Deconstructing Dowland · 2020. 9. 10. · Deconstructing Dowland Deconstructing Dowland John Dowland’s song Can she excuse my wrongs? was published in 1597 in the First Book of

Deconstructing Dowland

Deconstructing Dowland

John Dowland’s song Can she excuse my wrongs? was published in 1597 in the First Book of Songs.The song is in the form of a galliard that we find as both consort setting and as three galliards for lutesolo. Taken together, these lute pieces may give an idea of Dowland’s art of extemporization. In 2003Barrett began work on a live electronics composition for guitarist Stefan Östersjö. This composition,Where shadows do for bodies stand takes as its starting point Dowland’s Can she excuse my wrongs?.The electroacoustic medium provided a means to connect antique music to a new aesthetic of sound-surrealism that dually serves to expand the guitar's quiet and intimate sonority. Dragging the antiqueinto the modern even further, deconstruction of the three galliards was the source of DeconstructingDowland. Deconstruction can be a process of dismantling to create something new; a transgression, adisruption, a shifting of meaning from the inside out. Deconstructing Dowland was commissioned byStefan Östersjö with funds from the Norwegian "Fond for lyd og bilde”.

Guitar Notation

Opening preparation: Press small balls of Blue-Tack (approximately 4 mm in diameter) around thestrings approximately 3 mm behind the frets specified below. To find the exact position someexperiment is needed, as the result is different for each instrument. Ensure that the ‘open string’ movesfreely and that it doesn’t buzz when plucked. Also try to avoid buzzing for fingered notes. It may helpto pinch the ball such that the main mass of Blue-Tack it sticking up above the string. The soundingresult is rather different from when playing a normal harmonic.

String-1, fret 18String-2, fret 13String-3, fret 17String-4, fret 17String-5, fret 15String-6, fret 13

“Pull-off Blue-Tack” with Bartok pizz action (and therefore also removing the preparation).

“LH”: left-hand.

Small note heads: fast and always in left hand slur without right hand re-articulation.

Lower note: tremolo percussive sound using thumb and ringfinger on the body of guitar above the sound-hole. Motion frombridge to the left.

Upper note: Trill with right hand hammer-on

Lower note: tremolo percussive sound using thumb and ringfinger above and below guitar neck.

Upper note: sustained.

Computer partThe computer part is a MaxMSP patch controlled by a performer other than the guitarist. The computerperson triggers consecutive processes in synchronization with the guitarist. These trigger points areindicated in the score by the marks T1, T2... to T56. The computer operator should be able to readcomplex notation and have rehearsed with the guitarist prior to the performance. There are some trickysynchronisations.

To trigger a T-point, press space bar on the computer keyboard. (See MaxMSP patch for changing thistrigger).

The computer processes consist of:

- The playback of pre-made electroacoustic sounds from the computer disc, where one sound istriggered for a given T-point. NOTE: for T3 through to T23 exact synchronisation isnecessary. A good way to achieve this is to carefully watch the guitarist and to have rehearseda number of times.

- The activation of auto attack detection, after which the computer calculates guitar articulationsand automatically synchronises the playback of short, pre-made eletroacoustic sounds.

- Real-time cross synthesis (with filtering and reverb) of the live guitar and pre-madeeletroacoustic sound.

- Recording live guitar for later use in real-time cross synthesis.

- Drop-in and reset for rehearsals: To drop in at any T-point, first press ‘reset’ and then drop-inat the required T-point. However, if T37 has been triggered then the patch will need to beclosed and re-opening (due to a record to disc object).

Finger specified pitches, dampen the other strings with left hand,hit the bridge to make the pitches resonate.

Hammer-on, l=left hand, r = right hand.When no hand is specified use left hand or as it comes naturally.

Finger note as written but pluck string on the left side of the lefthand with the right hand. The resulting pitch is not the writtennote.

Heavily dampen note (not in normal pizz style)

Touch string as if playing a harmonic on the first note that comesnaturally under the hand on the 6th string. The result should be adampened ‘clonk’ sound with harmonic overtones.

In the score there is a brief description of what the computer will do for each T-point.

Calibrating the computerFor the computer part to function correctly a number of parameters in the MaxMSP patch need to becalibrated post microphone EQ (for microphones and technical set-up, refer to the section ‘technicalset-up’).

1. Setting the input levelMix all microphones to one mono send into the computer. Ask the guitarist to play bars 39-41 andadjust the input level to the point marked on “adc input level”. NOTE: after setting the input level themicrophones must not be moved. In the concert the guitarist should be in the exact position andproximity from the microphones. If there is any doubt, then a short sound check should be made whenthe guitarist is seated and ready to perform.

2. Calibrating the auto-attack detectionDouble click on the box “p amp_trigger” (beside “open here to calibrate”). Unlock the sub-patch(command-e). Ask the guitarist to play bar 12. Change “minvel 40” until the yellow button flashes onceonly on each articulation. “minvel” should be in the range 30-50. Next, ask the guitarist play bar 74.Change “minvel 10” until the yellow button flashes once only on each articulation. “minvel” should bein the range 10-20. Save the patch ready for the concert!

3. During the cross synthesis passages (such as bars 39-55) the output is particularly contingent on theinput volume and timbre. It is advisable to check the volume carefully during rehearsals and ensure thatno feedback occurs.

Mixing the sound in the concert1. The guitar is amplified and the signal sent through a compressor. The amplified sound should beclear and present, even when the guitarist plays naturally quiet materials. Note that this compressor isnot built into the MaxMSP patch.

2. There are six output channels from the patch. Channels 1 and 2 are the pre-prepared electroacousticmaterials. Channels 3 and 4 are the cross synthesis output. The relative volumes have been set withinthe MaxMSP patch, but some adjustments may be necessary. The volumes of these four signals shouldbe adjusted appropriately at the mixer.

3. Reverb: Channels 5 and 6 add an optional reverb effect to both the live guitar and the electroacousticmaterials. This reverberation is for subtle effect and should be used with caution, controlled at themixer. EQ the reverb signal to avoid feedback.

3. The levels from amplified guitar and computer should be balanced equally at the mixer. However,attacks in the electroacoustic material should not be pulled back and quieter material should not beboosted. Attention should be made to the sections of cross synthesis where the computer part should beof a rich sound and equal to the live guitar.

Technical set-up

The person operating the computer part needs clear visual contact with the guitarist and to clearly seethe guitarist’s hands. Without this visual contact it will be impossible to achieve an accuratesynchronisation. Another person should control the volume at the mixer.

MicrophonesTwo sensitive low noise condenser microphones positioned as close as possible to the guitar, onecovering the fret board, one covering the sound hole.One miniature microphone (DPA 4060) stuck on the lip inside the sound-hole and pointing up to thestrings. The DPA is to achieve a high amplification of quiet sounds without feedback. It should bemixed in optionally for each concert setting.

Computer requirementsThe MaxMSP patch has been tested to work on Dual 2.5 GHz PowerPC G5 running OS10.4, and on aMacBook Pro Dual 2.4 GHz running OS10.5. Lower computer speeds will probably function fine, butdo not let MaxMSP cpu usage peak above 35% otherwise latency and other problems may beencountered.

SoftwareAs variables in the patch need to be edited and saved, a full version of MaxMSP is required. The patchhas only been tested with MaxMSP4.

Sound hardware6 channel output, 1 channel input sound interface.

CompressorThe microphones should pass through a gentle compressor (inbuilt in the mixer or other outboardeffects). The amplified sound should be clear and present, even when the guitarist plays naturally quietmaterials. The Bartok pizz should be on the edge of clipping. The computer send is post compression,post EQ but pre-fade. Pre-fade send is important so that the audience level of the live amplification canbe adjusted without altering the calibrated level sent to the computer.

Mixer routingThree microphones from guitar into desk.Stereo mixdown of mics into compressor.Stereo compressor output routed over loudspeakersMono mixdown of compressor output sent to computerSix channels from computer routed into deskStereo mixdown of six computer channels routed over loudspeakers

Loudspeaker setupsThe loudspeaker set-up will depend on the size of the space and audience. Here are some options withmix indications:

guitar13 2 4

guitar13 2 4

65

guitar13 2 4

65

7 8

4-speaker option:Amplified guitar routed left-right only to speakers 1-2Computer routed left-right evenly over all speaker pairs

6-speaker option:Amplified guitar routed 100% left-right to speakers 1-2Amplified guitar routed lover level left-right to speakers 3-4Computer routed left-right evenly over all speaker pairs

8-speaker option:Amplified guitar routed 100% left-right to speakers 1-2Amplified guitar routed lower level left-right to speakers 3-4Computer routed left-right evenly over speaker pairs 1-6Computer routed left-right lower level to speakers 7-8

q = 50

Deconstructing Dowland (full score)

Guitar

Computer

Preparation: Blue-Tack balls

= 1/4 b (not notated)= Eb; = 1/4 # (not notated)

mp

7

3

4

Gtr.

cmp

from bridge move left

mp

5

f Trem. hitneck

p

3

3 3

3

8

q = 40

Gtr.

cmp

0 12

10

33

3

3

T1

11

Gtr.

cmp

sul pont

p

slideRH

f

sfz

pull-offBlue-Tack

sfz

sfz

(Manual trigger pre-prep sound, 33 seconds)

sfz

sfz

sfz

f (sul pont)

moltovibrato

T2 (Activate auto trigger pre-prep sound)

q = 5015

Gtr.

cmp

art 2

3

( = 100)

mp

3

3

(Manual trigger pre-prep sound for T3-T23. Accurate synchronisation required.)T3

T4

T5

3

T6

T7

T8

19

Gtr.

cmp

3

3

T9

3

T10

22

q = 40

Gtr.

cmp

( = 80)

T11

T12

T13

T14

q = 40

25

Gtr.

cmp

( = 80)

mf

19

mp

f

3

3

3

3

3

3

T15

T16

28

Gtr.

cmp

f

fmp

f

3

3

3

3

3

T17

T18

3

31

Gtr.

cmp

3

3 3 3

33

Gtr.

cmp

(clear and articulated)

(f)

3 3

3

3

3 3

T19

T20

T21

3

q = 30

36

q = 40

Gtr.

cmp

= 60

(f)

= 80

3

33

3 3

T22

T23

q = 12039

Gtr.

cmp

f

Don't roll chords unless marked. Careful with rhythm, articulations and rests

3

3

3

T24 (Cross synthesis between live guitar and pre-prep sound)

2

43

Gtr.

cmp

molto vib.

5:3e

molto vib.

3

3

3


46

Gtr.

cmp

molto vib.

mp

f

3

3 5:4x 3 3

5:4x

q = 10050

q = 80

Gtr.

cmp

mp

molto vib.

8811

3

(keep hammer-on clear)

T26 (Cross synthesis between live guitar and pre-prep sound. Auto stop after 8 seconds.)

55

Gtr.

cmp

r

r

r r

r

r

r

l

l

r

r

r

3

T27

(Manual trigger pre-prepsound, 31 seconds)

60

Gtr.

cmp

rr

r

r

r r

r

f (subito)

sfz

sfz

sfz

sfz

63

Gtr.

cmp

retune in gliss

retune in gliss

mp (subilto)

5

66

Gtr.

cmp

9 7 5

5

T28 (Manual trigger pre-prep sound, 16 seconds)

3

69

Gtr.

cmp

f

mf

5:4x

72

q = 50

Gtr.

cmp

q = 5074

Gtr.

cmp

NOTE: fingered pitch is not the sounding pitch

3

3


T30 (Activate autotrigger pre-prep sound)


T32 (Manual triggerpre-prep sound,5 seconds)

78

Gtr.

cmp

T33


81

q = 102

Gtr.

cmp

(check tuning,take time needed)

f

1010

8

5 11

1010119

1818

3

83

Gtr.

cmp

mpsul tasto

9

10

8

nat.

Pizz

f

3

33


85

Gtr.

cmp

nat.

p

f

5:4x 3:2x

5:4x

5:4x

4

87

q = 90

Gtr.

cmp

sul tasto

p

5:4x 3:2e

5:4x

q = 9090

Gtr.

cmp

pizz

nat.

pizz

1919

15

nat.

5

5 3

3

T35


5

92

q = 50

Gtr.

cmp

gentle

8

88

= 100

q = 5094

q = 60

Gtr.

cmp

pizz

= 100

p

legato (as possible)

pizz

sfz

molto vibrato

= 120

3 3

3

3


T36

97

Gtr.

cmp

sul tastopp

p

ff

= Eb; = 1/4 # (not notated).

Detune

5 3

q = 50101

Gtr.

cmp

mp

= 100

sfz

7:6

3

3 3

3:2

7:6

3

T37 (Start record)

104

Gtr.

cmp

sfz

r

7:6 3:2

5

107

Gtr.

cmp

sfz

5:4

109

Gtr.

cmp

sfz

sfz

7:6

5:4 5:4 5:4

T38

(Stop record)

112

Gtr.

cmp

f

l r

l r

l

r

l

mp

sfz

sfz

sfz

sfz

sfz

5:4 7:6

7:6

3

3:2

(Manual triggerpre-prep sound, 2 seconds)

T39 T40 (Cross synthesis of live guitar and recorded section)

117

Gtr.

cmp

sfz

sfz

l r

sfz

7:6

3

37:6

3:2

121

Gtr.

cmp

sfz

sfz

sfz

5:4

T41


T42

(Manual trigger pre-prepsound, 5 seconds)

125

Gtr.

cmp

l

r

l

f

mp

f


mp

5:4

7:6

3

5:4

5

T43


130

Gtr.

cmp

molto sul tasto

19 (with r-hand thumb)


5

5

f

3

6:4x


T45 (Manual trigger pre-prep sound,4 seconds)

T46


6

133

Gtr.

cmp


5:4y 5:4y

5

T47


5

T48 (Manual trigger pre-prep

sound, 7 seconds)

136

Gtr.

cmp

mp

(LH)

hit topof neck

Trem. hitneck

T49


T50 (Manual trigger pre-prepsound, 14 seconds)

139

Gtr.

cmp

(LH)

(LH)

hit topof neck

pfrom bridgemove left

f

from bridgemove left

(LH)

move dampening /pizz hand from right to left

3

3:2y

3:2y


142

q = 102

Gtr.

cmp

(quickly, but take time needed)

Re-tune:

= Eb = E

f

14

3

3 3


144

Gtr.

cmp

13 1011

pp

19

0

VII

3

T53 (Cross synthesis betweenlive guitar and pre-prep sound)

f

147

Gtr.

cmp

5:4x

7:6x

7

7:6x

5:4x

3

151

Gtr.

cmp

09

XII17

art harm10

5:4x

7:6x


7

155

Gtr.

cmp

1512

mp

07

9

CII

5:4x

5:4x

T55 (Cross synthesis between live

guitar and pre-prep sound)

159

Gtr.

cmp

0

11

8

T56 (Cross synthesis betweenlive guitar and pre-prep sound)

162

Gtr.

cmp

VII

CIII

p

3

3:2q

166

Gtr.

cmp

sul tasto

pp

molto sul tasto

5:4e

5

8

Documents

Deconstructing Dowland · 2020. 9. 10. · Deconstructing Dowland Deconstructing Dowland John Dowland’s song Can she excuse my wrongs? was published in 1597 in the First Book of