Porb Isra
for Processed French Horn 
 and Vibraphone using Max/MSP
(2017)
Ryan J Williams (ASCAP)
Porb Isra For Processed French Horn and Vibraphone using Max/MSP Duration: ca. 7’30” Program Notes Porb Isra is an exploration in using a Yamaha Silent Brass system to alter the sound of a Horn and to incorporate that timbre as the prevailing color in the piece, rather than acoustic Horn. Alongside the Horn, a vibraphone gives us some rooting in reality as the only traditional timbre. The two voices work together to go on a journey through an otherworldly soundscape. The title for this piece doesn’t have any deeper meaning, as one might suspect with such an exotic-sounding phrase. Instead, the title is derived from the late-night musings of the composer while sorting through pages of foundational musical material through the course of writing the piece. The words “porb” and “isra” really just come from classification labels for the material that comprises the piece. This piece is built around the Major 9th Chord, using various permutations and transpositions of the basic harmonic sonority throughout. The real journey of the piece comes through the timbral changes to the Horn, which strive, at times, to eliminate the acoustic sound of the Horn altogether.
About the Composer
Mr. Ryan Williams first began composing music as a freshman in high school in Mechanicsburg, PA. Following this passion for more than 20 years, Williams has written many works for a variety of forces, both large and small, with a notable focus being on the wind band. To flesh out his craft, Williams attended West Chester University where he earned his Master of Music Theory and Composition in 2014 and his Bachelor of Music in 2003. While studying at West Chester University, he had the opportunity to work with renowned composers and scholars such as Dr. Robert Maggio, Dr. Adam Silverman, Dr. Lex Rozin, Dr. Mark Rimple, Dr. Andrew Yozviak, and Dr. Larry Nelson. Now, Williams receives commissions for all levels of music, ranging from beginning students and middle school band and to professional musicians. His works have been performed across the Eastern United States and have been described as “a cut above the rest” and “sophisticated” by American composer Mark Camphouse. He is a member of the composer’s collective at CWJ Music House, publishing through that group on the JW Pepper website, and has a set of Bassoon Duets titled “Six Greeting Cards” published through TrevCo Music Publishing. Most of his works, however, are selfpublished and can be previewed at www.RyanJWilliams.net. In addition to composition, Williams is a performer and technician. As a performer, Williams has 5 years’ experience marching with DCA and DCI drum and bugle corps, earning the 1996 DCA World Championship with the Harrisburg Westshoremen and being a 2000 DCI Finalist with the Bluecoats Drum and Bugle Corps. In 2002, he enlisted into the Army Reserve where he served as an instrumentalist, arranger, and composer for 14 years. Since earning a Bachelor of Science in Music Education from York College in 2005, Williams has worked with 32+ competitive and non-competitive high school bands, college bands, and drum corps over the last 17 years across the northeast. Williams has served as the tuba technician and brass instructor for the 2015 World Champion Reading Buccaneers Drum and Bugle Corps and the 2016 Cadets Drum and Bugle Corps from Allentown, PA. In 2017, he joined the brass faculty for the Boston Crusaders Drum and Bugle Corps and became the arranger and composer for the Starriders Drum and Bugle Corps from Bad Münder, Germany. Presently, Williams lives in Columbia, SC and attends the University of South Carolina, pursuing his Doctor of Musical Arts degree in Music Composition.
Porb Isra Tech Sheet Hardware Needed: • Laptop computer • Audio interface • Yamaha Silent Brass System (it is imperative to use both the practice mute and the Silent Brass Personal Studio adapter) • Two (2) studio-sized speakers • USB foot pedal (optional) The Max patch for “Porb Isra” is built to be controlled by the horn player using a USB foot pedal, by the horn player using the space bar of the laptop, or by a third person. If being controlled by the player, each press of the trigger (pedal or space bar) will advance the patch to the next configuration (shown in the score by numbers both in boxes and circles). The most successful set up for the performance will be with the two studio speakers placed on either side of the performers, approximately 20 to 25 feet apart (as the performance venue allows). 20-25 feet L Spk
R Spk
Once set up, the best settings will be to balance the studio speakers so the processed horn sound coming through the speakers is balanced with the vibraphone. At no time should the horn sound overpower the vibraphone. In order words, do not think of the microphone/speaker combination as being an amplification of the horn, but rather the actual instrument. If being performed in a larger venue where amplification is desired, this should be accomplished through area microphones that pickup the entire stage, or through carefully balanced pick-up mics that will preserve the player-to-player balance through the larger sound system. In order to set up the Max patch for performance, follow these directions: 1. In the Audio Options, choose the connected audio interface for both input and output. 2. Choose the Human Interface Device desired (Foot pedal or keyboard) 3. Press the device one time to see the first indicator in the Preset panel light up. 4. Turn on the audio input/output 5. Test the playback of the horn. It should now come through the system. 6. Balance the levels of the speakers using controls on the audio interface so that a proper chamber music balance is achieved between the computer and the vibraphone. 7. Test multiple sections of the piece (triggers 1 and 10 are optimal).
Porb Isra With a sense of distracted reminiscence Molto Slowissimo q = 58
Ryan J Williams Trailing off into nothing duration isn't important.*
1 Horn in F
3 &2
∑
Ó
‰ bœ œ 22 ˙ ™
Ó
Œ
pp
Vibraphone
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p
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{
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{
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pp
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2 12
11
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* Treat all diminuendos that lead to niente in this same fashion.
Copyright © 2017 Ryan J Williams & Ryan Williams Music (ASCAP) www.RyanJWilliams.net All Right Reserved. No part of this work may be reproduced without express, written consent of the composer.
pp
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2
23 œ Œ 22
21
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n
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bœ œ œ˙˙ ™™ œ b œ œ œ
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mp
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29
Decay with Vibes**
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w ˙ & f
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Creating the same rhythmic effect as 3:2 triplets, but four notes.
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pp
77
Hn.
5 &4
3 2 w
∑
Ó
79 12 2Ó 2
mp
˙ p
mp
3 2œ
Πppp
˙™ pp
Πn
Freely, unmetered
Vib.
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{
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2 œ œ bœ bœ ˙ 2œ
3 œ œ bœ bœ œ b œ œ ˙ ™ 2œ b˙ ™
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mp
p
81
bœ bœ
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& p
pp
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∑
p
ppp
bw ™ pp
Freely, unmetered
Vib.
bœ™ œ 3 bb ˙˙ 3 bœ œ b œ œ œ b b bw b œ œ bœ œ ww
{
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bœ bœ Œ
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p
mp
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pp
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