Mohammad H. Javaheri

“Serotonin Saturation”

for Bass Flute

&

Electronics

Francisco Javier Trabalón Ruiz

“Serotonin Saturation”

Dedicated to Carin Levine

Mohammad H. Javaheri (Composer)

Francisco Javier Trabalón Ruiz (Electronics)

Philipp Schmalfuß / Mohammad H. Javaheri (Recording Sounds)

Carin Levine (Voices of the Fixed Tape)

Premier Performance: Carin Levine, Berlin, Germany (March 10, 2020)

*The composition has accompanied by the fixed tape which has made in two versions:

a. 4-Channel

b. Stereo

The duration of the composition is approximately 8:45 minutes

2020 – Spain/Germany

Serotonin Saturation (for Bass Flute and Electronics):

The core of Serotonin Saturation’s idea had started to happen in Spring 2019 by 2 related but distinctive impressions. It is inspired by

“Serotonin Syndrome” which causes high levels of the chemical serotonin to accumulate in the body by taking specific medications. Although

Serotonin is an important neurotransmitter in the brain, which helps to regulate mood, social behavior, sexual desire, and relay messages from

one area of the brain to another, too much serotonin can lead to agitation or restlessness, confusion, seizures, and death.

“Serotonin Saturation” is the imagination of overloaded and unstable thoughts with uncontrollable messages in the brain, both in

conscious and unconscious levels. Minimalistic silence and sudden cuts, which are the second major aspect of the piece, used as the repetitive

silenced motif, and additionally, they are symbolized for not delivered messages in the different parts of the brain and cut communications.

The fixed media of the composition, specialized for 4 speakers, is mostly consists of the processed sound of Bass flute and human voices

in order to have an authentic communication between the player and the electronics. In addition, it tries to demonstrate the inner and outer

perspective of voices between a human being and her surroundings, through the dry and the wet sounds.

Composer’s Attitude:

Our psychology changes for at least a few times during our life span due to incidents or situations we experience. Every incident could be

the starting point for changing the perception from each person’s perspective. This piece is also about these changes and how they stem from

our previous state and in each stage; still, some aspects of the earlier stage(s) can be seen. Sometimes this is like a cycle we are always facing

with the effects of its incidents which lead to change us gradually. It can go on and on but the strongest and deepest effects on our psychology

repeat themselves during the cycles until they fade away.

General abbreviations and Symbols

Highest (/lowest) note possible

under current circumstance

Accelerando; Ritardando

Crescendo dal Niente; Diminuendo al Niente

Change gradually from the indicated technique

with a tie to the next one

Quick crescendo at the very end

from/to highest note possible

Change freely between indicated

dynamics/techniques

, ¼ tone higher; ¼ tone lower;

¾ tone lower, 3/4 tone higher

, Short pause breath

p sub.; sub. f Subito piano, Subito forte

p pos.; f pos. As piano as possible; as forte as possible

“fff ” The dynamics in quotation marks are

used to designate the effort to be made

in order to produce the right sound.

u ------ i Use the syllable to form the

shape of your mouth and

cavities when playing the

indicated sound. Do not speak

or whisper these syllables. The

result should be a whistling

noise.

, ,

Breath noise/Air sound

with no or minimum audible pitch.

Aeolian sound

Tongue ram

Key click (toneless as much as possible)

Slap tongue as strong as possible

Flutter tongue

Tongue pizzicato with the indicated letter

Over pressure of air (dark timbre)

Multiphonic with the indicated note as

a fundamental note (except otherwise

the fingerings which are indicated in the Score)

Normal playing tone with full pitch (Ordinary)

Full air sound with no or minimum pitch

Breathy tone with clear audible pitch

(Half air sound, Half pitch)

Open Embouchure (Ordinary)

Half covered Embouchure with mouth

Completely covered embouchure with mouth

/// Fast unmeasured tremolo

// Slower speed tremolo but always unmeasured

Bisbigilando Tone color trill

Lip glissando

Tremolo (as fast as possible) and lip gliss. at the same time

trill figures (slow/fast and always unmeasured)

Speak and Play (with the indicated words)

Jet whistle

Repeat the gesture and gradually change to the other technique

Play tongue pizzicato and continue the technique until the mentioned point

(the technique could be played with closed/half open/open embouchure and it contains the

air inside itself)

Play Strong accented key click sound plus maximum air sound as fast as possible

Gradually adding and erasing airy tongue pizzicato to/from the key click sound

whistle tone

whistle tone plus subtone with the indicated duration

Degrees of Vibrato:

N.V. None Vibrato (Completely Dry)

Vib. Normal Vibrato

M.V. Molto Vibrato (wide and fast)

Max. Vib. Vibrato as maximum as possible

(As wide as and as fast as possible)

Staff lines:

High register

Low Register

Three staff lines are used for the indicated musical materials

without specific pitches but with approximately defined register, low/medium/high,

(which is relative to the range of an instrument or a playing technique.)

the darkest timbre possible until the brightest timbre possible.

Depending on the playing technique and the instrument the indicated

timbre is achieved by embouchure shape and the number of keys.

The lines indicate the number of closed holes approximately:

bottom line = all holes/keys

middle line = the upper half of the holes closed

top line = all holes open

One staff line is used for the indicated musical materials

without defined register or pitches/as minimum pitch as possible.

Bass Flute

Fixed Tape

Mechanical

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Serotonin Saturation

(Dedicated to Carin Levine) Composer: Mohammad H. Javaheri

Electronics: Francisco Javier Trabolen

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