flint · 2018. 10. 10. · flint for ensemble mosaik by Rama Jesse Gottfried A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy

flintfor ensemble mosaik

by

Rama Jesse Gottfried

A dissertation submitted in partial satisfaction of the

requirements for the degree of

Doctor of Philosophy

in

Music

and the Designated Emphasis

in

New Media

in the

Graduate Division

of the

University of California, Berkeley

Committee in charge:

Professor Franck Bedrossian, ChairProfessor Edmund Campion

Professor Cindy CoxProfessor Gregory Niemeyer

Spring 2015

Abstract

flintfor ensemble mosaik

by

Rama Jesse Gottfried

Doctor of Philosophy in Music

and the

Designated Emphasis in New Media

University of California, Berkeley

Professor Franck Bedrossian, Chair

Striking flint rock against iron pyrite, tiny sparks leap from seemingly nowhere into existence. Like the combination of sounds, when a spark contacts flammable material a flame forms; expanding and transforming as it grows, feeding itself on the material, continuing until it has released as much of the material’s content as it can before diffusing into the air.

The machinery of life follows a similar progression — from the microscopic drama of atoms, cells, neurons, leaves, amoebas, and digital bits — to the macro-scale drama of lives, societies, and universe-sized ecosystems.

The piece flint for ensemble mosaik, is not universe-sized, but instead is comprised of millions of microscopic lives and deaths in sound.

By magnifying these most minuscule of sonic gestures through extreme amplification and human computer interaction instrument systems, the work extends the gestures of the ensemble and reaches into the space around the listeners.

flint was premiered by ensemble mosaik at the Bluderzer Tage zeitgemäßer Musik Festival in Bludenz, Austria, November 2014.

�1

for Sophie

�i

Acknowledgments

I dedicate this dissertation to my family who has supported me through many years of study, and especially to my amazing wife Celeste who has given me the courage to keep going whenever doubts creep in, and my daughter Elodie who reminds me of the importance of play.

I would like to also acknowledge the many teachers I have had through my academic career, starting with T.L Read, and Ernest Stires who told me I was a composer, Justin Dello Joio, Nils Vigeland, Marc Sabat, and Walter Zimmermann.

In particular, I would like to acknowledge the intellectual engagement of the faculty at UC Berkeley: David Wessel, Edmund Campion and Adrian Freed at the Center for New Music and Audio Technologies who have guided my work and holistic growth as an artist and technologist; Franck Bedrossian whose careful listening and thoughtful reflections have greatly refined my aesthetic handling of material; and at the Berkeley Center for New Media, Abigail De Kosnik and Greg Niemeyer who helped expand my artistic and scholarly thinking putting me in dialog with other graduate students from many other backgrounds.

Thank you.

�ii

instrumentation:

piccolo with internal mic, handheld speakeroboe with internal mic, handheld speakerclarinet in Bb with internal mic, handheld speakersoprano saxophone with close mic, handheld speaker

percussion: close mic: plant pot base cleaning brush on bongo drum 2 rocks cymbal with contact mic midi pedals (see schematic)

piano: wacom tablet computer interface 4 transducers attached to various objects sitting on piano strings: wooden frog tibetian bowl piece of wood unattached ping-pong balls midi pedals and mixer (see schematic) violinviolavioloncello

duration: ca. 12 minutes

1

8ch amp

10ch interface

laptop

2 km184s4 transducers1 contact mic

cymbal w/ contact mic

hand-held speakers

audio cables

speaker cable

MIDI pedal cable (1/4”)

computer cables (usb or firewire)

table for objects

CME GP33

MIDI Pedal

MIDI Pedal MIDI Expression Pedal

WacomMIDI Mixer

1

2

34

usb hub

eobody MIDI-USB

Snake to house mixer

inout

in

in

in

out

out to board

Picc.Ob.

Cl.

Vln.Vla.

Vc.

Sax

Conductor

4x AKG C417 mini-omnis

DPA string mics

overhead mics

(DPA)

(km184)

contact mic

percussion

MacBook ProWacom tabletMIDI mixer (UC-33, BCF2000 or sim)CME GP33 Foot pedaleobody MIDI-USB2x MIDI Pedals1x MIDI Expression pedalUSB hub

10ch audio interface (FF800 or sim)8ch amplifier

4x small transducers (Dayton Audio)6x KM184 (or sim)4x AKG C417 (or sim)3x string DPA (or sim)1x sax DPA (or sim)2x contact mics4x small handheld speakers (with housing)

schematic

note:for best results all winds should havecompression and EQ to create a highly flat,electronic sound. boost extreme low and highfrequency ranges for maximum boom and click.

2

sfz

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equal temperament (ET)

piccolo

relative pitch of keyclick/air-noise around held note.where the held note continues, there should also be a click.

relative key glissando from held note.

flutter-whistle tone: fluttertounge technique with throat plus whistletone,a high frequency sound, with a bouncing rhythm a bit like a small stone skipping on water

motor sound: a low-pitch fluttertounge technique with throat, with the mouthcompletely covering the embouchure hole. the resulting sound should be somethinglike a motorcycle. usually combined with keyclick glissando, and heavy air sound.see also the general graphic notation explanation.

staccatissimo, pizzicato

staccatissimo, dead tongue sound, click-like.

light air tone not on staff, slight to no pitch

heavy air tone, forceful air pressure, with mouth coveringembouchure.

light air tone on staff, slightly more tone than above

ingressive, lip soundvery high pitch with irregular rhythm, and density. here,the staccato 16th note at end indicates as sharp ending point.

graphic notation:for some techniques in the piece, graphic notation is used to visuallydescribe the resulting sound. in general, the vertical position of ashape refers to the relative pitch of the sound, while the vertical widthand darkness of the shape indicates the relative loudness of the sound. theinternal variations of each shape indicate that a change in quality shouldbe apparent, for instance this might possibly achieved by changing the embouchure shape.

amplification:a small omni-directional microphone should be placed inside the instrument,wrapped with plastic-wrap to avoid water damage. for the piccolo, the micshould be placed inside the end of the instrument, and secured with a rubberband to keep the mic in place. the gain to the PA speakers should be quite loud,and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back. some distortion is desirable,for example, with the “heavy air tone”.

relative pitch of fingering/click, relative to the G on thetreble cleff.

5 4< >

mdu ofÙenv


�31 cents from ET

�50 cents from ET


oboe

relative pitch of key fingering/click around held note.where the held note continues, there should also be a click.

relative pitch of fingering/click, relative to the G on thetreble clef.

“geiger-counter”: staccatissimo, ingressive breath, dead tongue sound, veryshort click sounds. possibly best produced with strong embouchure pressure,with the reed at the side of the mouth.


air fluttertongue -- even though the notehead is black here, the result should be a bit more pitch than the light air-toneon the staff, but not a full bodied pitch.

light air tone on staff, slightly more tone than above,should be an “almost” pitch, with a light, unstable grittiness. ingressive, lip sounds

very high pitch with irregular rhythm, and density. in example “a” the staccato 16th note at end indicates as sharp ending point.example “b” is similar, but with more interpretive variation.see also the general graphic notation explanation.


amplification:a small omni-directional microphone should be placed inside the instrument,wrapped with plastic-wrap to avoid water damage. for the oboe, the micshould be placed inside instrument approximately at the mid point, and secured with a rubber band by the cable at the bell to keep the mic in place. the gain to the PA speakers should be quite loud, and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back.

a b

air fluttertongue with relative pitch keyclick glissando

3

5 4< >

mdu ofÙenv


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clarinet Bb




light air tone on staff, slightly more tone than above,should be an “almost” pitch, with a light, unstable grittiness.


amplification:a small omni-directional microphone should be placed inside the instrument,wrapped with plastic-wrap to avoid water damage. for the clarinet, the micshould be placed inside the middle of the instrument, and secured with a rubberband or tape to keep the mic in place. the gain to the PA speakers should be quite loud, and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back.

relative pitch of fingering/click, relative to the G on thetreble cleff.

ingressive, lip soundsvery high pitch with irregular rhythm, and density. in example “a” the staccato 16th note at end indicates as sharp ending point.example “b” is similar, but with more interpretive variation.see also the general graphic notation explanation.

a: slap-tongue tremolo, many many slap-tongues, as fast as possibleb: staccatissimo tongue slaps, with fluttertongue (throat) air at the same timec: air fluttertongue (throat) with short, slap-tongue multiphonics (overtones)d: ingressive air sound, with staccatissimo ingressive slap-tongue

a b

a b c d

“whistlers” -- very high whistle-like sounds, produced with lots of embouchure and air pressure, plus a little spit on the reed. depicted graphically -- see also thegeneral graphic notation description.

teeth on reed -- very high whistle sound

5 4< >

mdu ofÙenv


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�50 cents from ET


soprano saxophone




light air tone on staff, slightly more tone than above,should be an “almost” pitch, with a light, unstable grittiness.


amplification:the saxophone uses a DPA mic, with gooseneck clip mounted on the instrumentso that mic is over the keys, approximately at the mid-point between the two hands. the gain to the PA speakers should be quite loud, and should be compressed, and EQ’d with boosts in the very low and very high ranges -- as loud as possible without feeding back.

relative pitch of fingering/click, relative to the G on thetreble clef.

ingressive, lip soundsvery high pitch with irregular rhythm, and density. in example “a” the staccato 16th note at end indicates as sharp ending point.example “b” is similar, but with more interpretive variation.see also the general graphic notation explanation.

a: staccatissimo tongue slaps, with fluttertongue (throat) air at the same timeb: short, slap-tongue multiphonics (overtones)c: ingressive air sound, with staccatissimo ingressive slap-tongue

a b

a b c

“spit whistlers” -- a percussive fluttertongue sound, produced by adding a littlespit into the reed and angling the bell of the instrument upwards, so as to keepthe water in the reed. the resulting sound should not sound like heavy gurgling,but a light, somewhat transparent pitched sound. depicted graphically -- see also the general graphic notation description.

teeth on reed -- very high whistle sound

sfzstaccatissimo, dry slap-tongue

4

1

2

3

4

mp p

a

a

b

b

motion on flower pot base

bow muted cymbal with contact mic

a: open circles are finger tipsb: black diamonds are the back of the finger nail

while bowing the muted cymbal, move expression pedal to jump betweentransducers in the piano. in the second part of the piece, the soundjumps between hand-held speakers on stage.

press two rocks against each other with varying degrees of speed andpressure, using the graphic notation as a general guide for relativepitch and intensity.

hand brush on bongo drum -- three main sounds are used: (1) a gradient of rhythms created by moving the bristles against the drum head at different speeds and pressures, from sparse clicks,to white noise,(2) changing the relative pitch of the bristles, by using the otherhand to alter the resonance of the drum head, and(3) rubbing the handle of the brush (smooth plastic) against the drum headto produce a slightly more pitched noise sound, the frequency of which iscontrolled by rubbing closer or further from the rim of the drum head.

a: bristle sounds with graphically depicted results -- the relative vertical position indicates pitch, and the horizontal density indicates rhythm and loudness.b: open circles are used for the brush handle

pressure

light

heavy

rotation speed

fast

slow

graphic notation:for some techniques in the piece, graphic notation is used to visuallydescribe the resulting sound. in general, the vertical position of ashape refers to the relative pitch of the sound, while the vertical widthand darkness of the shape indicates the relative loudness of the sound. theinternal variations of each shape indicate that a change in quality shouldbe apparent, for instance this might possibly achieved by changing the resonance of the drum head, the amount of pressure used, or speed of motion.

amplification:at least two mics are used, one or two for the flower pot base,brush on bongo, and rocks -- a contact mic is taped to the cymbaland is routed into the piano/wacom computer interface.

midi pedals:1) section pedal changes the presets used in the wacom instrument2) a midi expression pedal is used to jump the cymbal soundbetween transducers in the first sections, and later between hand-held speakers.

percussionhard brush on bongoflower pot basetwo rocksbowed cymbal with contact mic

graphic notation is used in the wacom/piano part to visuallydescribe the resulting sound as well as the gesture of the fingers, handsand arms on the tablet surface. in general, lines which are more verticalin orientation are used for more dry staccato like textures, whilesounds that have more continuty (e.g. longer FM sounds) have more of a horizontal orientation. the approximate vertical center of a shape indicatesa relative pitch, and the relative height/size of a shape indicates itsintensity, and granular density.

dry, percussive granular soundspitched, or semi pitchedgranular sounds.

for notated pitches, keyboard range is from C below middle C, to C above the staff. highly modulated,

more continuous FM sounds

distorted test-tone beep

extreme feedback pitchesto the point that the transducers jump up anddown on the strings

on top of the piano sits a multi-touch wacom tablet fitted with a tactile surface in a simplar pattern to a two manual keyboard. the finger motions are sent into a computer running max/msp used as animpulse sound source for signals sent from the computer through fourtranducers sitting on the strings of the piano. see also the technicallayout desrciption for more indepth layout. the wacom part is the central electronics source in the piece.

wacom/transducer/piano instrument

x

x

ped

a

a

b

b

c

c

synthesis/feedback crossfade

piano sustain pedal

up

down

up

down

three sound types per section preset

graphic notation aims to describe thegesture of the hands/arms as well asthe resulting sound

basic sound types:

pp

⁕

recording of a large group of people talking filtered with wacom interfaceand played into transducers into the piano

5

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env�14 cents from ET)

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light to normal bow pressure

heavy bow pressure

mute

mst

msp


strings

amplification:all strings should have DPA mics attached -- amplified sound should be balanced and clean, mixed withthe rest of the ensemble

extended jete

“one hair”

violoncello:

violin & viola:

clb

mp

8

>v

I/II

mute string with bow

mst

ob

...sim.

vla

vlnclb

col lengo glissando col lengo staccato pitches

interlocking col lengo jete,between violin and viola to create a semi continuous texture

a: “extended gravity jete”, where bow bouncesfor a very long time, using the weight of the bow to keep it bouncing. speed and bow position are indicated graphically.b: “one hair” from the bow is pressed into thestring and dragged vertically, creating littlepitched clicks as it chafes against the grainsin the string.

uon the verge of pitch

5 4

bow position on string, higherindicates closer to bridge, closerto note means more sul tasto

bow on the edge of wherethe note begins to emerge

a: press bow wood into hairs into string and twist, creating a granular pitched soundb: drag bow vertically on string with strong pressurec: semi-circular bowing, from light horizontal moltosul tasto bowing, to pressed vertical bowing up to the bridge (ob = on bridge)d: heavy pressure and slow bowing that produces one pitched click at a time.

semi-pitched noise

behind bridge string fingers on string asloud as possible, so that somepitch is audible between fingerand nut.

a

a

b

b

c d

pizz

4

one click

4

pressed bow gestures:

finger sounds:

light pressure

col lengo:

bartokpizz

veryhigh note

handheld speakers

at a climatic moment in the piece, the winds put down their instruments and standholding hand held speakers. at first the sound coming out of the speakers is a mezzoforte white noise. as the performers slowly move the speakers through the airwe hear soft aliasing and cancellation effects. there is a short interruption by theensemble at rehearsal number 44, and then after another section of white noise, theensemble enters again -- the white noise is cut and replaced with the amplified soundof the percussion. for a long period of time, only the percussion comes through thehandheld speakers until the last section (59-64), where the piano/wacom instrumentshifts from the transducers into the speakers, and ends with high sinewaves also inthe speakers.

the moments of the speaker performers should be as unified as possible; very smooth,somewhat majestic, yet impersonal, like robots. transitions between poses are notated,where arrows continue between positions, there should be no stop, but a fluid continuation,to the next location.

6

1

pp pp

adr adr

I(I) (I)

I/IIpizz clb

sf

I/II

fsffz

pizz

sffz

pizz

sffzmf

clb8 8

I/IIpizz clb

sf

I/II

sfsffz

pizz

sffz

pizz

sffzmf

clb

I/II

sf

8 8

x

ab c

⁕ ⁕ ⁕

ped

0

7plant pot base, w/ nail

PA: mp

sfzsfz sfz

5pp pp sempre

5

sfzsf

sf

pp pppp p pp p

14

14

24

24

44

44

34

34

14

14

= ca. 66

vc

vla

vln

cl(Bb)

s sax(Bb)

perc

pno

ob

picc

flint rama gottfried 2014

10”

10”

transposed score

7

2

x

ped

ab c

... sim.

... sim.pp mp

1

2

3

4

transducer pan pedal

mp pppp

plant pot base, w/ fingertips

10”

10”

14

14

8

3

ppp sempre

pizzclb

sffz

pizz

sffz

pizz

sffz

pizz

IV

sffzp

I/II

sf

8

I/II

sf

pizzclb

sffz sfz

pizz

IV

sffzp p

I/II

sf

8 8clb

p

8

x

ped

ab c

⁕⁕⁕⁕

duo

( )

duo

nvv

5

sfz sfz sfzpp pp pp

mp sf

sfz14

14

44

44

34

34

24

24

14

14

14

14

9

4

3 5

pizz

sffz

I/II

sf

clb

p

8

sf

I/II

clb

I/II

sf sf

pizz

III

sffzp

clb

p

I/II88

x

ped

ab c

⁕ ⁕

3 5

sfz

3 5

pp pp

mpmp

sf

14

14

54

54

44

44

14

14

10”

10”

10

5

x

ped

ab c

... sim.

... sim.pp pp

sfffz

mp

1

2

3

4


mp pppp


10”

10”

14

14

11

6

3 5

pizz

sffz

pizz

sffzp

I/II

8clb

p

8

I/II

sf sf

pizz

sffz

pizz

IV

sffz

I/II

x

ped

ab c

⁕ ⁕

3 5

3 5

ppsf

sfz sfzsf

14

14

54

54

44

44

14

14

332

332

12

7

(p)

mst

ob

sfzsfzsfp

mst

ob3mute string with bow

“fff”sfz

pizz

sfz

pizz

mst

ob

sfzsfzsfz sfp

mst

ob


“fff”

4 5 4n

pizz

sfz

pizz

x

ped

ab c

1

pp sempre

4 4

blend with cello

sfp“fff” “fff”

sfppsfz

ppp ppp

sfz sfppsfz p

332

332

32

32

332

332

34

34

15”

15”

13

8

158va8va

...sim.

vla

vlnclb

4 4 4 45 555

158va8va

...sim.

vla

vlnclb

4 4 4 45 555

x

ped

ab c

5 4 5 n n5 n n55 4 5

5 4 5 n n5 n n55 4 5

mp

4 4 4 45 n 5 n 5 n5 n

4 4 4 45 5n 5 nn 5 n

15”

15”

10”

10”

(sul pont trem)

14

9

pizz

sffz

3-4”

pizz

sffz

3-4”

pizz

sffz

3-4”

x

ped

ab cfff

solo3-4”2

3-4” 2 rocks, crushed against each other

3-4”3-4”

sfz

sff

mp f

3-4”3-4”

3-4”3-4”

3-4”3-4”

fff

10”

10”

332

332

15

10

<u u4 o

u4u4

u4

4n

sim.mfsfz

mst

ob

jeté

45

jeté

mfp p

<u u4 o

u4u4

u4

5

jeté

sim.mf mfsfz

mst

ob

4 n

p p

n

<o

u4u4

4 5

u u4

u4jeté

p sim.mf p mfsfz

mst

ob

5n

x

ped

ab c

finger tip

crush

u4

p

<o

u4<o

u4u u4

u4u4

p

u u4

f sempre

u

p

<o

u4u u4

u4

p

fff

3 ~3~3

32

332

58

58

532

532

68

68

332

332

78

78

532

532

10”

10”

16

11

x

ped

ab c

sff

fff p ff p ff

10”

10”

17

12

x

ped

ab cfff

fffp ff p ff

332

332

18

13

4

p mfsfz

mst

ob

45

< o w4

4<u u

<o o o<

<u

o 4<

n

< o w4

4<u u

< oo o<

<u

o 4<

sfz

mst

ob

4 n nnmfp

< o w4

4<u u

<o o o<

<u

o 4<

5mfp

sfz

mst

ob

5n n

x

ped

ab c

< o w4

4 4u u< <o o o

<<

uo o

<4

p p

u<o

<

pmf mf

<u

o<

f sempre

< o w4

4<u u

<o o o<

<u

o 4<

p

fff

33 33

32

332

78

78

532

532

88

88

532

532

28

28

732

732

10”

10”

19

14

pizz

sffz

pizz

sffz

pizz

sffz

x

ped

ab c

sfz

sff

fffp ff p ff

10”

10”

20

15

x

ped

ab c

... sim.

... sim.pp mp

3

1

2

3

4


mp pppp


pp

10”

10”

14

14

14

14

21

16

ppp sempre

pizzclb

sffz

pizz

sffz

pizz

IV

sffzp

I/II

sf

8

pizzclb

sffzsfz

p

pizz

IV

sffzp

8clb

p

8pizz

sffz

x

ped

ab c

⁕⁕⁕⁕

duo

( )

duo

nvv

5

14

14

44

44

34

34

24

24

14

14

332

332

very slow a tempo

22

17

mst

ob

sfzsfz

mst

obpizz

sfz

pizz

sfz

mst

ob

sfzsfz

mst

ob3pizz

sfz

pizz

sfz

x

ped

ab c

4

pp sempre

4 4

blend with cello

sfp“fff” “fff”

sfppsfz

ppp ppp

sfz sfppsfz p

332

332

32

32

332

332

34

34

10”

10”

23

18

8va

clb IV I

...sim.

vla

vlnclb

P

8va

clb IV I

...sim.

vla

vlnclb

P

x

ped

ab c

PP P

10”

10”

24

19

8va

8va

x

ped

ab c

sfz

PP

PP

10”

10”

25

20

158va 8va

4 4 4 45 555

158va 8va

4 4 4 45 555

x

ped

ab c

preset: farthest finger from others sets pitch

5 4 5 n n5 n n55 4 5

5 4 5 n n5 n n55 4 5

4 4 4 45 n 5 n 5 n5 n

4 4 4 45 5n 5 nn 5 n

15”

15”

26

21pp

pp

8

pp

8

x

ped

ab c

pp

solo

pp

pp

10”

10”

332

332

27

22

mst

ob

sfz sfz

mst

ob

3 3

3“fff”

mst

ob

sfz sfz

mst

ob

“fff”

x

ped

ab c

sfz

4

“fff” “fff”sfp sfz

(pp)

44

ppp ppp

sfppsfz sfz p

332

332

34

34

332

332

32

32

10”

10”

28

23

pizz

sffz

3-4”

pizz

sffz

3-4”

pizz

sffz

3-4”

x

ped

ab cfff

solo3-4”5

3-4” 2 rocks, crushed against each other

3-4”3-4”

sfz

sff

mp f

3-4”3-4”

3-4”3-4”

3-4”3-4”

fff

10”

10”

332

332

29

24

<u u4 o

u4u4

u4

4n

sim.mfsfz

mst

ob

jeté

45

jeté

mfp p

<u u4 o

u4u4

u4

5

jeté

sim.mf mfsfz

mst

ob

4 nn

p p

<o

u4u4

4 5

u u4

u4jeté

p sim.mf p mfsfz

mst

ob

5n

x

ped

ab c

finger tip

crush

u4

p

<o

u4<o

u4u u4

u4u4

p

u u4

f sempre

<o

u4u4 u u

4u4

p p

fff

3 ~3~3

32

332

58

58

532

532

68

68

332

332

78

78

532

532

28

28

30

25

< 4w 4

44 un

sfz

mst

ob

454

II

< 4 w 444 u

n

sfz

mst

ob

4 nn

< 4 w 444 u

n 5

sfz

mst

5n

ob

II

x

ped

ab c

u

p p p pmfmf

< o w4

4

< 4 w4

4 u

fff

3328

28

732

732

88

88

532

532

78

78

332

332

68

68

31

26

4<4u

uÒ

< o4 n

sfz

mst

ob

sfz

mst

5

ob

4

4<4u uÒ< 4

o5

sfz

mst

ob

n

sfz

mst

ob

4

4<4u uÒ< 4

o45

sfz

mst

ob

I I

sfz

mst

ob

n

x

ped

ab c

4<4uv uÒ< 4 o

p pmf

45

45

45

45

4<4u uÒ< 4

o

fff

368

68

532

532

58

58

332

332

48

48

532

532

38

38

332

332

32

27

ãã

uo èã4

44 4

44 44<

u<o

4 <4

33 3

nn45

sfz

mst

ob

4 n8ç ç

çuç ççuuu ç

ç ççuç ç ã

ãuo è

ã44

4 44 u

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8n

n

33 3

554 n

sfz

mst

ob

çuuu ç4 44<

ç ç çuç ç ãã

uo èã4

44 4

44

4

<

u<o

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5

3 3

3

44 5n

sfz

mst

ob

çuuu ç

x

ped

ab c

ç 4v ç 4v ç 4vu

u

uç ãã

uo èã4

44 4

44

4

<u<o

4 4 < n8

4d5 4

d5 4d5 4

d54d

4d

ç ç çu

u

ç çuç ç ãã

uo èã4

44 4

44

4

<

u<o

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fff

333

32

332

28

28

532

532

18

18

532

532

28

28

332

332

18

18

332

332

532

532

18

18

532

532

28

28

332

332

532

532

11”

11”

33

28

x

ped

ab c

l.v.

sff

fff pp ff p ff

11”

11”

332

332

34

29

one hair

I

clb clb clb

mp

8 8 8

>v < < <8

I/II

“sf”

x

ped

ab c

6

>v

ppp ppp

<

>v < <

pp

332

332

24

24

232

232

34

34

932

932

24

24

732

732

14

14

332

332

35

30

3

4 4 vu

pppp

ob

4

ob

Ione click

<v4

ob

I

4

one click ob

4 <v

x

ped

ab c

l.v. l.v.

ppp

4

ppp

4

4 u u <

3

uv

pppppp pp

n4 <v

pp

332

332

68

68

22

22

332

332

48

48

28

28

36

31

pizz

sffz f

I/II

sf pp

IVI

sffz3

4u

p

pizz

sffzf

sffz

I/II

sf pp p

IV

I

3

4u

pizz

I/IIIV

I

sffzf

sffz sf pp3

4

<p

x

ped

ab c 3

l.v.

3

sffz

with smooth edge

3sfz sfpp sfpp

sim.f

teeth on reed

p

nv 4v4

sfzp

f

teeth on reed

4

sfz

3

p pppf

highest note

4

sfzsfz p pppp

f

highest note

wt

4

28

28

42

42

28

28

48

48

432

432

37

32

uI

u u u uu

5

p p mp mp f mppp

<euIV III

<e <e m 5

pp p p mp mp f mp

<mIV

m mIV 5

pppppp p mp mp f mpppp

x

ped

ab c

l.v. l.v.l.v.

l.v.

5

ppp

<pp

u3

< < <

pp

u5uu um

ppp mp mpp

u u 5um mu

ppp p p mp mpp

432

432

24

24

432

432

34

34

332

332

432

432

332

332

38

33

u3

p

e eppp

m u uu >v >v u n uII

II

IIIIII

on the verge of pitch

pp

(senza vibr.)

u u u u<e< <

III

IIIVon the verge of pitch

pp ppmp

x

ped

ab c

l.v. l.v.

ppp ppp

subito

�

3

sff

3

p

v

v

ppp

unu

3

uu <eu

air tone, with slight pitchas before

m

p p

u u u

ppp

332

332

32

32

332

332

22

22

332

332

39

34

u u

mp pp

u u

mp sfpp

senza a molto vibrato

(non harmonic)

mf

III m m

pp mp pp mf


(non harmonic)

u u nn

3

u u. . .

.

. .

8va

. . . .


(non harmonic)

mfppmpmp

x

ped

ab c

l.v.

piano

p

l.v.

ppp pppmf

p

mp pp mpcresc.

v v

v vn

u

um u

p mp pp mf

5 uas before as before

v v v vnv

.

mf mp

pp

332

332

58

58

532

532

28

28

32

32

10”

10”

40

35

mfsfff

from molto to extreme vibrato

m

mfsfff

from molto to extreme vibrato

mfsfff

u from molto to extreme vibrato

x

ped

ab c

7

cymbal

(brush)

p sempre

fff dim. sffpp

sfff

sfff

10”

10”

41

36

è èèsf p

jete

sfp sfz

è

I/II

sf

I/II

sf

I/II

sf

I/II

sf sf

5 5sf

jete

5sf

jeteI/II

sf sf sf sf

p sfp

è èè

I/II

sf psf

jete

extreme vibr.

ob msp

mst

x

ped

ab c

pp

mp fmp f

10”

10”

42

37

èp sfp sfz

I/II

sfsf sf sf sf sf

5p sfp

5 5sf

jete

p sfp

I/II

sf sf sf sf

è è

I/II

sfpsf

jeteob msp

mst

x

ped

ab c

pp

mp f mp f mp f

10”

10”

43

38

èsf

jete

sf sf sim.

èp sfp mp

5sf

jete

5sf

jeteI/II

sf sf sf sf sf sf

5p mpsfp

èè

I/II

sfsf

ob msp

mst

p mpsfp

x

ped

ab c

pp

mp f

10”

10”

64

64

44

39sfff fdim.

èsfp

extreme to molto vibrato

sfz

mst

ob stop suddenly and freeze

5sfff dim. fsfp


sfz

mst

ob stop suddenly and freeze

sfff dim. fsfp

sfz

mst

ob


stop suddenly and freeze

x

ped

ab c

stop suddenly and freeze*

*white noise in speakers on section 8

8

mf

sfff dim. f

stop suddenly and freeze

put down instrument, and pick up small speaker

suddenly stand with handheld speaker

white noise



sfp

white noise



white noise



white noise

64

64

54

54

11”

11”

mute wind mics

view from audience

(mirror image in parts)

45

40

top view

top view

top view

top view

11”

11”

x

ped

ab c

wacom instrument controls filtered white noise, follow gestures of winds with noise gesture

white noise in speakersmute direct signal for piano (keep mics)

conductor and the rest of the ensemble freeze

46

41

x

ped

ab c

47

42

x

ped

ab c

10”

48

43

x

ped

ab c

10”

49

44

percussion in speakers, white noise cut




èsf

jete

sf sf sim.

èp sfp mp

5sf

jete

5sf

jeteI/II

sf sf sf sf sf sf

5p mpsfp

èè

I/II

sfsf

ob msp

mst

p mpsfp

x

ped

ab c

9

pp

(sound is in handheld speakers)

50

45

white noise

white noise

white noise

white noise

x

ped

ab c

10

51

46

x

ped

ab c

52

47

“windmill”fast

“speaker head”

slowly

“windmill”fast

“speaker head”

slowly

“windmill”

fast

slowly

fast

“speaker head”“windmill”

slowly

“speaker head”

x

ped

ab c

cue3

32

332

53

48

one hair

I

clb clb clb

mp

8 8 8

>v < < <8

I/II

“sf”

x

ped

ab c

11

random turn +/- 45 deg.



percussion only




percussion only




percussion only




percussion only

332

332

24

24

232

232

34

34

932

932

24

24

732

732

14

14

332

332

percussion in small speakers

with mutes?

54

49

3

4 4 vu

pppp

4 u u <

3

ppp

ob

4

ob

Ione click

<v

ob

obob

I

4

one click ob

4 <v u

pppp

x

ped

ab c

l.v. l.v.

332

332

68

68

22

22

332

332

48

48

332

332

electronics: resonate from short scurries

55

50

clb

p

8

clb

p

8

x

ped

ab c

recording of a large group of people talking filtered with wacom interfaceand played into transducers into the piano

sim.

12

1

2

3

4speaker pan pedal

p

... sim.

332

332

14”

14”

432

432

7”

7”

332

332

56

51

sfz

mst

ob

sfz ppp p sfz ppp psfz sfz


“fff”


“fff”“fff”

sfz

mst

ob

sfzsfz sfzsfz ppp p sfz ppp p


“fff” “fff”

x

ped

ab c

13

332

332

32

32

332

332

34

34

332

332

57

52

pizz

sffz

I

sfz

mst

ob

sfzsfz ppp p


sfz“fff” ppp p

“fff”

pizz

sffz

I

sfz

mst

obmsp

mst

stagger bow movment

x

ped

ab c

⁕

332

332

32

32

332

332

28

28

58

53

pizz

sffz f

I/II

sf pp

IVI

sffz3

4u

p

pizz

sffzf

sffz

I/II

sf pp p

IV

I

3

4u

pizz

I/IIIV

I

sffzf

sffz sf pp3

4

<p

x

ped

ab c 3

l.v.14 ⁕

3

sffz

with smooth edge

⁕beep!

⁕beep!

⁕beep!

⁕beep!

28

28

42

42

28

28

48

48

34

34

59

54

4

mst

ob

45pp

pppp ppmp mp mp

I II

II

IIIII

uu

p

uue

IIIIu u

5

jeté

pp pp ppp

mst

ob

4 nn

54

5

5mp mp mp

mp

45

< u54

54

4 5

u4

4

II

pp pp ppp

mst

ob

5n

4 II45 5

4

mp mp mpmp

5 54

>vo

x

ped

ab c

pp

finger tip

crush

p

pp

34

34

516

516

54

54

616

616

34

34

716

716

54

54

5”

5”

rocks

60

55

III

pp

bow just on the boarder of pitch

usenza vibr.

pp

bow just on the boarder of pitch

>vosenza vibr.bow just on the boarder of pitch

pp

x

ped

ab c

5”

5”

332

332

61

56

III

pizzII

sffz

I

sffz

pizzII

sffz

u

I

sffz

poco a poco vibrato

molto vibrato

>vo

pizz

poco a poco vibrato

molto vibratoII

sffz

I

sffz

x

ped

ab c

l.v. l.v.

ppp ppp

subito

�

3

sff

332

332

32

32

332

332

22

22

432

432

62

57

uI

u u u

ppp p mp mp

III

5

“fff”

<eIV

<e <e

ppp p mp mp

u

5

“fff”

mIV

m mIV

5

ppppp p p mp mpppp

>vo

“fff”

x

ped

ab c

l.v. l.v.

5

ppp

432

432

24

24

432

432

34

34

332

332

432

432

58

58

63

58

col lengo glissando

col lengo glissando

col lengo glissando

x

ped

ab c

l.v.

piano

p

8

pppmf

58

58

532

532

28

28

32

32

10”

10”

64

59

wacom + percussion in speakers




10”

10”

x

ped

ab c

unconducted unison with percussion

15

unconducted unison with piano

65

60

10”

10”

x

ped

ab c

7”

7”

66

61

x

ped

ab c

pp

(end unison)

cymbal

7”

7”

10”

10”

67

62

x

ped

ab c

pp

10”

10”

68

63

sine waves

sine waves

sine waves

sine waves

x

ped

ab c

sine-waves in handheld speakers

16

69

64

x

ped

ab c

⁕

17

oct. 6, 2014, berkeley

70

Documents

flint · 2018. 10. 10. · flint for ensemble mosaik by Rama Jesse Gottfried A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy