Travertine Hybrid #3 by Louis Goldford

::: performance score :::

Travertine for the 2014 Composit New Music Festival

Hybrid #3 for violin + live, interactive electronics

Louis Goldford (2014)

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00:05:30:669 Light ﬂashes in man's face. 123

Œ ! œFl. & 5 5 6 7 6 7 Currently software is available as a single download in the form of patcher files .œ . . œ œ violin . . . . . œ œ œ b œ œ œ b œ œ œ œ compatible with Max/MSP v6.1+ (www.cycling74.com/). Alternatively, the . . œ. ".œ ". œ. ".œ ". b œ ‰. œ. ‰. œ. ‰. œ. œ. ‰. œ. œ. . œ. ". ". œ. ‰. b œ 121 live ‰. electronics* piece ‰runs in the free version Max Runtime, also !from the above web address. Œ & 121

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5 6 *Software, installation5 & performance instructions are available directly from ! the composer: ljgoldford@gmail.com.

Additionally, the piece uses a number of externals from 3rd-party libraries whose ! ! rights are bound by their original licenses. Once downloaded, the Travertine Hybrid #3 folder may be placed anywhere in your Max search path, though the 5 . Wreath of Violet is a short film by director Austin Criner, which I scored as part of the Double Exposure Film Festival pizz. œ O˙ .. packages folder is recommended. arco bœ — at pizz. l. batt. . n œ n œ. œ.

Owœ. . # œ. b œ. b121œ. setup œ " of an " " œ " of" œwhat" appears University, March 2013. The film centers on the deterioration to " " " " " " #be " or"fantasy Vln. & b œ. " # œ Indiana bœ œ œ a"dream ‰ r e a t idealized h oguide f V relationship. i ofor l e installing t | Goldford | director Score uses 15œunderlying Whileand the visual symbols to connote an I use a transformative AW complete running themany software, including screenshots of theplot, user 6 5 interface, is provided in ƒ procedure as the basis for depicting the protagonist’s realization that he has lost his love (on multiple levels). The grad6 7 F the download and will also be included in a future draft of this score preface. For now, the physical stage setup. The transformation of a single sonority (the mystery surrounding the reality of thel. batt. woman in the film, or a relationship . .œwill 5 n œ. " n œual œ. performer . œ " œ.# œ. b œ. b œ. " need: l. batt. pizz. shared by!both characters) into characterizes æ an inverted spectrum of !itselfœat‰thebend . æ" # œ. œ of the film " ? œ ‰ " the general œ trajectory Ó b œ " " " " ~ œ. Vc. ~ ‰ O of the music. At the beginning, # œ the upper partials of this “source # œ ~~intone 7 b O . gradually expanding and contracitng rhythms F 6 g ƒ sub. P and suggest the turning bicycle wheels. The chord isassistant, first heard inwith full when the woman’s face firstmixing appears on 5 1. a laptopchord” running Max v6.1+ to beofoperated by a computer or without additional support at sul IV screen. There are also detours from this general flow, including a picnic scene where diatonic and pentatonic sections b# ˙œ. . . w b w . . . œ. b b ˙˙˙b œ. œ b œ ". œ. œ ". # œ.the www ".mix b b www . œposition. . œ implied ". "are by the source chord, suggesting a pureness, without noise,MOTU that is imagined andIII) clearly part of the fantasy. œ . 2. a DAW / audio interface connected to> the laptop (recommended: 828 mk. > #œ 7 > The piece runs in either stereo or 4-channel surround; ƒ 6 Louis Goldford, February 2013 . . wwa condenser w ˙ 3. placed appropriately polar pattern;b œ. œ. . œ. œ. . œ. . b œ. . microphone œ. the soloist, œ. . œ in .aœ.cardiod ww b ˙˙˙ bbwwœ.w . œ bfor ! . . . . . . ¨ . . . b œ œ œ œ œ œ œ ‰. œ œ ". and œ ‰. œ œ ‰. œ ‰. amplification, ". œ. loudspeakers. 124 4. a mixing > > ‰. œ ‰. ". ". ‰. ‰. ‰. œ. ‰. œ. ‰. console, œ. ‰. œ ‰. b œ ‰. œ Œ col legno (w/hair) Fl. (w/hair) and effects are all implemented in the performance patch. & Œ > Digital reverb col legno ore ˘kkkkkkkkkkkk 13 ˘ ˘ ˘ ˘ ˘ ˘ ˘ kkkkkkkkkk kkkkkkkkk 6 "˘ 6 " 7" 6 7 kkkkkkkkkkkk6 " kkkk7 " b œ œ ˘kkkkkkkkkkkkkkkkkkkkkk " œkkkkkkkkkkkkkkkkkk œ b kkœ œ "7 œœkkkkkkkkkkk œœ ‰ 6‰ " œœkkkkkkkkkkkkkkkkkkk œœ 7 ‰ b œœ œœ œœ œœ 5‰ ‰ œœ 5 ‰ ‰ ƒ‰‰ " œœ œ œnotes " b >œœœ ˘œ ‰œ "‰ œ‰œ œœœ œperformance 5 ‰ in man's face. 9 Light flashes œ œ œ œ 6 6 6 6 6 6 6 ‰ ! Ó .6 ‰ œ œ. "6 " . # œ " œ ‰ œ. . ‰ œ. œ ‰ . œ. œ B b Cl. 6 6 & 6 6 # œ . . . . . . 23 ƒ sub. colthis legno time, (w/hair) ƒtocue col legno (w/hair) At numbers without explanation of the A more time, the thenotation notationofofthe theelectronics electronicspart partisislimited limitedto cue numbers without explanation of ofsound. the sound. A ˘ ˘ ˘ ˘ ˘ kkkkkkkkkkkkkkkkkkkkkkkkk kkkkkkkkkkkkkkkkkkkkkkkkkk ˘ 6 6 kkkkkkkkkkkkkkk kkkkkkkkkkkkkkkk kkkkkkkkkkkkkkkk ! kkkkkkkkkkkkkkkkkkkkkk this will be with better description of they of electronic accompaniment. more draft this score will they electronic yawith yindicated y accompaniment. y œœ œœ draft œœ of œœ soon œœ available œœ the œœ duration œœ description Œ ‰ b‰œbœœœcomplete ‰ Œ ofscore ‰available ‰ bbe ‰ Œ aofbetter Œ 124 complete rapid, unmeasured jeté soon (ricochet) for theynote & ‰ œ b œ " œ œ Perc. " ! Ó ‰ œ ‰ ‰ ‰ " 6 6 6 ã + 6ƒ sub. œponticello œon œ œ fundamental œ ‰ œdisappears) > bœ E.S.P. = extreme sul (half on the bridge; fundamental disappears) fl E.S.P. = extreme sul ponticello (half the bridge; quarter tonesharp sharp quartertone fl 5 col legno battuto l. batt. = sul ponticello (asclose closetotothe the bridge possible, timesonon5the the bridge) ! d quarter S.P. = sul ponticello (as bridge atattimes bridge) . S.P. . asaspossible, . . . . œ œ ¨ toneflat flat quartertone bœ . b œ b œ. . . . œ .. .. œ bœ œ. . œ. . . . sulb œponticello . . . S.P. . . . œ b œ œ œ fingerboard; œ ‰. œ œ . œ. ". œ œ ‰.(bow œ œ ‰the œ fingerboard; 124 . the sulœtasto (bow over sound) S.T. == ‰. sul ‰. ‰. dullsound) ‰. œ œ ‰. œ. ". ". œ S.T. ‰.tasto ‰.sul tasto ‰. œ. ‰.over œ. ". ". œ dull . ‰ ‰ Œ &! ŒS.T. N. = normale (ordinato) (regular bow position)

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00:04:54:669 Shot of hands together.

! 1. 4-string arpeggio behind the bridge!(in this example, with col legno battuto as! indicated above staff ) arpeggio behind the bridge (here with col legno battuto indicated above staff) — " " ! 1. 4-string 2. bow aÓ single string betweenŒthe bridge + tailpiece " œ bœ " !" 2. bow a single string between bridgeS.P. + tailpiece‰ # œ. œ. hand) S.T. 3. strike the upper sounding board with the fingertips (left N œ 3. strike the upper sounding board with left-hand fingertip 5 F 1. 2. 3. 4. 4. single staccato bow highest playable noteNew for on Marco Fusi at the 2014 Composit NewMusic MusicFestival Festival forplayable the 2014 Composit 4. single staccato bowwon highest pitch (indicates highest n ˙ ˙ pitch on current string) b ˙ w b œ . l. batt. 5 Ó ‰ ˙ b b œœœMusic ... Festival b b ˙˙124 ww l. batt. for the 2014 Composit bNew pizz.w ƒ ƒ ƒ ƒ pizz. l. batt. œ œ > > """ ‰ # œ ~~~~ " # œVln. ‰ &" " bvœBefore ‰ ""starting œthe " " " " b œ n œ œ † a finger of the right hand strikes the string # œ Thumbnail battuto: thumbnail of the rigth hand strikes the string at indicated pitch. piece, press "INIT" † v Before starting the piece, press "INIT" for violin + live electronics Ó ‰ for violin + live electronics g P appearsononscreen. be 5 to go" ƒ œ. P and besure sure"ready to go"appears screen. 5 ww"ready ˙˙ and sul IV ƒ sub. as the5line(2014) pressure thickens so ... † gradually increase bow w œ b œ b ˙˙ starting the piece, wpress "INIT" vBefore Louis GOLDFORD ~5" for violin + live electronics Louis GOLDFORD (2014) œ ~5" that distorted noise replaces the pitch; decrease bow and be>sure "ready to go" appears on screen. 3 > S.P. S.T. 3 [Violin]

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cresc. New Music Festival at the 2014 Composit

5 June 2014 Auditorium Varrone Rieti, Italy

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contact information

Louis Goldford // composer www.louisgoldford.com

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

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

for Marco Fusi at the 2014 Composit New Music Festival

vBefore starting the piece, press "INIT" and be sure "ready to go" appears on screen.

[Violin]

Travertine Hybrid #3 for violin + live electronics U †

~5"

(Soundfile: opening-q-1.aif, downward gliss. & explosive impulse at ~5"…)

Pensive, somewhat freely†† [ q = ca. 76 ]

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Louis GOLDFORD (2014)

(Soloist: wait a few seconds, at your discretion, following decay.)

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ing, delayed, birdlike harmonic trills.)

~10" (Soloist: wait for the delayed harmonic trills to clear, leaving only the resonant partials fading in & out...)

(V.S.)

† Electronics are available as patches compatible with Max/MSP v.6+ available from the composer at ljgoldford@gmail.com. †† Tempo is flexible. Nothing relies on a steady pulse, so the player is free to vary the time and phrasing at their discretion. ©2014 Louis J. Goldford (BMI). All rights reserved.

Travertine Hybrid #3 | Louis Goldford | 5 / 2015

N. > > > Ÿ~~~ Ÿ~~~~ 3 #œ (# ‚ ) ‚ ‚ (# ‚ ) & ‰ ‰ œ µœ Bœ > p sub.F 3

sul II / S.P.

B >œ µ >œ # >œ B >œ

Ÿ~~~~~~~~~ Ÿ~~~~~ ‰ B >œ µ >œ # >œ ( # ‚) ‚ ‰ ‚ (# ‚ ) ‰ ‰ nœ > 3 3 sub.p sub.F N.

(II / S.P.)

#œ nœ Bœ µœ #œ Bœ nœ #œ 5

Bœ µœ #œ Bœ µœ aœ Bœ 3

&Œ

Ÿ~~~Ÿ~~~~ ‚ ( # ‚ ) ‚ (# ‚)

(II / S.P.)

#œ œ nœ Œ > > >

& nœ #œ œ nœ œ œ Bœ µœ #œ Bœ nœ # œ ≈ ≈ 5

sub.

B œ µ œ # œ B œ µ œ œ B œ n œ # œ œ n œ œ œ # œ ≈ ≈ B œ µ œ # œ B œ n œ sub.F 3

4 (Morphing resonant partials toward vln-C#.txt, appx. 56". Ends around rehearsal #8…)

& #œ œ nœ Œ > > >

>œ B ‰

n >œ

# >œ

> œ

(II / S.P.)

sub.

nœ #œ

#œ Bœ µœ

œ #œ Bœ µœ œ Bœ nœ 5

>œ µ >œ # >œ B >œ n œ # œ B Bœ ‰ œ #œ œ nœ #œ N.

sub.

F cresc.

œ Bœ nœ #œ œ nœ 5

¨ œ œ #œ f

~7"

(Soundfile: opening-q-4.aif. Screaming scratch tones.)

(Begin 4" fade of scratch tones.) (Soloist: begin while delays are still fading out.)

& Œ

B >œ

Ÿ~~~~~ ‚ ( # ‚ ) Ÿ~~~~ ‚ (# ‚ ) Œ

S.P.

& #œ œ nœ œ œ #œ Œ

µ >œ # >œ

‰ j œ œ œ œ µœ #œ ( f ) poco a poco cresc. (N.)

˙.

œ #œ µœ 6

œ œ œJ µ œ 3

œ œ. œ #œ

Travertine Hybrid #3 | Louis Goldford | 5 / 2015 48

& ˙.

œ.

µ˙

œ n b œœ ..

µœ. 60 &‰ æ

‰ 9

(q)

‰

(Phase-shift ON, interpolating toward preset #2.)

µ˙ & æ

≈

— c.l. (w/hair) ≈ ≈ ≈ b œ b œ ‰ ≈ n œ œ ≈ ≈ &

BO æ

ƒ sub.

arco

5 (Phase-shift to preset #3.)

≈

13 (Phase-shift to preset #4.)

‰

≈ ®

≈ # œ œ ≈

‰

pizz.

≈

µœ o

kkkk—— k kkkkkk ˘ k k b œ˘œkkœ œ ‰ œ R‰ ‰ R‰ c.l. (w/hair) ——

11 (Morphing partials toward rock-13.txt, ~18". Ends around rehearsal #15…)

(w/hair) ≈ ≈ — ≈ b c.l. œ b œ ‰ ≈ n œ œ ≈ œ

≈ b œ b œ ‰ ≈ n œ œ ≈ œ 5

j œ

œ œ œ œ.

œ B œæ # œæ n œæ

E.S.T.

û ÉÄ

c.l. (w/hair)

N. sul IV

F espress.

(Slight amplification of harmonic, 3". Phase-shift OFF.)

bœ Bœ. ≈

≈

(h)

~~~

#˙

œ œ #œ œ œ œ

#‚ æ

(Phase-shift ON again, preset #12. Interpolation finished.)

(h) (q) sul IV / S.P.

œ #œ

˙ ˙

≈

µœ

µ˙ œœ œ # œ œ œ æ

˙˙

& œ

µ˙

œ.

œ bœ. ˙ µ˙

#œ µœ Bœ

‰ œ bœ. µ ˙ œ œ # œ œ œ 7 (ein.LiveRez process OFF.) œ b œ .

œ bœ

#œ

arco c.l. (w/hair) ≈ ≈ — ≈ b œ b œ ‰ ≈ n œ œ ≈

û ÉÄ 3

ÉÄ

14 (Phase-shift to preset #5. Amplify dry gain for softer articulations.)

(V.S.)

Travertine Hybrid #3 | Louis Goldford | 5 / 2015

15 (Soundfile: trem-3-again-ready.aif. Bass-EQ'd tremolos leading to explosive hit at 8". Soloist: begin after this final attack.) N.

˙.

E.S.P.

˙.

(q) (q) (h) (h) S.P. / sul IV

BO o

( ƒ)

I III

sub.

œR‰

#œ œ nœ œ #œ #œ œ #œ

#œ œ # œ œœ 6

nœ Œ ‰ nœ Œ I III pizz.

sub.

#œ nœ œ œ ¨ œ #œ œ nœ œ #œ ‰ Œ Œ aœ œ Ï

B O.

S.P. arco I

sub.

pizz.

∑

(Decreasing reverb, 4"…)

I # O . S.P. arco

π

21 (Slight amplification, 5". Phase-shift ON.)

kk—k — kk—— k k ˘ ˘ k k k k b œ œ œ R‰ ‰œ R‰ ‰ R‰ ‰

(ein.LiveRez + Phase-shift ON.)

& Œ Œ œ # œ œ b œ œ b œ n œ # œ# œ n œ sub.

kk—k — k k ˘ k œ ‰œ

(Ï)

˙.

(Morphing toward rock-20.txt, ~30s 19 near rehearsal #22. Phase-shift OFF.)

nœ nœ &‰

œ #œ #œ nœ

pizz.

&Œ

b œ˘œkkkkk

c.l. (w/hair) ——

(Slight amplification, 3" + increase live reverb.)

BO æ æ

#‚ æ

16 (Phase-shift OFF. Fade out.)

~8"

œ bœ œ bœ II

œ # œ ˘œ b œ A œ œ # œ œ b œ b œ

B OO ..

III

(# O ) ( O )

. O #O. F

# >œ

œ nœ 5

bœ

OO . .

>œ

#œ

π

œ ¨ #œ Ï

œ œ œ ¨ œ œ œ #œ ‰ Œ

Travertine Hybrid #3 | Louis Goldford | 5 / 2015

˘œ œ # œ b œ bœ Œ Œ œ b œ # œ ∑ b œ n œ œ œ b œ œ #œ œ #œ nœ bœ sub.ƒ 3

103

22 (Phase-shift OFF.)

±.

III

r œ

—. r

—

œ #œ #œ nœ #œ œ I (arco) r œ. Œ Œ ! ! ! ! ! nœ #œ œ œ #œ #œ œ ! ! !!! 5 sub.ƒ Ï N.

(q)

—. Ö

j rœ œ III

—

r —

( e ) ( x ) ( e.) II r I

—

24 (Phase-shift to preset #9.)

#œ

r œ. œ

III IV

# ˙˙æ..

& µ µ ˙˙æ..

116

I 122

N. IV

œ bœ µœ #œ bœ

S.P. N. sub.

r —

‚ ‚ R

—

r œ

—

Kr I —

Kr œ

‰Œ

(Phase-shift OFF, increase reverb, morph partials back to rock-20.txt.)

Bœ nœ b œ µ œ µœ œ

S.P.

BB IIO˙ ..

n n O˙ .. (Phase-shift to preset #10

OO . .

III

œ µœ œ bœ

sub.

œ Bœ

26 + slight amplification.)

— > œ b >œ I

—

‚II ‚

‚I

œ œ œ ¨ œ œ œ 5 5 ‰ ! ! !b œ! ! !n œ!# œ! ! ! œ b œ œ # œ œ n œ n œ¨ # œ ‰ ! ! !b œ! ! !n œ!# œ! ! ! œ œ œbœ & œ#œ œ œbœ œ#œœ œbœ #œnœ #œnœ !!!!! sub.F cresc. 5 28 27 (Phase-shift 6 f (Phase-shift ON, preset #11.) OFF, reverb down.) 5 >œ >œ > 5 œ œ 130 ¨ ¨ œ œ¨ # œ¨ ! ! ! ! ! œ œ œ œ¨ # œ U ¨œ # œ œ œ # œ ‰ bœ nœ #œ nœ ‰ Œ ‰ Œ Œ & ! ! !!!!! (DAC off.) (Incr. reverb tail, 31 127

# ‚ ≈

B ## OOO .. .

II III

aœ œ

#œ œ

# œ¨

S.P.

5 œ #œ œ bœ œ # œ ! ! ! ! ! b œ ! ! ! ! ! œ #œ Œ œ bœ bœ œ #œ nœ œ #œ œ bœ œ ! ! ! !

S.P. (arco)

œ nœ #œ bœ œ ¨ bœ & ! ! ! ! ! ! ! ! #!œ 5

114

#œ œ # œ œ œ

23 (Phase-shift ON, preset #8.)

( q. ) sub. N. IV 111

œ.

( q. ) ( e.) ( e.) r II —

( h. ) N. arco IV

107

pizz.

29 phase shift OFF.)

poco

June 2014 New York City

(Soundfile: ending-q-6.aif. Ends w/low, delayed burst. Wait for decay.)