m#$% (Thus Said)dpbiro/biro_lakhen_excerpt.pdf · (Thus Said) For Contralto, Piano, Ensemble, and Electronics Dániel Péter Biró ... Altiverb ~vst B spkr 1 gong 1 r 2 spkr 3 spkr

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(Thus Said)

For Contralto, Piano, Ensemble, and Electronics

Dániel Péter Biró (2008-2010)

Material Press

Copyright © Dániel Péter Biró and Material Press All rights reserved

Dániel Péter Biró – Ko Amar Performance notes

Instrumentation: Contralto, Two Speakers, Flute (alto and bass), A Clarinet, Percussion, Piano, Violin,

Cello, Double Bass, Electronics (2 players) Seating and Amplification: Contralto should sing slightly apart from the stage and ensemble. Both speaking

voices should sit in front at opposite ends of the stage and should be amplified with

headset microphones. Speaker 1 is to control the spatializer (midi keyboard) and

speaker 2 operates the sampler (midi keyboard). The percussionist is to sit in the

middle of the ensemble. The percussionist’s voice should be lightly amplified with a

headset microphone. Percussion instruments should be amplified with condenser

and contact microphones. 2 speakers should be placed in front of the stage 2 in the

middle, 2 at the back of the audience and 1 in the piano. Strings and winds should

sit on opposite sides of the stage (flute and clarinet on one side, violin, cello and

double bass on the other side). Piano should sit behind strings and juxtaposed to

percussion.

Tuning

Percussion

The 9 percussion instruments are as follows:

1) Wood

2) Cow Bell

3) Gong

4) Tavil

5) Darabuka

6) Sand Block

7) Vibra Slap

8) Guero

9) Tambourine

Consonants are written under certain notes of instrumentalists: these should be

imitated via modes of instrumental timbre.

Piano

2 Strings (C#1 and D1) are to be prepared with modeling clay: this has to be

supported by the metal supporters and are to touch the string as to create the 7th

overtones on both strings. The other harmonics are to be created by touching the

fingers on the string with one hand while hitting the key. Most of these can be

found in front of the dampers (between the dampers and the keyboard). It is

advised to specify each harmonic by preparing the piano strings with yarn. A piece of

yarn can be wrapped around the string to show the different harmonics (red for 11th,

yellow for 13th etc.).

Harmonic notation Harmonic produced on string (inside piano) – bottom stave

shows string and harmonic to touch while top stave shows resulting pitch.

Scraping string with plectrum: Press key and scrape string with with plectrum

(imitating the letter kaf “kh” like the “ch” in the name “Bach”). Pitch should sound.

Strings Piece is to be played senza vibrato except where specified

l.h. ! pressed Left hand presses finger down halfway. There should not be any

harmonic sounds. In most cases it is necessary to put a second finger (lightly) in

back of the finger pressing.

Bowing across string Bowing along the strings as well as across them. This

produces a hissing white noise (like an “sh”) along with the pitch (pitch should still

be present).

Overpressed bow Producing noise similar to a German “ch” sound as in “nicht”

(less pressure = “hk”) or as in “Bach” (more pressure = “kh”)

A Clarinet

3/4 air Resulting sound should be 3/4 air (air noise) mixed with 1/4

pitch; 1/4 air would indicate the opposite (3/4 pitch mixed with

1/4 air noise).

Alto and Bass Flute Speaking into flute: Pitch content is to combine with timbre of spoken word or

consonant. Sometimes distortion of pitch content will occur.

3/4 air Resulting sound should be 3/4 air (air noise) mixed with 1/4

pitch; 1/4 air would indicate the opposite (3/4 pitch mixed with

1/4 air noise).

!!!

!m"#$% (Thus Said) Electronic Setup

!!

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44.2624

oxygen8

oxygen8

headset 1

headset 2

perc. voice

violin

cello

flute

clarinet

perc. instrument

gong DI 1

gong DI 2

kolot sampler™

zimmermann™

klempner™

creme der trem™

getaktet tör™ piano speaker

House PA

sinspatial™ A

sinspatial™ B

spatializer™

midiinport 2

midiinport 3

port 1midiin

audio in from voices, winds, strings & perc.

audio in from piano

audio in from piano

out 1

out 2

out 3

out 4

out 5

Yamaha 02R96

inputs outputs inputs outputs

DIGI 002

linemic

44.262444.262444.262444.262444.262444.2624

out 5

out 6

to dac~ 1

to dac~ 2

to dac~ 3

to dac~ 4

to dac~ 1

to dac~ 2

to dac~ 3

to dac~ 4

to dac~ 5

to dac~ 6

to dac~ 5

to dac~ 6

to dac~ 6

to dac~ 6

to spkr 1to spkr 2to spkr 3to spkr 4

Altiverb ~vst B

spkr 1

gong 1 gong 1

spkr 2

spkr 3 spkr 4

spkr 5 spkr 6

piano

Noa (vocal)

Altiverb ~vst A

to dac~ 1

to dac~ 2

to dac~ 3

to dac~ 4

to dac~ 5

to dac~ 6

Mishpatim IV_Biró

Max/MSP The piece requires two people to control the electronics. One person controls the patch (convolution and

spatialization) while the other controls the gong feedback and volume. Player one opens convolution programs 1A – 6B and player two activates the feedback by opening and closing the gong microphone input (indicated in score). The following patch is required:

The following Help file explains the way to load the sound-files in preparation for the live convolution:

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Documents

m#$% (Thus Said)dpbiro/biro_lakhen_excerpt.pdf · (Thus Said) For Contralto, Piano, Ensemble, and Electronics Dániel Péter Biró ... Altiverb ~vst B spkr 1 gong 1 r 2 spkr 3 spkr