Forgotten Dreams

for double bass, max/msp, and digital audio

Jason Bolte

Forgotten Dreams (duration 8:20) is an electroacoustic composition that integrates live acoustical performance with digital audio and live computer processing. The inspiration for the work came from the feeling of abruptly waking from a dream (or in my case usually a nightmare), and not knowing exactly what had transpired to force consciousness. The composition explores the possibilities of these dreams, elaborating on snippets of information that can be recalled. The double bass part covers the gamut of emotions that could have been experienced during the dream. It incorporates lyrical melodies, ethereal extended-techniques, and raucous rhythmic and percussive passages. The digital audio uses samples of these passages, which have been digitally processed, for its basis. Along with the double bass samples, the work also incorporates other processed and natural sounds. These sounds, along with others, are employed to create musical gesture and texture that complements and exaggerates the double bass line. The piece uses the real-time processing capabilities of MAX/MSP to manipulate the double bass part. This manipulation is designed to exaggerate structures in the digital audio and double bass parts, as well as integrate the double bass sonically into the electronic realm. The MAX/MSP performer has the ability to control several aspects of the processes, and bring a more “human” approach to their implementation. The piece exists in stereo and eight-channel versions, and can be modified for various other speaker configurations. Jason Bolte (b.1976) is currently pursuing a D.M.A. in Music Composition at the Conservatory of Music, University of Missouri – Kansas City, where he is the assistant to the Director of the Intermedia Music Production and Computer Technology Center (iMpact). Along with his responsibilities at UMKC, he is also an Adjunct Instructor of Music at the Kansas City Kansas Community College. Jason holds a B.M. with an emphasis in Music Engineering Technology and a M.M. in Music Composition from Ball State University. His music has been performed at such events as the SEAMUS National Conference, SCI National and Regional Conferences, Electronic Music Midwest, Imagine2, Spark, NWEAMO, SFIFEM, LASO, and the International Summer Meeting of Electroacoustic Music – Hungary. His composition, Forgotten Dreams for double bass, max/msp, and eight-channel digital audio, was recently awarded First Prize at the 2004/05 International Society of Bassists Composition Competition - Electronic Division.

Email: jl_bolte@yahoo.com Website: www.geocities.com/jl_bolte Address: Jason Bolte 6835 W, 52 Pl. Apt 2A Mission, KS 66202

Technical Requirements Eight-Channel Version – (Stereo Version)

Eight-channel surround playback system (Stereo playback system) Stage monitor(s) Macintosh G4/867MHz/512MB CD-ROM MAX/MSP 4.1 or higher Digital audio interface – 1 ADC, 8 DAC (2 DAC) Preamp – one channel Pickup or Microphone for amplification of double bass and input to MAX/MSP MIDI fader controller – 16 faders (Peavey PC1600x) MIDI interface Notes: The signal flow can be somewhat confusing. The double bass microphone or pickup should be routed to the front-of-house mixer and sent to the left and right speakers. A direct-out or auxiliary send should then by sent to the digital audio interface. The eight outputs (stereo outputs) of the interface should be routed to the speakers as follows: (stereo version: 1-Left, 2-Right)

Output Speaker 1 Left 2 Center 3 Right 4 Left Center 5 Right Center 6 Left Surround 7 Right Surround 8 Center Back

The MIDI fader controller should be connected to the input of the MIDI interface.

Performance Notes Digital Audio

The eight-channel and stereo digital audio parts are located on the data CD. During performance, the digital audio is played in the MAX/MSP environment. A graphical representation of the digital audio can be found in the score. This score does not describe every sound and construction that appear in the digital audio, it does however describe several cues. The bassist and interactive electronics performer should use these cues in order to integrate the three parts.

MAX/MSP

The digital audio and MAX/MSP files needed for performance are located on the data CD in the folder labeled Forgotten Dreams. It is a good idea to copy the entire folder to the computer’s hard drive for faster data retrieval. This folder contains all files needed for the performance. In order for the program to work properly, place the file folder labeled forgotten dreams externals into the MAX/MSP externals folder. Clicking on the file labeled Forgotten Dreams will open the program. This control patch displays information concerning input and output levels, panning position, and fader movements. The virtual faders correspond to the faders on the MIDI controller (1-16). The MIDI controller should be configured so that the faders are set to send controller information. The controller number should correspond to the fader number (1-16). There is no need to worry about the MIDI channel number for the performance of this piece. In the score, the MAX/MSP part is represented by graphics that display information essential to the performance of the piece. Numbers located inside boxes in the digital audio part are used to identify scenes. The piece has a total of five scenes. These scenes contain several different MAX/MSP sub-patches that the performer has control over via the MIDI controller. The patches, which are located in the scenes, are stated at the beginning of the scene in the score and correspond to the names given to the MIDI faders in the control patch. In order to change scenes, the scene numbers are to be depressed on the computer keyboard at the time notated in the score.

The score is also meant as a guide for the MAX/MSP performer to use in obtaining cues from the digital audio and double bass part. It does not however give specific instructions for the performance of the MAX/MSP part. The MAX/MSP performer is to improvise, and is given control over certain parameters of the individual patches (see MAX/MSP Patches). The performer should be concerned with integration and exaggeration of already conceived constructs of the piece.

MAX/MSP Patches and Parameters Flanger1 – Delay time Alters frequency characteristics, delay Flanger2 – Delay time Alters frequency characteristics, delay Span – Left/Right, Front/Back Pans signal left and right, adds side and back speakers Expresverb – Decay time, Bandwidth An expressive reverb Gran.pitch – Transposition

Granular Transposition Gran.chord – Bandwidth

Outputs grains whose pitch corresponds to a predetermined chord, number of octaves can be controlled

Grain.pan – Frequency Separates the audio signal into grains of controllable random duration, and places the independently in the eight speakers

Double Bass

Although the double bass part is notated exactly, given the organic nature of the digital audio and MAX/MSP processing, a certain “inaccuracy” is encouraged in order to create an overall flowing and organic performance. The bassist should pay close attention to the tape part in order to hear the cues that have been set up and notated to aid in the performance. The double bass part employs several extended techniques. The following are examples of notation and descriptions of the techniques employed.

1. Arrows designate order of pitches to be bowed.

2. On the specified open string, slide the finger from one harmonic to the next.

3. On the specified open string, slide the finger from one harmonic to the highest harmonic possible.

4. Play the given harmonic glissandi randomly at varying duration.

5. An arrow placed between two bowing styles is used to indicate a transition from one to the other.

6. A triangle indicates highest pitch possible.

7. Play the highest harmonics possible randomly among the four strings with

varied duration and tremolo.

8. A square head indicates that the note is to be played behind the bridge on the string indicated.

9. A note tied to a note marked with a tremolo indicates a change of tremolo

from straight to fast or vise versa.

10. Bow the string with enough force to make a scratching sound.

11. Strum the strings with the fingernail.

12. Strike the strings with palm of the hand

? 44 45 44 45

MAX/MSP

Digital Audio

Double Bass

q»§º

∑ ∑∏ Psul tasto

.œ jœœ œœ ..œœ œœb œœ

I, II

π..œœb œœ ..˙̇ Œ

sul tasto

πŒ ‰ jœ œ ..œœ ..œœ œœ œœ F P

sul pontœœ ..œœ> œœæ ..˙̇ fI

ord.≈ ––––>œœœœ>

jœœœœ ‰·̇ slow, varied tremelo

F P±̇o ‰ j– .– –– –– ..–– –– ..–– –– –– ..–– –––– ––––

? 43 42 44

M/M

DA

DB

P F

10

‰ j– .– –– –– –– –– –– ..–– –––– ––––ord.

sul pont ord.

f ƒ f‰ J——> —— œœ œœœœ> œœ ˙̇æ

sul pont

ƒœœ œœ## œœæ J

—— ‰ col lengo battuto

f––––> ————> —— —— ....œœœœ

> Œ & œœ œœ# œœ# œœ# œœ# œœ œœ##> ‰ ?

sul pont

ƒ F

————> ....œœœœ> Œ 3– – – – – – –

ƒ F

j––––>Œ .œæ> .œæ

—&

sul pont

ƒ

I, II

π

sul pontord.

Œ œœ> œœ#> ≈——>æ —— ————

> ––––>

Copyright © 2003, Jason L. Bolte

Forgotten DreamsFor Double Bass, MAX/MSP. and Digital Audio Jason L. Bolte

granulated

low rumble

wind, debrishowling wind

thump

harmonics

raspy

hit

hit battuto low battuto

Flanger1 Flanger2Gran.pitch

Flanger1Gran.pitichExpresverb

Flanger1Flanger2Span

SpanExpresverb

Grain.panExpresverb

hit sweep

hit

1 2 Span

5Flanger1Gran.pitchExpresverb Span

Duration 8 :20

& 45 44 45 44

M/M

DA

DB

19

∑ ∑ ∑ ?ord.II

I

P·œ ·œ Œ ‰ J·œ ·œ F

II·œ Ó ·̇ I

ord.±œo‰ J— — œ

f

sul pont

œœœœ> œœ ˙̇æ œœ# p

sul tasto

˙̇æ Ósul tasto

psul pont

F.œ jœœ œœ œœ# œœ œœb> œœ

p

ord...œœb œœ ˙̇朜 Œ

? 44 43 45 44 42 44

M/M

DA

DB

ric.

Pp

29

œ œ ˙ric. ord.

p˙Œ ‰ Jœ

sul pont

F.œ œ œ œ œ œ> œœ>

accel.ord.

fsul pont

Pœœæ

œœ ..œœ# Jœœ ‰ & Fœ> œ#.œ> œ>

jœ ‰ ?ord.

Iœ> .œ ˙ — Œrit.

Fœ> œœæ

> ..œœ œœb> œœ œœa tempoI, II œœb> J——æ ‰

strike strings with palm

pf ƒ¿¿¿¿#> ¿¿> ¿¿æ ¿¿

∑

2

glissgranular noise

gliding harmonicsfiltered wind

glissslap

thump

wind, debris

swooshclicksswoosh

Flanger1Flanger2Span

Grain.panExpresverb

Flanger1 Flanger2GRan.pitch

SpanExpresverb

Flanger1Flanger2Gran.pitch

ExpresverbGrain.panGran.chord

Flanger1Flanger2Gran.pitch

ExpresverbGrain.panGran.chord

Flanger1 Flanger2Expresverb

SpanGran.pitch

Flanger1Gran.pitchExpresverb

wind

hit

1 3 Span

Span 1 2 Span

? 45 44 45

M/M

DA

DB

ord.I

p

39

·œ ±̇o Œ sul pontÓ Œ ‰ jœ .æ̇ œœæP

ord.˙̇ œœ## œœæ Fsul pontœœ ..œœ> œœb> œœæ Œ

col lengo battutosul pont

œ œbæ .œ ‰ ‰jœœœœ>Fœ#æ> œ#æ œ œæ

œ>æ .œ ‰f sp

––––> ————> —> —æ ±æ

f

ord.œ Œ ·œ ±̇o varied tremolo

P

±œœœœo}}}}æ

? 44 43 44

M/M

DA

DB ∏

49

∑P

sul pont

œ .œ jœ œ œ> œb>F

ord.

œ œ .jœ ≈ ‰ œ> œb3

œ œ œb>sul pont ord.

f P Sœ œ œ œ 3≈ œb> œb> œ>

sul pontord.

œæ œ œ œ œ# œ p˙ Œ

P F

sul tasto

.œ jœ œ .œ# œord.

Isul pont

œ Œ·œ ·œ

3

low tremelo

harmonicsslap

debrisbattuto

Flanger1Gran.pitchExpresverb

Span

Flanger1Gran.pitchExpresverb 1 Flanger1 Flanger2Expresverb Gran.pitchSpan

Span

Span 4

3 Flanger1Flanger2Gran.pitch Gran.chordExpresverbGrain.pan Span 2 Flanger1Gran.pitchExpresverb Span

? 45 44 42 45 44 43

M/M

DA

DB

varied duration

F

sul pont

58

·œ ·œ ·œ ·œ ·œ ·œ ·œ ·œ ·œ —œo ·œ —œo

fÓ} ·̇ —œo ∑

ƒsul pont

Ó ≈ œ>œ>—æ jœœœœ>

‰ ‰ jœœœœ##>

scratch tone

˙^ æ̇ ‰ Jœ

> œæ—>

.œ^

œ Œ .˙̂ œæ

? 43 44 42 43 44

M/M

DA

DB

69

∑ sul pontF.œ

jœ œ .œ œ ford.

.œ ‰ 3œ œ œbsul pont

ƒfœœb> œ> œ#> œœœœ

> & .œ> Jœ> œæ ?ord.

ƒÓ ––––>

....œœœœ>sul pont

Ï.œ>æJ—æ Œ ‰ . Rœ>

P>̇æ

— Œ ∑ ∑ ∑ ∑ ∑

4

thud

click

swoosh

gliss. harmonics

howlclicks

hit

thud hit

hitbowingslapwind, debris

4 Flanger1Flanger2Span Grain.pan Flanger1Grain.pitchExpresverb Span

1 Flanger1 Flanger2Expresverb Gran.pitchSpan

scratch

2

2 Flanger1GainpitchExpresverb Span

? 45 44 45

M/M

DA

DB

F ƒsul pont

82

˙ œæœ#æ

fœ#> .œ>

‰ Jœ̂ ˙# œæscratch tone

‰ jœ^

˙ œæ—æ

sul pont

FŒ ‰ Jœ œ œ œœ œœ# œœ# œœ œœ œœ œœ œœ#

3

œœbb œœn œœn Jœœ ≈ Rœœbord. sul pont

f ƒ Fœœ œœ œœ## œœ œœ ˙̇ Œ &

眜## > œœ œœ ‰ Œ Œ ∑ ∑ ?

? 44 45 43 44

M/M

DA

DB

ord.I

91

·œ ·̇ ÓP F

II I·œ ·œ Œ ‰ J·œI±̇o ‰ J—> — œ strum

fœœœœ>gggg Œ Œ p P

sul tasto ord.

.œ jœœ œœ œœ# œœ œœb œœ ..œœb œœ ˙̇ric.˙̇ Ó sul tasto

ṗ œ .œœ> F

ord.œ> œ œ> œ .œ#œœæ

f

sul pontord. ..œœb Jœœ œœ——æ œ> sul tasto

pw

5

hitsqueak

thud

wind, debris

bowing

swoosh

gliss

hit

battuto

swoosh

clicks

Flanger1Gran.pitchExpresverb 5 Flanger1Flanger2Gran.pitch ExpresverbGrain.pan

Flanger1 Flanger2Expresverb

Gran.pitchSpan

Flanger1 Flanger2Expresverb

Gran.pitchSpan

Flanger1Gran.pitchExpresverb

Span 1 Flanger1 Flanger2Expresverb Gran.pitchSpan

2 Span 1

? 43 42 44

M/M

DA

DB

102

∑P

Ó Œ œric. ric.

F P˙ ˙ ∑ ∑

I

FÓ ·œ —œ

o varied durationsul pont ·œ ·œ ·œ ·œ ·œ ·œ ·œ ·œ ·œ —œo ·œ —œo

fI·œ ±̇o

ƒŒ Œ

3œ> œ> œ> œ œæ

—&

ord.

fŒ œœ

& 44 43 85 44

M/M

DA

DB

ord. sul pont

F f

117

œœ# œœ# œœ œœ œœ œœ œœ#>3œœb> œœn> œœ#> ƒ

..œœ œœ œœ ..œœ>3œœ## > Jœœ> œœ ——b —— œœ## œœ J

––––n> ‰ ? ‰ jœœœœ> J

————>‰ œ#> .œ> f Ï

œæ>—æ ‰

strike strings with palm

¿¿¿¿> ¿¿ ..¿¿æ ¿¿æ ∏¿¿ ∑

6

debris

wind

slap hits

hit

squeak

bowing thump

Flanger1 Flanger2Expresverb

Gran.pitchSpan 24 Flanger1 Gran.pitchExpresverb SpanFlanger1Flanger2Span

Grain.pan

Flanger1 Gran.pitchExpresverb

Span

hits