Richard Barrett

entoptic 2017-18

percussion and live electronics

performance score

entoptic

(2017-18) for percussion and live electronics

commissioned by Peter Neville and ELISION

duration: approximately 12 minutes The instrument used for entoptic is based around an array of 25 found objects which is in turn based around the setup developed by Peter Neville for improvisational performance. The first version is shown in the photograph below. Its essential features are as follows: (a) a more or less square “matrix” of 16 principal instruments with flat upper surfaces, each row using a different basic timbre (which doesn’t need to be completely homogeneous), principal pitch (if any) rising from left to right, although clear pitches should not be chosen. In the score, these rows are numbered 1-4 in order from furthest to closest to the performer. Two of the items should be Chinese hand cymbals, about 15cm in diameter. These are positioned in the photo as the third and fourth items in the third row from the top, but in a different setup they could occupy different positions. One or more of the items should be a very thin metal plate or biscuit-tin lid which can be easily warped to produce a “crinkling” sound. (b) 9 smaller instruments in the interstices of the aforementioned matrix, of any shape so as to fill as much of the square as possible (enabling “glissandi” to be played by dragging/bouncing a beater across the square in different directions). (c) an African seed pod rattle and two pebbles, placed ready for use together with the beaters: 2 plastic knitting needles, 4 hard vibraphone mallets, 2 soft vibraphone mallets, 2 superball mallets, 1 threaded steel rod about 30cm in length, 1 bow

The objects in the array are notated as follows:

The amplification uses four microphones, positioned over the four corners of the array, whose outputs are sent to four loudspeakers at the corners of the performing space, so that movements across the objects in the square are translated into movements across the whole space. The microphones are indicated as A, B, C and D in the score according to their positions in this diagram (from the performer’s point of view):

The output of microphone A is sent to the right front loudspeaker, that of microphone B to the left front, that of microphone C to the left rear, and that of microphone D to the right rear (from the audience’s point of view). If a four-channel sound system is not available, the four channels should be equidistant along the stereo panorama in the order C B A D from left to right (from the audience’s point of view). Additionally, the four outputs are sent to the four inputs of the live processing patch. The live electronics use a Max patch constructed by Patrick Delges at the Centre Henri Pousseur in Liège. It has four inputs (for the four percussion microphones) and four outputs sent to the same quadraphonic louspeaker system as the four microphones. The patch contains two components A and B. The first of the three main sections of the piece uses only amplification. The second uses component A and the third both A and B. Component A is engaged by the player using a sustain pedal. It detects the most prominent frequencies in the percussion sound and resynthesizes these as sinewaves with a “percussive” exponential envelope. It therefore acts in a similar way to a piano’s sustain pedal except that the sustained sound is more clearly pitched than the original attack, with somewhat unpredictable pitch content and that the pedal only affects the input to the reverberation. When the pedal is raised nothing is sent to the reverb, but what is already there will still be sounding. The decay time (with a minimum of several seconds) of the envelope and level should be adjusted so as to have a clearly perceptible effect without compromising the audibility of what is being played. These parameters may be varied during the performance (by the sound projectionist) especially during the more improvisatory moments in the score. Component B involves a 4-channel soundfile triggered by the sound projectionist each of whose channels is gated by an input from one of the four microphones. The overall output volume of the patch is controlled by the player using a volume pedal. The release time of the gate is adjustable and should be set to a similar value to the reverb time of component A.

Again this and the balance between acoustic and electronic sounds may be varied more or less freely during the performance. The section where component B is in use, from bar 54 to the end, is 5 minutes in duration; each system consists of a single bar 12 seconds long, and timings are provided at the beginning of each system (beginning at 0’00” at the beginning of the section). A stopwatch may be used here but it isn’t intended that timings be precise, since the electronic part will “synchronise” to the playing rather than the other way around. As long as the player keeps to within a few seconds of the indicated timings the relationship between live playing and electronics will function correctly. technical rider: for percussionist: table approximately 1m square 4 microphones on stands set up at the corners of the square of instruments FOH: FOH mixer with 4 auxiliary sends and 4 loudspeakers in a quadraphonic configuration audio interface with 4 inputs, each fed by the output of one of the microphones, and 4 outputs computer running the entoptic patch written in Max 7 sustain pedal for the player to control component A of the patch volume pedal for the player to control the output level of component B of the patch notations:

= scrape the surface of the object with the indicated beater = “glissando” across the array over the indicated duration beginning and ending at the specified points, bouncing/dragging the beater over as many intervening objects as possible, following the arrow(s) in the box above the stave. Such boxes are also used for more or less improvisational movements at various points in the score. Similar boxes are also usee to indicate positions and movements of hand-held objects.

] = damp all sounds covered by the bracket

= sustain pedal sending sounds to component A of the patch

= volume pedal sending sounds to component B of the patch. The voume pedal descends through four different “zones” delimited by the five lines of this stave. Between the top and second lines the pedal has no effect. Between the second and third, the microphone inputs open a gate to the soundfile (which plays continuously through the third section of the piece but is only heard when one of the four gates, one for each microphone, is open) so that

it is heard with a volume proportionate to the played volume and with a very brief decay afterwards when the gate closes. Between the third and fourth lines, the delay gradually increases. Between the fourth and fifth lines the delay is effectively infinite, and the electronic sounds continue to be audible until the pedal is raised into one of the other zones. The third zone, between the third and fourth stave lines, is the only one where gradual movements induce gradual changes. Otherwise the pedal is effectively switching between four different modes. Each zone occupies an approximately equal division of the total travel distance of the pedal. programme note entoptic for solo percussion with live electronics is the result of an extended collaboration with Peter Neville. While performing in a succession of improvisational pieces I have written for ELISION and other ensembles (codex I, III, IV, IX, XI, XIV, XVIII, XIX, XX), he has been gradually evolving a percussion setup which combines maximum timbral flexibility with portability, utilising a wide selection of small instruments and other objects. This solo was conceived around Peter’s setup by “systematising” it as a 4x4 grid of principal instruments placed on a table, with an additional 3x3 grid of smaller objects in the gaps between them. The setup is then amplified by microphones at its corners, which allow a “spatialisation” of the grid onto the size and shape of the performing space itself, and for instruments to be picked up and actuated next to a microphone for a “close-up” sound or moved between them for “panning”. Additionally, the microphones are used to pick up percussion sounds by a computer for the live electronic part, programmed by Patrick Delges of the Centre Henri Pousseur in Liège. In the first of the three parts of the piece, no electronic sounds appear. In the second, the computer selects certain partials from the (not all clearly pitched) percussion sounds and reverberates them, triggered by a sustain pedal played by the percussionist. In the third, this processing continues but the percussive sounds now also actuate prerecorded electronic sounds and textures which expand the timbral and articulative range of the “instrument” even further. The title refers to visual phenomena which are generated within the nervous system rather than sensed by the eyes, for example the patterns known as “form constants” which recur in descriptions of altered states of consciousness throughout many shamanistic cultures as well as experiences with hallucinogenic substances. These patterns of dots, zigzags, spirals and so on could be said to form a “map” of the visual cortex of the brain – what is being seen is in a real sense the “workings of the mind”. This music uses such “form constants” as patterns of movement across the two-dimensional array of struck objects, and in the course of its three parts transforms these through electronic processing into new sound-forms, analogously to the way that the transition from waking consciousness into sleep or trance might first involve abstract patterns which the mind gradually “interprets” as the contents of dreams or (in shamanic practices) of the spirit world. In the early 1990s, Daryl Buckley remarked to me that in working with the “grain of the instrument”, as I’d been doing in the context of what I subsequently came to call “radically idiomatic instrumentalism”, I was also working with the “psyche of the musician”, a remark that has resonated more deeply with me as the years have gone by. entoptic forms part of a cycle of interlocking works under the collective title PSYCHE, which attempt, from various angles, to confront that interface between the inner and physical worlds (which may or may not ultimately be two sides of the same thing) that is at the heart of all musical activity. Here I’ve also been strongly influenced by David Lewis-Williams’s book The Mind in the Cave, an exploration of the origins of art and creativity in altered mental states with particular reference to Palaeolithic cave paintings. For me musical activity (composition – performance – listening) is as meaningful a way of trying to understand the world as any other: what it might be thought to lack in specificity relative to science and philosophy might in the end, in some contexts, be an advantage and a way of liberating thought from language and its dualisms.

Richard Barrett

2017-18

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pick up Chinese hand cymbals from the array

(any extension of the duration of the rests at the beginning and end of the bar should be taken from the

duration of the central part, so that the bar has its notated duration of 12.8 seconds)

replace cymbals

U

∞

improvisation with the hand cymbal pair involving (but not necessarily limited to)

- movement between the different microphones

- friction between the two cymbals face to face and face to edge

- sliding one or both cymbals over the remaining array

- more or less rapid alternations between depressed and raised sustain pedal

(P)

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begin playback of component B soundfile here (does not become audible until bar 54)

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fff( f )

(minimum decay time)

0'12"

(gradually increasing decay time...)

f ( fff )

!

0'24"

12"

(e=60) accel as fast as possible

3:2 3:2 3:23:2 3:2 3:2 3:2

... randomly over the entire array

for the remaining duration of the bar

(decreasing decay time...)

fff sempre

(no effect)

!

0'36"

(tacet, while electronic sounds continue, until they are...)

take thin metal plate

and position in centre of

the array, equidistant from

all four microphones

buckle the plate

to make a continuous

crumpling sound

ï

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ff

!

("infinite" decay time)

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0'48" sim.

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2

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2

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1

1a

2

2a

3

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62

1

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2

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3

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0'48"

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<

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>

~~~~

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∞

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mf

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5:4

improvisation with the plate and threaded rod

with movement between the microphones

11:8

~~~~~~~~

~~~~~~~

~~~~

~~~~~~

~~~~~~~~

f

f

mpp

mp

p

mf

f - mp rapidly changing dynamics between these limits

(P)

0'48"

∞

(continue from previous bar, now with volume pedal movements)

f - pp rapidly changing dynamics between these limits

catch final sound with pedal

to sustain through the

rest that begins bar 61

(random movements across this range)

P

(off)

1'24"

(l.v.)replace plate in array, put down rod,

take 2 plastic knitting needles

4:3 5:6

10:7

4:5 5:44:5 4:3

10:7

5:6

mp

1'36"

(l.v.)

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mf

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6:4

4:3 6:7

10:7

6:5 5:6 4:3 5:44:5

1'48"

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66

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67

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68

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2'00"

3:2 7:8

5:6 6:5 7:8

8:6

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2'12"

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(vibraphone mallets)

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∞

improvisation with rapid horizontal movements across the array

during which the knitting needles are exchanged for 4 hard vibraphone mallets

pp

fff

2'24"

8:7 9:7 6:7 8:7

take pebbles

(silence!)

( fff )

P P

!

2'36"

2 pebbles struck against one another, constantly changing "pitch" by altering the resonating cavity in one palm, constantly making rapid and irregular movements between microphones

while keeping the tempo absolutely steady

fmp

2'48"

(sim.)

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3'12"

!

objects struck ("dead-sticking") with pebbles

9:8 12:11 7:83:2

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P

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!

3'24"

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notes = soft mallets)

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ending with 2 hard vibraphone mallets in one hand, 2 soft vibraphone mallets in the other

(P)

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3'48"

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!

4'00"

(l.v.)

put down mallets

take 2 superball mallets

pick up one of the

cymbals (or a gong

if used)

stroke handheld cymbal (or gong) with superball mallet -

vary sound each time

ï

11:12

mp

5:6

mp

—

mp

— —

mfmf mf

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mp

mp

14:12

!

4'12"

put down mallets

& take bow

bowed cymbal (or gong) - as continuous and consistent in sound as possible

put down bow

put down cymbal (or gong) when inaudible

take 4 hard vibraphone mallets

ï

mp

—

f

(P)

!

4'24"

(silence!)

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4:5

accents mf, otherwise ppp

P

accents ff, otherwise ppp

P P P P P P P P P P

fff

(catching accents with volume pedal) (catching accents with sustain pedal)

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4'36"

put down two of the mallets

& pick up African seed pod rattle

African seed pod rattle

ï

(each time grasped sharply, secco)

6:4

ppp

sim...

P P P P P

pp mf mpp f ppp

fff ff

P P P P

!

4'48"

(African seed pod rattle)

ï(grasp)

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and rotating the handle) (grasp)

(rotate the handle slowly, slowing down so that eventually

only single unpredictable "clicks" remain)

ï

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10:8

16:12

pppp

fade electronic sounds out together with percussion...

Beograd 1 October 2018

!

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14