœ µœ ÿ ÿ ÿ ÿ cresc.

´ ´ ´ ¨ #œ nœ Bœ µœ ‰ Œ Œ 3

>œ b œ 3

œ œ

350

œ.

µœ

#œ

Œ #œ ˜œ œ. œ œ ‰ Œ œ œ µœ. œ Ë 17 sub. P VII

˜œ œ µœ ‰ Ë

#>œ œ

œ n œ¨

sub.

? œ µ œ . ˜ œj œ Œ

346

œ #œ #œ

>œ

342

œ #œ œ œ

j n œ #œ. œ >

#œ nœ Bœ ÿ ÿ ÿ

May 2014 Bloomington, IN

(Stop chord, decay / fade.

19 Stomp once more to turn off DAC~.)