Draconids Draconids was commissioned and premiered in 2011 by Post-Haste Reed Duo: Sean Fredenburg (saxophone) and Javier Rodriguez (bassoon). I owe many thanks to these fantastic artists! System Configuration Required for performance:

• Macintosh computer running OSX 10.6.8 or later with • MaxMSP version 5 or later installed (application or

runtime) • Draconids Max patch (contact the composer at

joshua.keeling@gmail.com to obtain the patch) • Audio interface connecting computer to loudspeakers • Two microphones connected to computer via audio

interface • At least two loudspeakers in stereo configuration

The only computer operation required for a performance is to turn the patch on by clicking the ON/OFF button. One of the performers or, ideally, an assistant may do this. The computer should be placed on stage facing the performers if possible. The bassoon and saxophone signals are also amplified through the computer – the levels may be adjusted in the Max patch prior to performance.

Performance Notes This piece uses pitch tracking to follow the performers; no computer operation and/or synchronization with an audio track is necessary during the performance.

• Each of the highlighted notes is a cue note that the computer is “expecting.” These notes cause the computer to step through the piece and should be as accurate as possible. Specifically, on an equal tempered scale, A=440, the patch will interpret any every pitch within a quarter tone either direction (thus, no written quarter-tone notes are cue notes). Every pitch “heard” (even if not a cue note) is displayed as a MIDI number. The patch also displays the section letter and the number of the last-played cue note.

• For rehearsal, the patch may be started at the beginning of any section by selecting from the “Go to:” menu.

• In some sections, pauses are indicated with time values. These are minimum times; longer pauses may be desired depending on factors such as the sound from the computer, which will vary slightly each time. Performers are encouraged to use musical intuition to shape the overall section.

• Sections without meter (Sections C and F) are written graphically so that horizontal space corresponds to time. Consider one inch (~2.5 cm) to equal about 2 seconds in time.

Draconids

Program Notes

In October 2010, I had the pleasure of seeing my first meteor shower from a beautiful North Florida beach. In the

extreme early morning hours, hundreds of meteors flooded the sky from all directions, most of them emerging from the

direction of the constellation Draco. Some were quick and dazzling; others, to my surprise, drifted on slow, winding paths

across the sky before dissipating into the night. The sense of tranquility and amazement I felt while watching one of

nature’s most beautiful phenomena is one that I will never forget.

In Draconids, I have ventured to render my impressions of this experience in musical form, not so much as a sonic

mimicking of the meteors’ motion, but as an attempt to re-create the atmosphere of that awe-inspiring event. I wanted to

make sure the electronic part was flexible and completely responsive to the performers, so I programmed it to track the

pitches of the instrumentalists, leaving them free to interpret the piece at their own pace.

The instrumentalists act partly as illustrators, establishing the celestial materials to which the computer adds

motion and color; and as observers, reacting both to one another and to the overall soundscape. Multiphonics in the

instrumental parts introduce altered harmonic spectra that further expand the tone colors available for the computer’s

extraction and manipulation. The multiphonics are also reflected microtonally in much of the wind instruments’ melodic

material. Often, the melodic passages are consonant with the multiphonic’s harmonic spectrum, but even more often I

was fascinated by the sound of notes just outside the multiphonic spectrum. This effect can be heard especially in the final

section, where the instrumentalists’ sound is convolved in real time with bassoon multiphonics, leaving behind long,

sonic trails.