DanielPuig Mar Score 1

foto: daniel puig

mar — folds into sound

for flute, electric guitar, piano and live-electronicspremiéred at the 46. Internationale Ferienkurse für Neue Musik, Darmstadt, Germany

daniel puig2012

the sensation of the whole piece should be thatof going into the sea until water is over your chest

and being lifted slightly from the groundthrough the passing by of a wave

instructions for performers are given along the next pages


play

take your own tempo, with q around 80 M.M.keep the same tempo for the whole page — very strictly

scale for this page (use these notes in any octave)

G# - G= - A - A+ - Bb

G# - A - Bbflute and guitar:

piano:

mar — folds into sound daniel puig2012

let ring

w

h e .ÿ h e .ÿ

eO

h e .ÿ h e .ÿ

eO. . .

w

q e .ÿ

eO eO. . .

q e .ÿ q e .ÿ q e .ÿ

w

q xÿ

eO eO. . .

q xÿ q xÿ q xÿ

weO eO

e .

. . .

e . e . e . e . e . e . e . e . e . e .

attack any note from the scale

flute and guitar: press the switch pedal— this must be rhythmically very precisepiano: disregard this sign

flute:slight change of air pressuredon’t correct the intonation

guitar:bending to a quarter toneattack the note more than once, if necessary

piano:play and hold the note on the keyboardwith a plectrum or thimble, do a tremolo on the stringsof a note 1/2 tone higher or lower,with a slight cresc. (up) and decresc.following the curveattack the note on the keyboardmore than once, if necessary

slap oncewith an open handon several of the lower piano strings


playfree tempo, very fast notes G - G+ - G# - G= - A - A+ - Bb - C= - D - D+ - D# - D= - Eflute and guitar:

piano: G - G# - A - Bb - D - D# - E


set your range, using any number of notes from the scale

play fast arpeggios over the range set, repeating and varying them according to the size of the rectangles (vertical = range; horizontal = duration)use only notes from the scale

end with lowest note

play a tremolo with twonotes of the scaleguitar and piano mayuse tremolos withmultiple notes

vary your tremolo according to the size of the rectangles (vertical = range; horizontal = duration)use only notes from the scale


fluterapidly repeat random key clickswithout tone

use only notes from the scale

electric guitaruse plectrum to play notes betweenthe headstock and left hand fingersplaced on notes from the scale

pianorub hands on the piano bodynear a contact pick-up

explore the sounds produced by this action

G - G# - A - Bb - D - D# - Eflute:

G - G+ - G# - G= - A - A+ - Bb - C= - D - D+ - D# - D= - Eguitar:



fluteimprovise freely withwhistle tones and multiphonicsover notes from the scale

use both techniques

electric guitaruse metal thimbleson two of your right hand fingers

improvise freely usingharmonics with both hands, hammer- and tap-on techniques,fret, fretboard and string sounds on both sides of your left fingers

press only notes from the scale, but allow any other sound deriving from them

pianouse two metal pieces, one on each hand, to touch strings slightly andimprovise freely with their harmonics

pluck strings with your fingers or with metal pieces

use only notes from the scale

G - G+ - G# - G= - A - A+ - Bb - C= - D - D+ - D# - D= - Eflute and guitar:

piano: G - G# - A - Bb - D - D# - E



instructions for the performersthe sensation of the whole piece should be that

of going into the sea until water is over your chestand being lifted slightly from the ground

through the passing by of a wave

beginning & endthe piece starts with the flutist on the page with only one small circle.guitarist and pianist start on that same page, after the flutist has finished to play the third sound event.

the piece ends with a clear sign from the guitarist, to which all should stop to play together and at once: this is very important! The whole performance should last between 10 and 15 minutes.

Alternatively, this piece can also be played for any period of time, if the performance settings include the possibility that the audience comes in and out of the performance space, i.e., doesn’t listen to the whole of the performance.

pick-ups, amplification and setup

flute· microphone, with a little filtering for the enhancing of spectral content· one MIDI on-off pedal

electric guitar· normal pick-up and a contact pick-up placed on the headstock· no filtering apart from the effects (sustain and distortion)· amplifier with direct sound from normal pick-ups (no effects!) on stage· one MIDI on-off pedal; and one MIDI expression pedal (volume pedal)

piano· the piano has no lid· two contact pick-ups placed in metal parts of the body· filtering is given by the functioning of the contact pick-up itself (bad pick-up)

final sign (guitarist)the guitarist controls via the expression pedal the spacialization and the intensity of sustain and distortion for all instruments, throughout the piece. you should drive it expressively from top to down, with freedom to go back and forth along the duration of the whole piece. don’t use very sudden changes, but don’t stick to slow ones as well.

you must only reach the very bottom at the very end of the piece (pedal flat = midivalue 127). this is the same moment you must give a clear sign to the other performers, so that you all stop to play together and at once. don’t try to build up anything before, just cut it, without showing intention to do so. the electronics will go on alone and fade out. The whole performance should last between 10 and 15 minutes.

transparent scoreplaced over the piano on a box containing a strong backlight (from within), this part of the score projects its shadows on the ceiling. three circular transparent graphics [1] are placed over each other, resulting in different combinations, as in [2], for example. their shadows shouldn’t be completely sharp, but somehow blurred. as the performers move the layers, their finger shadows also come into play. the next three pages of the score bring these graphics, to be printed on A3 format transparent acetate and preferably cut, so as to have a circular shape. the backlight box should have a mask with a circular opening in the same size. each group of small circles relates to the pages above and the sound events contained there.

to read the transparent score you must follow the lines from one group of small circles to another, in any direction, without changing lines when they cross. the length of the line you are following indicates the relative duration to be dedicated to improvising from that page.

the intensity of the gray areas around the lines correspond to the intensities you play. as gray areas are different on both sides of the line, you should always choose which side you are reading for the intensities, before starting to follow the line.

when you read a page for the first time during a performance, you must play all of its sound events. after that, choose the ones you want to play (if the page has more than one). each time you finish to play a page you can choose to move, or not, one layer of the

transparent score. if you choose to move it, you must: approach the piano, move it, and go back away from the piano. the scenic aspect that arises from that gesture is desired and should be integrated in the performance, as well as the shadows of your fingers. in moving the layers, you will notice that the sign of a page (small circles) can be covered by others, thus leaving the sound material on that page out of the musical result. don’t let it stay like that for a long time.

start at the page with one small circle (as explained in “beginning” above), but before playing it, choose a way through the lines to a next page. evaluate how long it would take and use that duration as your parameter for all other durations, by connecting the feeling of it to the length of the line. but remember that, as the layers move, the length of the lines change. you should react to those changes at all times.

the piece starts with all layers already placed over each other.

live-electronicselectronics must be controlled through a Max/MSP patch,* where the different algorithms are triggered. the interaction with the patch is done via midi controllers assigned to the performers (see “pick-ups, amplification and setup”) and by a performer of the live-electronics. control by the guitarist changes spatialization and introduces different levels of distortion and reverb.

performer of the live-electronicsthe functions of the patch are described in the patch itself. you must pay special attention to the areas with white titles, namely: input and output levels, real-time playback level, MIDI connections and bit-crush level. recording, effects and spatialization are controlled by the performers. try to have all levels balanced and, in overall, the electronics for the audience should have the same level as the quietest parts played by the instruments (as in the beginning). electronics should be covered when the instruments play louder.

the guitarist must have an expression pedal that sends MIDI values between 0-127 and a MIDI on-off pedal. the ideal situation is when the guitarist’s pedal has MIDI in and out ports: in this case, the flutist’s MIDI on-off pedal can be routed through it. for any other situation, the patch may need to be adapted. before rehearsal or performance, test MIDI connections using the test function in the patch, then turn it off.

to clear the recordings and reset all values, press the “reset” button (for rehearsals). save presets of fader positions by shift-clicking on an empty preset circle. if by any means the guitarist’s end doesn’t work, the “end” button serves as an alternative.

[*The Max/MSP patch can be obtained with the composer: [email protected]]

[1]

[2]


mailto:[email protected]?subject=mar-score:

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mar — folds into sounddaniel puig

2012

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daniel puig2012



DanielPuig Mar Score 1

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