Falling into the blackness (for electro-acoustic orchestra)

falling into the blacknessfor electro-acoustic orchestra

joshua carro

falling into the blackness (an extended landscape)for amplified orchestra and electronics is about falling into the depthand climbing back out. a work deeply rooted in death/black/doom/noise metaland experimental sound works.extensive program notes are only available in private with the joshua carroalthough written for contabass solo, 'falling into the blackness' can also be performedas an extended version for ensemble. (ELECTRONICS CAN BE RUN BY COMPOSER)

tuning.

performance.

-each rehearsal number should be performed with a timer for the given duration(after rehearsal number 6 the performer should climb back up to 4 and the remaining the rehearsal numbers)-dynamics in contrabass are a representation of the overall sound with electronics(all other instruments play as written)

percussion.-the cymbal and snare should have 'close amplification' a condenser microphone less than 1 in.away from the surface and placed about 2 in. in from the edge of the cymbal

electronics.- three seperate chains are used in abelton live-the performer can control the on/off of the chains or may have a sound person turning them on and off while controlling EQ's andfeedback.(abelton file included in electronic score)

instrumentation.piccolo; 2 flutes; 3 oboes

2 Bb clarinets; bass clarinet in Bb; 2 bassoons; contra bassoon

4 French horns; 3 trumpets; 2 trombones; bass trombone

1 tuba; timpani; 3 percussion large tam tam, amplified concert bass drum,

deep shell snare drum, two large toms (16'',18'')large metal resonant plate, three splash/trash/stack cymbals (8'', 10'', 12'') 5 octave marimba

small concert bass drum, two suspended cymbals (16'', 18''), resonant metal plate, tubular bells, two octave crotales,

small concert bass, large snare drum,

china cymbal, three resonant metal plates harp; piano; strings (10.8.6.6.4)

contrabass

(lowest poss. flapping)

-14 (5:4)-31 (8:7)

cello


-14 (5:4)-31 (8:7)

viola-14 (5:4)-31 (8:7)

violin



+51 (11:8) (from A)-14 (5:4) (from E)-31 (8:7) (from E)+2 (3:2) (from A)

long sub waves chain

harmonic feedback chain

distortion chain

abelton live chains.

Copyright © 2014

Picc.,Flute, Alto Flute

Oboe 1.2.3.

Clarinet in Bb 1.2.

Bass Clarinetin Bb

Bassoon 1.2.Contra Bassoon 1.

Horn in F 1–4

Trumpet in Bb 1.2.3.

Trombone 1.2.Bass Trombone 1.

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Piano

Harp

Violin I

Violin II

Viola

Violoncello

Double Bass

p mf

f

pppppp p ppp p ppp

ppp n. p n. n. mf

pppn. p n. n. mf

n f �p� n

p p

ppp

ppp p pppp

ppp

n. p n. mf

ppp

n. p n. mf

ppp

ppp p ppp ppp p ppp

pppp

n. mf

pppppp mf

ppp mf

ppp

ppp

mf

ppp

mf

mf

f

pppn. mf

ppp

mf f mfponticello-sul tasto

f mf

f

mf f

mf

mf

(sub. slow bowing)

ponticello-sul tastof

f

mf f mf

(sub. slow bowing)

mf

mfponticello-sul tasto

f mf

mf

f

mf mf

(sub. slow bowing)


f

mf f

f

mf

(sub. slow bowing)


f

f

mf

mf f mf

(sub. slow bowing)

mf

ponticello-sul tasto

f

mf

mf

19'02'' END

0'00'' - 2'24''

(multiphonic wind tonesone long breath each)

(2''- 5'')

(whisper tones on harmonics and fundamental long tones)

14'16'' - 16'38'' to 1

2'14'' - 4'30''

(2''- 5'')

(trumpet tones in the flutew/ removed mouth piece)

4'30'' - 5'26''11'36'' - 14'16'' to 2(2nd X distrortion suddenly off)

(2''- 5'')

1 + harmonic feedback long sub waves

staring into blackness 2 3

(breathe in and out w/ reed removed)

(in) (out)

(2''-3'')

big multiphonics (many of a similar frequency fighting w/ eachother)

GG

(2''-3'')

(rolling tones related to double harmony multiphonics)

(2''-3'')

(air sound through instrument)

(2''- 5'')

(repeat any medium volume multiphonic 2-3Xbefore choosing a new one)

(2''- 3'')

(repeat any soft volume multiphonic 2-3Xbefore choosing a new one)

(2''- 3'')


(2''- 5'')

(repeat any medium volume multiphonic 2-3Xbefore choosing a new one)

(2''- 3'')

(repeat any soft volume multiphonic 2-3Xbefore choosing a new one)

(2''- 3'')

(breathing/blowing into instrument) (w/out reed)

(out)

G

(2''-3'') (any low sung multiphonics)

G

(2''-3'')

(any low played multiphonics)

GG

(2''-3'')


(out)

(2''-3'') (any sung multiphonics over low pedal)

G

(2''-3'')

(harmonic gliss)

gliss.

(2''-3'')

gliss.

(2''-3'')


(2''- 5'') (lowest pedal tones)

(2''- 5'')

(repeat any low pitch sung multiphonic 2-3Xbefore choosing a new one)

(2''- 5'')


(2''- 5'') (lowest pedal tones)

(2''- 5'')

(repeat any low pitch soft volume multiphonic 2-3X before choosing a new one)

(2''- 5'')


(out)

(2''-3'')

(low pedal)

('clacks' w/ mouth into instrument)

(2''-3'')

(any low sung multiphonics

over low pedal)

G

(mouth piece slaps w/ hand, open embouchure, straight tounge)

(2''-3'')

(cym. on timp) (20''-22'' cymbal w/ pedal gliss up and edge tap

with stick) gliss. gliss.

(bowed china cymbal laying on top of highest drum)

(dampen)

(2''-3'')

(tam and bass) (rub finger on bass head to create long harmonics) let ring

(2''- 3'')

(bowed/stick harmonic tam, each time touch a different spotwith other hand on the tam to create differentharmonics)

(2''- 3'')(let ring)

(b.d.)

Tubular Bells

(w/ soft mallets)

(slide china cymbal edge perpendicularto bass drum head)

(3''-5'')

(let ring)

(mar.)

(bow any single pitch)

(touch harmonic w/ finger)

(2''- 3'')

(bowed cymbal, each time touch a different spotwith other hand on the cymbal to create differentharmonics)

2 sus.

(2''- 3'')

(tremelo w/ palms)

(2''- 3'')

(touch string very close to tuning peg, slowly move away over time)

r.h. gli

ss.

gliss.

(bowed w/ fishing line heavy rosin)

l.h. (2''- 5'' each)

(tremelo w/ mallets) (lowest detuned pitch bowedw/ ebow feed back on middle register)

(lowest detuned pitch bowed)

(let ring)

(tremelo on body of the instrument with curved part of finger tips)

(2nd X decrescendo to 1)

(1st X tune up peg over time to tuning)

f

4

Picc.,Fl.,A.F.

Ob.

Cl.

B. Cl.

Bsn.

Hn.

Tpt.

Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

Hp.

Vln. I

Vln. II

Vla.

Vc.

Db.

fff

ff

fff

fff

ff

ff

fff

fff

ff

ff

f fff ff fff f

f ff f f fff f

f fff f

fff

f ff f

fff

fff

fff

fff

fff

10'44'' - 11'36'' to 3 5'26'' - 7'24''

(difference tones singing falsetto in/out of tune/waving)

(play)

(sing)

(2''- 3'') (only when in 5)

(5''-8'' pulses on any multiphonic)

dashed lines are directions that the performersmay be moving to7'24'' - 9'24''

4Brutal and Alarming + distortion- long sub waves 5

(drone g§ -31)

-31

(2''- 3'') (only when in 5)

(drone)

-31

(any multiphonic on concert A)

(2''- 3'')

(only when in 5)

(3''-5'' pulses on any fundamental/multiphonic on A/Bb/E)

-31

(any multiphonic on concert A)

(2''- 3'')

(only when in 5)

(3''-5'' pulses on any fundamental/multiphonic onconcert Bb/Cb/F)

(heavy drone)

(only when in 5)

(brassy drones)

(only when in 5)

(in any octave brassy)

(half valve glissandi from lower pitch)

-31

(only when in 5)


-31

(only when in 5)


-31

(2''-3'')

(only when in 5)

(brassy)

(lowest tremelo w/ seperate attacks on any timpani only) (2''- 4'' each)

(tremelo from lowest to highest w/ seperate attacks on any timpani/cymbal)

(2''- 4'' each)

(only 1 marcato)

(two toms)

(1''- 5'')

(only when in 5)

(tam and bass)(1''- 5'')

To W.B.To

(three bell plates hard mallets)

(only 1 marcato)

(1''- 5'')

(only when in 5)

6''- 10''

To Mar.

(only 1 marcato)(1''- 5'')

(only when in 5)

(bell plate)

r.h.

(3''- 5'' each)

(clusters with palm inside the piano)(chain on lower octave)

r.h.+l.h.

(only when in 5)

5

(ebow drone)A

(only when in 5)

5

A

5

A

5

A

(2nd X tune down peg over time to lowest possible)

(tuning up/down with peg activating feedback play)

-31

(only when in 5)

-31

(only when in 5)

(only when in 5)

-31

(only when in 5)

-31

(only when in 5)

5

Fl.

Ob.

Cl.

B. Cl.

Bsn.

Hn.

Tpt.

Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

Hp.

Vln. I

Vln. II

Vla.

Vc.

Db.

fp ffff

mf

(opt. ponticello- ord -sul tasto)



all given cells are chosen by each player/sectionthe conductor cues each section to change cells

10'44'' to 4

9'24'' - 10'44''

(jet whistle)

(bamboo tones portamento by turning flute)

(inhale/exhale through flute)(2-3 X)

(in) (out)

(high fast scale patterns)

(2''- 3'' each)(highest pulses)

(double/triple tounging register jumping)

6 A Murderous Rage

(long fl. tounge tones in any register)

(high color/harmonic trills)

(2''-3'' each)

(highest possible screaming pulses)(2''- 3'' each)

(key clicks amplified)

(fast as poss. high register gestures) (multiphonics trills/no trills)

(high multiphonics)

(low multiphonic growls)

(highest possible continuous gestures)(lowest possible continuous gestures)

(2''- 3'' each)(highest possible screaming pulses)

(short abrasive staccato notes in any register)(5-16 notes)

(high screaming sounds)

(low multiphonic growls)(2''-3'' each)

(highest possible screaming pulses)(lowest possible continuous gestures)

(short abrasive staccato accents in any register)

(as long as one breath can make)(low drones on concert Bb/B/C)

(5-16 notes)(short abrasive staccato notes in any register)

(extreme high note pulses)(2''- 3'' each)

(lowest possible continuous gestures)(low a/bb/b drone)

(5-16 notes)

(highest possible continuous gestures)

(highest note possible) (lowest note possible w/ harmon mute)

(low/med/high fl. t.)

(rips)

gliss.

gliss. gliss

.

gliss.

gliss.

gliss.

(old metal mutes fumbling togetherin a metal bowl)

(yell through the horn)

G

(lip medium/high glissandi)

gliss.

gliss.

gliss.


(low/med/high fl.t.)

(repetitive up/down rips w/ and w/out plunger)

gliss.gliss.

gliss.

gliss.

gliss. gliss.

(fast double/triple tounging)

gliss.(single high pitch repetitions)

gliss.

gliss.

gliss.

(lowest brassy drones)

(low/med/high fl.t.)

(repetitive up/down rips w/ and w/out plunger)

gliss.

gliss.gli

ss. gliss.

gliss.gliss.


(short abrasive staccato notes in any register)(5-16 notes)

(intense brassy crescendi on low pedals)(old metal mutes fumbling togetherin a metal bowl)

(low a/bb/b drone)

(yell through the horn)

G

(highest possible 'screaming' pulses)(2''- 3'' each)

(lowest possible continuous gestures w/ flutter tounge)

(5-16 notes)(short staccato noteson timpani and cym chokes)

(single stroke rolls/ any one dr./cym.) (very fast gliss down)

gliss.

gliss. gliss.

(double stops played in the center of drum 2,3, or 4)(fast tempi)

(all instruments as fast ast possible)

(short staccato notes/ cym chokes)(5-16 notes) (all instruments fast as poss.) (as fast as poss. blast beat)

(metal plate)

12(double/triple stops on any 2 instrumentsvarious fast tempi)

(scraping rims/shell noise w/ sticks)

(single stroke rolls/ any one dr./cym.)

T. Bells(chime gliss)

l.h.

r.h.

(as fast poss. high crotale scales)

(china hit then smack down on bass)

(bass drum roll) (bass and any metal plate unison hits)(as fast as poss. blast beat)

(bass and snare)

12

gliss.

gliss.gliss

.

(cluster chords)

gliss.

(high fast scale patterns) (single stroke rolls/ any one dr./cym.)

(double stops played bass drum and bell plate or cymbals)(fast tempi)

(piano/celeste)

gliss.

gliss.

(arp. P5/M7/m9)

(piano/celeste)

gliss.

gliss.

gliss.

gliss.

(5-16 notes)

(short abrasive staccato accents in any register on pitch or harmonic)

(pitch bending)

(low register cluster tremelo w/palm)

(frequently changing keys)

gliss.

gliss.

gliss.

(resonant cluster plucks)

gliss.

gliss.

gliss.

gliss.

gliss.

(w/ or w/out vibrato)(m6/M6//M7/P5)(1''- 5'')

(any note on D -31 string)

(clean or tremelo)(m6/M7)(8''-10'')

(1-3 fast bows)

(1-3 slow bows) (other side of bridge)(5''-15'')

(any note on D -31 string)

(any note on 2nd G string)

(1-3 bows)

-31

(any note on G -31 string)

(1-3 bows)

-31

(any note on 2nd A string)

(1-3 bows)

6

Falling into the blackness (for electro-acoustic orchestra)

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