Sean McFarland - Intubate

Intubate amplified violin, flute, clarinet, percussion and piano

Sean McFarland

2016

Program Note IV. Orotracheal Intubation A.

Preparation 1.

Don Gloves, Mask, eye protection.

8.

Prepare the endotracheal tube. c.

B.

Apply water-soluble lubricant to the cuff end of the tube.

Technique 6.

Insert tip of laryngoscope blade into the right side of the patient’s mouth; advance the blade to the base of the tongue.

8.

Gently advance the blade further to its proper position. A straight blade is placed beneath the epiglottis; a curved blade is placed into the vallecula above the epiglottis.

11.

Gently insert the endotracheal tube through the vocal chords (Fig. A1-3), holding the tube/stylet with the right hand…

13.

Carefully remove stylet and laryngoscope…

15.

To ensure proper position of the tube: d.

Listen for breath sounds through the endotracheal tube as the patient is breathing spontaneously.

Reproduced with permission.

Fundamental Critical Care Support. Mount Prospect, IL: Society of Critical Care Medicine; 2007.

Copyright © 2016 the Society of Critical Care Medicine.

Instrumentation and Legend SETUP:

All:

Intubate is a piece that primarily revolves around the use of repetitive phrases of varying degrees of specificity. To coordinate these gestures, the use of a stopwatch or other time-keeping device is required. Dashed measure lines are written every ten seconds and instructions are to be read this way.

The important cyclical phrases of the piece are notated inside of boxes. Boxes are mostly to be repeated (signaled by a à) until the next instruction. Other instances call for numeric repetition of a box. There are other parameters that modify the instructions of a given box: BOX THICKNESS: Varying levels of box thickness are used to determine the specificity of the phrase. There are three sizes:

Thick boxes should be played as written, and repeated immediately.

Medium boxes include room for subtle improvisation Thin boxes have room for larger improvisations. At no point should the harmony of a box be changed, but octave displacements are welcome. These improvisations should largely be tasteful rhythmic and timbral reworking of a box. è BEFORE: begin this box once the current box is completed DIVIDED BOX: play the first figure as a normal box, but infrequently interrupted by the material in the other half of the box.

XN: play this box n number of times before proceeding to the next element. If there is still room inside of 10s, you may repeat the last box until the next measure.

With the exception of few moments, the other measures of the music are quite rhythmically free. Phrases written in meterless measures should roughly follow the contour of that measure inside of 10 seconds. The spacing of notes in the score should be a determining factor in how the performer chooses to approach the measure. Generally, durations should be interpreted at q = c.

60. For example, a half note should be ~2s, a quarter note ~1s, an 1/8 note .5s. Thirty-second notes are used for very quick notes, and whole notes are used for long tones of indeterminate length.

The other symbol to mind for all performers is the down arrow, which means the note should be played as soon as the measure starts. For example, a down arrow at 1’40” means to play that note exactly at 1:40:00

Violin:

The violin part of this piece should be amplified by a typical room mic into a stereo PA or similarly with a bridge pickup. The part is primarily a collection of harsh sounds used to represent a patient presenting dyspnea.

Certain families of extended techniques are employed: VERY SLOW, VERY LIGHT BOW: this is a technique which produces an almost pitchless sound at a very low volume.

Also abbreviated as s+l.

SCRATCH TONE: maximum bow pressure, slow speed. This should result in a heinous scratching sound of roughly indeterminate pitch. This technique is employed on many different parts of the string, and notated with a black bar of varying degrees above the staff.

LIGHT FINGERED TREMOLO: This technique, in conjunction with the above scratch tone, should provide a scratchy sound with quick descending motion.

BEHIND THE BRIDGE: play anywhere on the string behind the bridge of the instrument (down-pointing triangle).

MOLTO BEHIND THE BRIDGE: the bow should be played on the fabric section of the string behind the bridge (uppointing triangle). At 4’30”, the left hand should be employed to temporarily mute the spaces in between these notes.

Flute and Clarinet:

AIR SOUNDS: At 6’, wind players are asked to gradually change their notes into breath sounds. These are both

outward (up-pointing triangle) and inward (down-pointing triangle.)

Piano:

PERCUSSIVE PEDAL: This notation is used for the performer to lift up on the pedal in a percussive way. In my

experience, the una corda is the loudest on the grand piano, and should be used if this is the case. (thanks to Annie Jeng for the find!)

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