Seventeen Thirteen

8/8/2019 Seventeen Thirteen

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seventeen : thirteen


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This work is free of charge and may be reproduced and disseminated freely, provided it is disseminated in its entirety without alteration. The work remains copyright of the author Scott Petersen 2009. This work is licensed through ASCAP.Licensed performance venues may incur a charge for its performance. Performers of this work will incur no such charge. All text, music, layout and design by Scott Petersen.

This work is submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts from the Eastman School of Music.


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seventeen : thirteen

three movements for outdoorperformance by 15 musicians

duration: 30 minutes x 3


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This score is dedicated to all who have helped me achieve my goals:my family; my friends; and the faculty of the Eastman School of Music,

whom I consider both family and friends.

Many thanks to you all.


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seventeen : thirteen - contents

I. Production Forces Pg. ii

II. Introduction Pg. iii

III. Equipment / Performance Requirements Pg. iii

IV. Editing and Playback / Projection Instructions Pg. iv

V. Notes on Realization Pg. v

VI. Notes on Composition Pg. xii

Scores

Chance Pg. 1

Canon / Variation Pg. 10

Probability / Variance Pg. 46

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I. Production Forces

Musicians

Group 1 Group 2 Group 3 Group 4 Group 5

Male Voice Guitar 1 Female Voice 1 Flute Violin 1Guitar 2 Female Voice 2 Oboe Violin 2

Female Voice 3 Bass Clarinet1 ViolaBassoon Violoncello

Contrabass

The Male Voice part must have a working range of E2-G#4, and up to A4 in falsetto. The Female Voice parts must have a working range of C4-A5 comfortably.

Engineers

Group 1 Engineer Group 2 Engineer Group 3 Engineer Group 4 Engineer Group 5 Engineer

Locations for above musicians and engineers for each movement. (Fill out as described on pg. v)

Day 1 __________ __________ __________ __________ __________

Day 2 __________ __________ __________ __________ __________

Day 3 __________ __________ __________ __________ __________

Audio/Video Editor

The A/V editor should be well-versed in audio and video editing and compositing techniques.

1 While the classical guitar and contrabass parts use the traditional octave transposition, the bass clarinet part is written at pitch.

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II. Introduction

seventeen : thirteen is a three-movement piece whose movements are performed at five outdoor locations at different times by five groups of musicians. Each movement is 30 minutes long. For each ofthe three performances the groups move to a different one of the five locations. The groups are individually audio and video recorded at all locations for each performance, and the recordings arelater played back at the same location with each successive performance. Because of the demands the music places on the performers, it is recommended that only one performance take place perday. This will also allow time for the A/V editor to edit the sound and video recordings as required before the next performance.

This piece does not require a director for the actual performances, however the logistical difficulty of the piece might require one or two dedicated persons to coordinate the preparations, rehearsals,and performances. The order in which the movements are performed, as well as the location of each group for each performance is decided by those coordinating the production2. The movements

Canon / Variation and Probability / Variance are notated conventionally, while Chance is graphically notated using text boxes. Because the notation is non-standard, everyone involved in the productionshould take time to learn the notation. Additionally, location information must be added to page ii, and information specific to Chance must be added to the score for that movement. Before thisinformation can be filled in, certain decisions must be made about the location of the groups for each performance. Detailed instructions for realization and performance are found in the sectionsbelow.

III. Equipment Requirements / Suggestions

Scores 15-30

Because the movement Chance requires all performers at some point to imitate the music of another player, (music either from the current movement or from previous or future movements)all performers must have access to either two copies of the score, or have photocopies of the music with which they need to interact.

Camcorders/video recorders 5

Any camcorder is fine, but the format, frame rate, resolution, and aspect ratio3 should be the same for all, or at least the same for each location from day to day.

Audio/video projection/playback systems 5

The projection systems may be front or rear projection, but in either case should be as inconspicuous as possible, especially in the case of front-projection. Care should be taken in theplacement of the screens to avoid light interference and bleed-through from sunlight or reflection (in the case of daytime performance). A projection system may consist of a combination ofprojector, screen, computer, dvd player, or television, large LCD monitor, or any other suitab le methods. Preferab ly, the video playback should be large enough to be easily viewed by a largenumber of people from a moderate distance. For the audio, the playback speakers should be capable of reproducing the sound of each ensemble accurately, so a good frequency range would be40-20k Hz.

Audio recorders and microphones 5 (sets)

The microphones should be of at least moderately high quality Rode NT4, or 2 Rode NT1 or NT2a microphones are good choices for general purpose condensers. Additionally, dependingon how the audio and video are recorded, one will require preamplification for the microphones either through an audio I/O unit with an attached computer or through a mixing console.

2 see pages v and vi for instructions.3 For example, 720p 30 frames per second.

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Stopwatches 15

Any stopwatch is acceptable. Preferably, the model should be easily affixed to a music stand with a large, easy-to-press button as timing is crucial to the success of the performance and to theresulting recordings.

Music stands 11-15

The singers may choose to hold their music rather than have it placed on music stands.

Music stand lights 11-15

Depending on the time and location of the performances, the performers may require lights for their stands.

IV. Editing and Playback / Projection Instructions

General

The following indications are generalized, and their relevance is dependent on the methods whereby the audio and video are recorded. For example, the audio and video may be capturedindependently using separate recording apparatus and combined later in the editing process, or they may be captured simultaneously in a single system. The methods whereby the audio andvideo are recorded will depend largely on a) the budget of the production, and b) the knowledge and ability of the audio/video team (both the engineers and the editor.)

Audio/Video Setup

The microphones for the stereo audio recordings should be placed as close to the performers as possible to eliminate unwanted atmospheric sound, but far enough away to capture a goodstereo image. Other considerations should include the dynamic potential of the group. For example, the microphone placement with the guitars may be much closer than for the woodwinds,

not only because of the size of the respected groups, but because of the dynamic limitations of the guitar as compared to the woodwinds. Some sound testing is obviously required prior torecording.

To make it easier to sync-up with the live performance, two indications should be made when starting each performance and recording. The first should signal that the recording has begun, thesecond should be made at a set time, say 10 seconds later, at which time the musicians begin performing. At each subsequent performance, the audio/video playback should begin when the newrecording is started. This way, both the audio/video recording and the live performance will begin with 10 seconds of silence followed by the beginning of the movement. Any method thatsucceeds in easily synchronizing the live performance with the prerecorded material is acceptable.

The video recordings for each day should focus on the performers and, if the performance contains projection (if it is the second or third performance) some of the projection as well. Thisway, the aggregate video recording will have several layers of each performance. Different shooting styles might involve some stationary group shots, with some hand-held or zoomed focus onindividual players, or may focus on the live group with the projected group. The videographer may also simply set the shot to encompass the players and the projection (if there is one) andrecord from one stationary location. The method or style of shooting may change from performance to performance. The only stipulation is that the video must have no cuts so that the videorecording is the exact same duration for each performance and matches up with the audio recording should it be recorded separately.

Audio/Video Editing

Between performances it will be necessary to edit (trim) and normalize the audio so that each recording is at the peak dynamic level and each performance lines up with previous recordings. Ifseparate audio and video recordings were made, the audio will then need to be combined with the video for playback. The recordings should be edited so that the movement beginsimmediately upon pressing play. This will make it easier to sync up with the live performance.

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The captured video for each day should be superimposed into the existing video by adding it as an additional layer or stream. All layers should have equal exposure/transparency. This meansthat for the third and final performance, the video will consist of a double exposure of the first and second performances. The third performance should also be recorded so that a finalaudio/video recording will contain all three.

V. Notes on Realization

Pre-performance decisions

The first important step in realizing a performance of this piece is to find a suitable performance environment. Some things to bear in mind while considering locations are:

! What is the level of ambient noise? Will the performers be heard easily? If the location is loud (factory, city street) will the performers be able to hear the other members of theirgroup?

! What is the amount of foot traffic in the area? If the location is remote, is it easy to find and easy to access?

! What is the lighting like? If the location is covered, or outdoors and the performance is scheduled for the evening, will the performers be able to see their music?

Once a suitable environment has been chosen, the coordinator(s) must decide at which location within the environment each group is to perform for each of the threemovements/performances. The musicians do not have to be within eyesight or earshot of e ach other, so part of the decision is deciding whether to use a close configuration or a spread-outone. Examples I and II show two possible configurations. In Ex. 1, the groups are in a close, circular configuration with projection and audio playback immediately next to each group. Noticethat no group should ever perform at the same location from performance to performance. The below examples assume that the movements are being performed on consecutive days.

Key for Examples 1 and 2

Ex. 1Map showing close configuration.

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!"#$$%&'%(&!)$'*$#&+##',

-$#./#0$#

!"#$% !"#$& !"#$'


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In the following example, the groups are spread out in an urban location where some groups are indoors and some are outdoors.

Ex. IIMap showing dispersed configuration.

Once the location decisions have been made, the locations of each group for each performance should be added to page ii of each score.

General Performance Information

! All performers are to perform without vibrato. If, as may occur with the singers, any performer should find this exceedingly difficult, a small amount of vibrato may occasionally be used in

moderation to alleviate any stress. If the performer cannot perform without vibrato, a replacement should be made.! While the work may be performed with or without a director, stopwatches should be used regardless. This will greatly assist the performer with timing as it may be easier to see the time on a

stopwatch on the music stand than the director who may be some distance away.! While the musicians and engineers should dress individually (no matching clothing indications need be undertaken) tasteful clothing decisions should be made.

! If a player finds it easier to perform with a click track, or to use earphones to dampen the sound of the audio playback (should it be considered too distracting), he or she is encouraged to do

so.

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!"#$% !"#$& !"#$'


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Notes for Chance

General Description

The specificity of indications in this movement varies greatly from section to section and performer to performer. The music was composed using equally probable musical choices for eachsection starting with the question of whether the musician should play or rest. Thus, about 50% of the sections for the entire movement consist of rest. Some sections contain no informationother than to improvise based on the music of another player. Sometimes, pitch ratios are given, but other indications such as those for rests, rhythmic profile, or dynamics are not provided.These are the results of the algorithms used to determine the music for each section. The performer should view sections with less specificity as those with the largest amount of expressivefreedom and responsibility; the performer is required to take an active role in the composition of this movement.

Reading the score

To read and interpret the score correctly, it is important to understand all of the elements on the page. The names of each instrument in the ensemble appear in the traditional location downthe left side of the page. The continuous string of numbers at the top of each page is the timeline which assists with locating and executing the beginning and ending of sections. The boxes inthe score contain the information for a section of music. Each box has an arrow which runs from it to the next box. The contents of the box are to be performed until a new box with newindications is provided. To assist with timing, each box also has a time indication given in minutes and seconds which appears either directly before or above it.

Each box contains information that the performer is required to realize. The indication can be as simple and short as 'Rest', which indicates to the performer that he or she is to rest for theduration of the section, or it can contain a large number of keywords, arrays, numbers, and elements. There are really only two different kinds of musical indications and ways of realizing them;one kind calls for improvisation with other players or music and is indicated with the 'Improvise:' keyword, and the other kind requires the performer to use certain information such as thatfound in the NArray and RatioSet arrays, to improvise original music. In both cases, it is expected that the performer will spend time with the score even before rehearsals adding notes andmarking the score so each section is clear to them.

Realizing the score (filling in the blanks)

About one half of the sections in the score will begin with the 'Improvise:' indication. This indication is followed by '@' and either the word 'present' or a blank space. There is then a commafollowed by either the word 'any' or a blank space. If either spaces are blank, it will be necessary to fill in the appropriate information using "coin flip" decisions. Because the order of days is upto the performers and/or coordinator(s), it is necessary to make these chance decisions after 1) order of days and 2) physical location of the groups on each day have been determined. Oncethese have been supplied, the process for determining the two decisions is as follows.

1) The choice for the first space determines the time (past, present, or future) of the performance with which the musician is to improvise. This choice depends on the order inwhich the movements are performed, but regardless it will be a binary decision. The choices will be one of the following:

IfChance is performed on day one, then the choices will be "day 2" and "day 3".IfChance is performed on day two, then the choices will be "day 1" and "day 3".IfChance is performed on day three, then the choices will be "day 1" and "day 2".

To choose, simply flip a coin for each section that requires the answer, and fill in the space with the name of the group that is playing at the p layers' current location that day.

2) If the second indication is "any" then the performer need only have his/her second score (or a photocopy of the music of the group for that section) with the music of the group,

and the time marked out in the score so that they may improvise freely around the music of any members of the group. Alternately, if the musician prefers, and the music is from a pastperformance, he or she may choose to simply listen and improvise around the music being played back. If the second space is empty, then the performer must pick one particularperformer's music against which to improvise. To choose, an appropriate number of pieces of paper corresponding to the players of the other group may be placed in a hat or bag, andblindly chosen from. The performer or coordinator(s) should then fill out that player's name in the score (Chance), and mark where the music occurs in the other movement. Again, the

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player may choose to pick a player to improvise against from the recording should the movement be from a previous performance.

Array Elements

Arrays are indicated by square brackets [ ]. I will refer to the objects that appear in the arrays as elements. Elements can be either numbers or words, and are separated by commas. If theelements are numbers, they fall into one of several categories listed below under "keywords." If they are words, they are representations of various vocal and instrumental processes.Instructions on the performance of these elements follows below.

Ratios

Ratio indications appear in arrays like [1,4], or in arrays of arrays [[1,3],[3,4],[2,5]]. Ratio arrays will always be preceded by one of two indications, either RatioSets, meant to be performed on

an instrument or sung, or WRSets that are interpreted the same way, but are differentiated from the RatioSets because they are meant to be whistled only. The numbers in the array are to betreated as intervals in half steps. If the array is [1,4], then the performer is to choose a starting note (if one is not provided by SPitch) and perform a half step and a major 3rd (which is ofcourse 4 half steps.) The order of the intervals does not matter. Either the major 3rd or the half step may be performed first. If there are multiple arrays [[1,4],[3,4]], the performer maychoose what ratio array to perform first, the interval to start with, and how many repetitions of each ratio they will make. In this example, the performer may choose to only perform one ofthe two ratio sets given. Ratio sets may not by mixed or combined to create different ratios. For example. if two ratio sets are given [[1,4],[2,5]] the performer may not perform the intervals2-4-1-5, because even though the 4-1 is a valid ratio, the 2 and 5 are separated, making it seem as though the ratios are [2,4] and [1,5] when heard.

Pitch Sets and Pitch Class Sets

If any array has more than two elements, it falls under either a pitch class set or pitch set category. These categories are PCS, PC, WPCS, and WPS. Instructions for performing these sets aregiven below on page x.

Noise Elements

The following elements are found in NArrays throughout the movement. Some indications are specific to instrumental groups and will only be found, for example, in the guitar parts. There arealso elements that are common to all, such as "whistle".

Found in all parts

'whistle': mouth whistle. If the performer is unable to whistle, he/she may hum instead.'breath': any non-pitched sound made by breathing in or out, sustained or not.'bodyPerc': any sound made by tapping, slapping, or otherwise causing sound with different parts of the body.'clap': hand clap(s).

Found in voice parts

'tthok': the sound made by placing the tongue over the front teeth, creating suction, then quickly removing the tongue.'lipPop': any popping sound made with the mouth alone, or in conjunction with the hand (lip-smack.)'t','k','p','s','zh','sh': These indications appear in the NArray of the vocalists parts. These are all pronounced as American English consonants with the exception of the 'zh' indication, whichis pronounced like the final 'g' of 'garage.'

Found in guitar parts

'bdyTap': with one or both hands, tap or slap the front and/or the back of the guitar.'sideBdyTap': with one or both hands, tap or slap the sides of the guitar (i.e., not the front or back.)'fngrTap': using one to ten fingers, tap on any part of the guitar. Emphasis with this indication should be on rhythmic precision. (It is undoubtedly easier to imitate quick, precise rhythms

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using the finger tap technique than the hand tap or slap.)

Found in wind parts

'blow': any blowing though the instrument that does not cause a discernible pitch.'fngrClck': finger clicks.'qBlow': tongued, quick breath into the instrument such that it does not result in a discernible pitch.

Found in string parts

'scratchTone': this technique is achieved by applying pressure in significant amounts such that the resulting sound is a multitude of pitches; a grating, grinding sound. Reducing bow speedwith the increased pressure is helpful in achieving this effect.'colLegno': col legno. Use the wood of the bow to tap the strings of the instrument. Pitch choices are made by the performer.'woodBowTap': tap any part of the instrument with the tip, frog, or other part (wood) of the bow.'bowBhndBrdg': bow behind the bridge of the instrument. While this results in a recognizable pitch, the pitch cannot be controlled.

Pronunciation of Vowels (voice parts only)

eh = ! = yet, betoo = u = soon, throughah = "#= father, pocketih = ! = pit, filmoh = !$ = boat, toteaw = "# = bought, thawee = i = seed

Keywords

Because of the way Chance is formatted for performance, keywords are relied upon to conserve space. Keywords are used to associate both methods of performance and materials forperformance. An example of a method keyword is 'Improvise'. This keyword is followed by two indications (shown below) which assist the performer in quickly realizing the indication inperformance. An example of a material keyword is NArray. This is a noise array which holds other material keywords specific to a performer and section of music.

Affect: = general affect for the section. This indicates the overall affect the performer should aim for for the section.

Complement: = general indication for affect of improvised music. Complement implies that the improvised music should match the affect of whatever component follows thecomplement indication. For example, if all is indicated, then the performer should match the overall affect of the music. If "rhythm" is indicated, then the notes may be chosen by theperformer, but the rhythmic profile should complement that of the other part.

Contrast: = general indication for affect of improvised music. For example, if "max" follows "Contrast:" then the performer should improvise music that is distinctly different than that ofthe performer with whom they are improvising.

DType: = general indication for how dynamics are to be applied to notes and note events. Varied indicates that dynamics are to be changed more often.

Durs: = general indication for duration of pitches. This applies to all pitches, but should be modified/viewed in light of the overall affect for the section.

DVAmount: = general indication specifies more explicitly how often dynamic changes are to be made.

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Dyns: = general indication for dynamics given in a range from lower to higher amplitude, ex. p-f.

EDurs: = general indication for the duration of note events. Think of a note event as a phrase. This is usually accompanied by a "RestPeriod" indication stating how long the periods ofrest between note events should be.

Improvise: = the music to be performed. The 'at' symbol "@" that follows the improvisation indication tells the performer with what movement he/she is to improvise, whether themusic is from a past, present, or future day. This space will be blank for any other indication but "present." This is because the order of the movements is malleable; only when the orderof the movements has been determined will it be possible to fill in indications other than present. The method of filling in this space is described above in Realizing the Score. Followingthe first indication is a comma, and either a second blank space or the word "any." If the space says "any", the player is free to choose any music being performed around him/her if thefirst space is "present", or the music of any of the members of the group with whom it has been determined they should improvise.

IStyle: = general indication for imitation style. **[This indication tells the performer which aspects of the music with which he or she is improvising to employ.]** For example, theplayer might have a rhythm indication. The performer should improvise music that has the same rhythmic profile as the other performer or music, but may improvise his or her ownpitches, choose phrase lengths, etc.

NArray: = indicates a noise array is to be used to create the music for the section (with or without other elements such as note arrays). The NArray consists of either a single array ofnoise indications, or an array of arrays of noise indications. (See above under "Noise Elements".)

OrdText: = indicates ordered text. This array contains words that must be employed in order.

PCS: = the pitch class set or sets to be used for the section. Unlike the RatioSets, which are to be used dynamically to construct melodic lines, the PCS contains the only pitches theperformer is allowed to use. In this system, 0 = any C the performer chooses. 4 = any E, 10 = any Bb, and so on. So a PCS such as [0,1,4] could result in a melody that contains thepitches C3, Db4, C5, F3, Db5, etc.

PLengths: = the phrase length for note, noise, or improvised events. This indication should be tempered by the "Affect" indication if it is provided.

PS: = the pitch set or sets to be used for the section. Unlike the RatioSets, which are to be used dynamically to construct melodic lines, the PC contains all of the pitches to be used bythe performer. The numbers in the set are MIDI numbers that correspond to actual pitches. In this system, 60 = middle C or C4. So if a set includes 57, 60, 62, 64, and 67, the pitches touse would be A3, C4, D4, E4, and F4.

RatioSet: = the set of ratios used by the performer to create the music. The set will consist of an array [ ] with one or more nested arrays indicating the ratio intervals to be used. Forexample, if the RatioSet: = [[1,3],[3,4]] then the player may choose either set at any time, and start with either interval such as INT3->INT1 followed by INT3->INT4. While theintervals within sets may be used in any order, and the sets may be used as desired, both ratios must be used. So using only INT4 from the second set between sets of [1,3] is notallowed.

RPeriod: = general indication for the length of time between note events. This indication should be tempered by the "Affect" indication.

SPitch: = the starting pitch for the performer. Usually this indication is given only when the section uses ratio sets.

Text: = indicates the text to be used by the singer. This will consist of either one indication or an array of indications with either vowels, or a combination of vowels and consonants.

WPCS: = indication for the pitch class set/sets to be used when whistling. Employ in the same manner as with "PCS:" above.

WPS: = indication for the pitch set to be used when whistling. Employ in the same manner as with "PS:" above. Please note that some people hear whistling as sounding an octave lowerthan it actually does. If the player is unable to whistle in the octave indicated, a different octave may be used.

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WSPitch: = whistle start pitch. Employ in the same manner as "SPitch:" above.

WRSet: = ratio set for whistle. Treated as RatioSet above.

A Brief Example

As discussed above, about half of the boxes in Chance will contain the "Improvise:" indication. All other boxes will have either a single array of information to realize, such as an NArray, or theywill have a combination of different arrays. If more than one array indication is present, the performer is free to move between elements in those arrays as desired. For example, looking at thefirst box in the flute par t on page 1, there is an "NArray:" with noise indications, and a "PCS:" with different pitch class sets. In this case, the flute player may move freely between groups ofnoise events and note events using those pitch classes found in the PCS arrays. However, the performer's freedom here is limited here by the "Affect:" indication, which is "calm", and the"PLengths:" indication, which is "long". If these indications were not present, the performer would have absolute freedom in determining the length of the groupings of notes and noises.Regardless, the performer still has the freedom to choose what percentage of the larger phrases are notes and/or noise, and may move freely from one kind to the other. The remainingindications "RPeriods:", "Dynamics:", "DType:", and "DVAmount:" show that the rest periods between phrases should be short, and that the dynamics employed should vary occasionally betweenpiano and forte.

Notes for Canon / Variation

General Description

Canon / Variation is the most traditionally composed and notated movement of the three. This does not imply that it is the easiest, but that the musician may find this movement the mostcomfortable to approach. Care should be taken with regard to phrasing even where note durations and phrase indications are longer than the breath allows for.

Notes by measure

In the score, asterisks appear on or around notes and staves. These indicate that specific information about the realization of some musical element is required. These mostly occur in the formof a note at the bottom of the page. In some cases, however, more detail is required than is practical for the score. The following notes are ordered by measure number.

Measure. 1 Guitars: Because certain effects called for such as touch-12 harmonics result in significantly lower dynamic levels, the dynamic indications in the score may appearincongruous from part to part. This is because the given indications are to create a desired dynamic/harmonic blend. The players should bear this in mind and focus more on blend thanadhering strictly to the dynamic indications given.

Measure. 7 Winds: slurs in the winds indicate phrasing and not necessarily breath or tonguing. There are many instances where the number of measures in a phrase far exceed thebreath-capacity of the player. The player should breathe where necessary, doing their best to maintain the contour of the phrase.

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Notes for Probability / Variance

General Description

Of all the movements,Probability / Variance is the most straightforward, and most likely the hardest movement to perform. The note events are extremely long at the beginning and end of thepiece, and there are few periods of rest. Great care should be taken by all players, but especially the wind players and singers, to maintain relaxation, and monitor posture and breath support.For the apotheosis wind players and singers should breathe as necessary, taking time as needed, with care to avoid long periods of rest, and to avoid resting at the same time as thoseimmediately around them. For the singers, the dynamic indication offffis not realistic, and care should be taken not to sing too loudly, especially given the length of the previous section.

VI. Notes on Composition

General

The building blocks of all of the music in this piece are found in the integers 1-5. When the integers 1-5 are summed against each other, and the sum of differences is represented in ratios withoutrepetition, the results are as follows.

17/13 = 1.307 : 112/5 = 2.4:17/3 = 2.33 : 16/5 = 1.2 : 15/4 = 1.25 : 15/3 = 1.66 : 15/2 = 2.5:14/3 = 1.33 : 13/2 = 1.5 : 1

5/1 = 5 : 14/1 = 4 : 13/1 = 3 : 12/1 = 2 : 11/1 = 1 : 1

This ratio set informs all pitch, duration, structural, textural, and dynamic materials, as well as methods of transformation found in all movements. The idea of ratio is especially important because , likethe work as a whole, even a high-level decision-making process like pitch-to-pitch choice is one of relationships; all pitches are interrelated. The ex tra-musical counterpart to this numericalinterrelatedness may be found in the following fanciful postulation.

Locations, such as cities, forests, and mountains, have a certain vibration or sound-spirit that is individual and unique to that place. This sound-spirit affects, to a greater or lesser degree, all ofthe music composed and performed in that particular location over time. The music may be stylistically different, and composed for different forces, but there is always something that is sharedand perceptible. Now imagine that at the root of this shared material is a structure of related percentages, of ratios. These ratios, no matter how they are transposed, augmented, or employed,remain viable and intact such that if you were able to measure the piece as a whole, they would become apparent.

This imaginary scenario helped to form the ultimate scope of the work; the use of multiple locations within a single performance environment, the use of different performance times and of stylisticallydifferent music for each movement of the piece, etc. The use of audio and video recording equipment to simultaneously present past and present music is a way of making the time-relationship plain tothe audience.

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Algorithms were written in the SuperCollider programming language to assist with the generation, transformation, and realization of pitches and durations, and in some cases dynamics, section-lengths,and methods of transition for all movements.

Chance

Chance is the only movement of the three that involves extensive improvisation. This movement, more than the other two, reaches into the past and future, allowing the musicians to directlyinteract with, and create a synthesis of the music from the different days. It was composed using, not surprisingly, chance procedures. At every stage of composition, a binary, ternar y, orquaternary decision was made with equal probability. Some elements were non-negotiable such as the overall length of the movement, but everything else was the result of an equal probabilitydecision. Once large-scale decisions were made such as whether the groups would perform as groups or individuals, what methods they would employ (instruments, body noise, etc.), a

hierarchical tree structure was created that contained binary, ternary, and quaternary decisions for all elements including whether the part should contain only improvised or original material,how specific that material should be, and how unique to the individual performer it should be. For example, the algorithms test whether the part being generated is a string part or not, becausethe strings are capable of producing microtones. If the query returns true in the algorithm, microtonal possibilities are added to the pitch decision algorithm. Similarly, if the algorithm is beingrun for a singer as opposed to a woodwind, the choice for using text is included.

Canon / Variation

Canon / Variation is comprised of a series of large sections that vary in number from group to group in which a canon subject is performed and then altered. The manner in which the subject isaltered occurs in the same order in all the parts. The number of sections for each group is as follows:

Group 1= 5 sections, Group 2 = 4 sections, Group 3 = 3 sectio ns, Group 4 = 2 sections , Group 5 = 1 section

The group sections are then as follows:

Group 1: A, B, C, D, E

Group 2: A, B, C, DGroup 3: A, B, CGroup 4: A, BGroup 5: A

The canon subject was composed using the section time of Group 1, which has the most sections, and was composed to take up the entire first section. Each subsequent section then variesthe treatment of the canon subject both in time and pitch. The order of the treatment of variation is common to all parts. The strings which have only one section, though, play only thesubject, and do so in durational augmentation by a multiple of 5 times that of the original durations (because the section is 5 times that of the original). Thus, Group 1 and Group 2 both startwith the canon (A) and then proceed to alter the canon in the subsequent sections B, C, and D. Each part follows the following treatment for the number of sections that they have. The wayeach group varies the subject is largely dependent on the instrumentation of the group. The order of treatment/variation can be seen easily in the score and is described below.

A - subject verbatimB - entrances of notes must occur in time4, but notes may be held through other notes, effectively skipping them.C - notes may occur anywhere in time, but order of notes must be preserved.D - notes may occur anywhere in time, and note ratio pairs may be swapped as long as all are performed.

E - ratio sets are performed only once in the order that they appear in the subject.

The canon subject consists of five divisions, each of which is further divided into two phrases. The lengths of the subject's divisions were derived using a logarithmic curve so that the beginningsection is the longest at 110 seconds (55 + 55 seconds), and the last section is the shortest at 10 (5 + 5). The pitch and rhythmic material within are derived from the ratio series. The

4 In multiplicative expansion of the durations of the subject.

xiii


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durations used in the movement are also simple integers derived from the ratio set. They are 1, 2, 3, and 5 seconds. For the pitch material, all ratios were used as intervals, with the smallestinteger (1) taken as a half step. The ratios from division to division share elements with each other. For example, X shares int 1 with A, A shares int 1 with B, B shares int 4 with K, etc. The setsare labeled as follows:

5/1 = A4/1 = B3/1 = C5/2 = D12/5 = E7/3 = F2/1 = G5/3 = H3/2 = I

4/3 = J5/4 = K6/5 = L1/1 = X

The sets are roughly ordered to move from the most disparate interval relationships (large difference 5:1, A, and no difference 1:1, X) inward to a balance of the two (2:1, G). The followingshows the order in which the sets appear in the subject divisions:

Divisi on 1 : X, A, B, KDivision 2 : CDivision 3 : L, DDivision 4 : J, H, IDivision 5 : E, F, G

Probability / Variance

Probability / Variance is composed of 10 sections whose lengths are common to all parts. The movement is designed so that a coalescence occurs at minute 18:00. All parts begin with disparatedurations and pitches, then over 18 minutes move toward a common series of pitches and rhythmic values. The way this is done is through the use of logarithmic curves to control theselection of pitches from section to section. At the beginning of the piece, each part has its own pitch collection and a collection of weights that control the probability of choosing one pitchover another in the collection. The individual pitch collections change from section to section to become more similar. Instead of abruptly changing from one collection to the next when thesection change occurs, a logarithmic curve is used to control the probability of choosing a pitch from the first collection as opposed to the second. As the process moves through the section,the likelihood of choosing a pitch from the next pitch collection increases until right before the section change when the probability is 100%.

In Section 7, which occurs at minute 18:00, all parts have the same series of pitches and one common rhythm. The series of pitches was chosen using a set of probabilities constructed using thetotal number of occurrences of pitches derived over time. The section itself is subdivided into 15 parts, the length of each of which is logarithmically derived. The section times, weights, andpitch sets follow below.

Section times in seconds:

[ 1.25, 2.5, 3.75, 3.75, 6, 8.5, 5, 8.5, 9.75, 11, 6, 11, 13.5, 14.75, 14.75 ]

Number of notes per set in 16th notes:

[5,10, 15, 15, 24, 34, 20, 34, 39, 44, 24, 44, 54, 59, 59 ]

xiv


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Pitch Sets Per Section:

Set 1 = [ 0 ]Set 2A = [ 0, 5 ]Set 2B = [ 0, 5, 10 ]Set 3A = [ 0, 5, 10 ]Set 3B = [ 0, 1, 3, 5, 10 ]Set 3C = [ 0, 1, 3, 4, 5, 6, 10 ]Set 4A = [ 0, 5, 6, 10 ]Set 4B = [ 0, 3, 5, 6, 7, 9, 10 ]Set 4C = [ 0, 3, 4, 5, 6, 7, 9, 10 ]Set 4D = [ 0, 1, 3, 4, 5, 6, 7, 9, 10 ]Set 5A = [ 0, 4, 5, 6, 10 ]

Set 5B = [ 0, 1, 2, 4, 5, 6, 7, 10, 11 ]Set 5C = [ 0, 1, 2, 3, 4, 5, 6, 7, 8, 10, 11 ]Set 5D = [ 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 ]Set 5E = [ 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 ]

The pitch probabilities are derived from the number of times a certain pitch appears in the above arrays per section, with the total aggregate pitch weights for Set 5D as follows:

[ 0.16666666666667, 0.075, 0.066666666666667, 0.091666666666667, 0.091666666666667, 0.125, 0.1, 0.058333333333333, 0.025, 0.05, 0.11666666666667, 0.033333333333333 ]

For the last three sections, the number of pitches common to all parts decreases. Each part shares a common set of pitches, but there are multiple possibilities for each pitch choice in the lasttwo sections and the probability of choosing one pitch over another averages out to even odds. Thus, the piece as a whole moves from individuality to cohesion, followed by static similarity andfinally to limited randomness.

xv


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TIME:

flute

oboe

b. clar

bassoon

guitar 1

guitar 2

f. voice 1

f. voice 2

f. voice 3

m. voice

violin 1

violin 2

viola

cello

d. bass

0:00 0:10 0:20 0:30 0:40 0:50 1:00 1:10 1:20 1:30 1:40 1:50

REST

REST

Affect:f renetic - SPitch:7 - RatioSet: [ 2,3 ] Durs:short - EDurs:short - RestPeriods = medDynamics:p-f - dynType:varieddVarAmnt = a little

REST

REST

REST

REST

REST

REST

NArray:[ sh,tthok,lipPop,t,k,p, s ]Durs:longEDurs:long

REST

0:40 Affect:calmPitches = [ 0,3, 9 ]Durs:shortText:[ eh,oo,ah,ih, oh,aw,ee ]

1:30

NArray:[ [ bdyTap,sideBdyTap,fngrTap ],[ whistle,breath, bodyPerc,clap ] ]SPitch:9 - Durs = medRatioSets:[ [ 1,1 ],[ 1,2 ],[ 1,3 ],[ 1,4 ], [ 1,5 ],[ 2,3 ],[ 2,5 ], [ 3,4 ],[ 3,5 ],[ 3,7 ],[ 4,5 ],[ 5,6 ],[ 5,12 ] ]

0:36

REST

1:12

NArray:[ bdyTap,sideBdyTap,fngrTap ]RatioSets:[ [ 1,1 ],[ 1,2 ],[ 1,3 ],[ 1,4 ],[ 1, 5 ],[ 2,3 ],[ 2,5 ],[ 3,4 ], [ 3,5 ],[ 3,7 ],[ 4,5 ],[ 5,6 ],[ 5,12 ] ]Durs:long PLengths: med - Dynamics: mp-mf - DType = consistent

REST

1:00 Affect:calm - Durs:longPCS:[ [ 0,4,8 ],[ 0,2,4,6,8, 10 ],[ 0,1,3,4,7, 8,10,11,14,15, 17,18,21 ] ]PLengths:long - Dynamics:ppp-fff - DType:variedDVAmount:a Lot

1:30

Improvise:@ current,anyContrast:max - IStyle:aroundDurs:med - PLengths:longRPeriods:short - Dynamics:ppp-fff - DType:variedDVAmount:aLot

0:58

REST

1:12

Improvise:@ ___________, _________Contrast:subtleIStyle:around - RPeriods:shor t

1:39

PCS:[ 0,5,7,12,15 ]Durs:random - PLengths = medDynamics:mp-mf - DType:consistent

REST

0:36Affect: freneticNArray:[ zh,whistle ]WSet:[ [ 0,3, 9 ],[ 0,1,3,4, 8,9,11 ] ]

1:30

Affect:c alm - NArray:[ whistle,breath, bodyPerc,clap ]PCS: [ [ 0,1,3,4,8,9,11 ] ,[ 0,2,4,6,8,10 ] ,[ 0,6 ] ,[ 0,1,3,5,6,8,10 ] ,[ 0,1,3,4,8,9,11 ],[ 0,3,9 ] ]PLengths:long - RPeriods: short - Dynamics: p-f - DType:variedDVAmount:a little

NArray:[ [ blowing,fngrClck, qBlow ],[ whistle,breath,bodyPerc, clap ] ]WPCS: [ [ 0,4,5.5,6.5,9.5,10.5,0 ],[ 0,2,4 ] ]- Durs:random - RPeriods:short -Dynamics:p-f DType:varied - DVAmount:alittle

1:00

REST

1:16

Improvise:@ ___________, anyComplement:all - Durs:long

0:36

Affect: frenetic - NArray:[ blowing,fngrClck, qBlow ]PCS:[ 0,3,4,5,7,8,9 ]RPeriods:long

1:13

REST

1:37

Affect:calm - NArray: [ [ blowing,fngrClck, qBlow ],[ whistle,breath, bodyPerc,clap ] ]WPCS:[ [ 0,1,5, 6,8,9, 10,11 ],[ 0,1,2, 3,5,7, 8,9,10 ] ]RatioSet:[ [ 2,5 ],[ 5,12 ], [ 5,6 ],[ 3, 4 ],[ 1,1 ],[ 1, 5 ] ]Durs:long - PLengths:long - RPeriods:short - Dynamics:ppp-f ff - DType:c onsistent DVAmount:none

Improvise:@ ___________, anyComplement:pitch - PLengths:medDynamics:ppp-fff - DType:variedDVAmount:a lot

0:42

REST

1:04

1:20

Improvise:@ ___________, _________Contrast:max

PS:[ 60,64,66,68, 72,74,76,80,82,84, 88,90,92 ]Durs:random - RPeriods:medDType:variedDVAmount: a lot

1:05

NArray:[ [ colLegno,woodBowTap,bowBhndBrdg ],[ whistle,breath, bodyPerc,clap ] ]WSet:[ 0,2,3, 4,5,7, 9,10 ]PCS: [ [ 0,2,3, 4,5,7, 9,10 ],[ 0,3.75,6,6.75,8.25,9,11.25 ],List[ 0,1,2, 3 ],[ 0,4.5,6,7.5,10.5,0,1.5 ] ]Durs:long - DType:varied - DVAmount:a lot

REST

0:36 1:07 NArray:[ [ colLegno,woodBowTap,bowBhndBrdg ],[ whistle,breath, bodyPerc,clap ] ]WSPitch:4 - WRSet:[ [ 3,5 ] ] - PCS:[ 0,1, 3,4,5, 6,8,9 ]Durs:long - PLengths:long - RPeriods:long - DType:variedDVAmount:a little

Improvise:@ ___________, ___________Complement:rhythm

REST

0:58 NArray: [ [ colLegno, woodBowTap, bowBhndBrdg ], [ whistle, breath, bodyPerc, clap ] ]WRSets:[ [ 1,1 ],[ 1,2 ],[ 1, 3 ],[ 1,4 ],[ 1,5 ],[ 2,3 ], [ 2,5 ],[ 3,4 ],[ 3,5 ], [ 3,7 ],[ 45 ],[ 5,6 ],[ 5,12 ] ]PCS:[ 0,4.5,6,7.5,10.5,0,1.5 ] - PLengths:random - RPeriods:short

NArray:[ [ colLegno,woodBowTap,bowBhndBrdg ],[ whistle,breath,bodyPerc,clap ] ]WRSets & RatioSets:[ [ 1,1 ],[ 1, 2 ],[ 1,3 ], [ 1,4 ],[ 1,5 ], [ 2,3 ],[ 2, 5 ],[ 3,4 ],[ 3,5 ],[ 3,7 ],[ 4, 5 ],[ 5,6 ],[ 5,12 ] ]SPitch:8 - DType:consistent - DVAmount:none

0:59

REST1:34

1:23

0:33

Chance

1


22/104

1:50 2:00 2:10 2:20 2:30 2:40 2 :50 3:00 3:10 3:20 3:30 3:40TIME:

REST

2:00

Affect = frenetic - NArray:[ sh,tthok,lipPop,t,k, p,s ]PCS:[ [ 0,1,2, 4,5,6, 7,10,11 ],[ 0,2, 4,6,8, 10 ] ]RPeriods:med - Dynamics:mp-mf - DType:variedDVAmount:a little

2:46

Affect:frenetic - PCS:[ [ 0,2,3, 5,6,8, 9,11 ] ]Durs:med - Dynamics:ppp-fffDType:consistent - DVAmount:noneText:[ eh,oo,ah,ih,oh,aw,ee ][ sh,th,ch,h,k,m, n,s,t ]

2:24

REST

2:13

REST

2:04

REST

2:14

Affect:frenetic - PCS:[ [ 0,2,3, 5,6,8, 9,11 ] ]Durs:med - Dynamics:ppp-fffDType:consistent - DVAmount:noneText:[ eh,oo,ah,ih,oh,aw,ee ][ sh,th,ch, h,k,m, n,s,t ]

2:17

Improvise:@ ___________, aContrast:subtleIStyle:around

Improvise:@ current,violin IIComplement:all

2:30

REST

3:32

3:30

NArray:[ whistle,breath, bodyPerc,clap ]WSet:[ 0,2,4, 6,8,10 ]PS:[ 36,38,40,42,44,56,59,60 ]Durs:long - PLengths:med

2:50

NArray:[ [ bdyTap,sideBdyTap,fngrTap ],[ whistle,breathbodyPerc,c lap ] ]WRSets:[ [ 1,1 ],[ 1,2 ], [ 1,3 ],[ 1,4 ],[ 1,5 ],[ 2, 3 ],[ [ 3,4 ],[ 3,5 ],[ 3,7 ], [ 4,5 ],[ 5,6 ],[ 5,12 ] ]PCS:[ 0,3,4,5,7,8,9 ]SPitch:4 - Durs:medDynamics:mp-mf - DType:varied - DVAmount:aLot

3:23

Affect:c alm - NArray: [ bdyTap,sideBdyTap,fngrTap ]RatioSets:[ [ 1,1 ],[ 1,2 ],[ 1,3 ],[ 1,4 ],[ 1, 5 ],[ 2,3 ],[ 2,5 ],[ 3,4 ],[ 3,5 ],[ 3,7 ],[ 4,5 ],[ 5, 6 ],[ 5,12 ] ]Durs:short - PLengths:long - RPeriods:randomDynamics:ppp-fff - DType:consistent - DVAmount:none

2:15

Improvise:@ current,guitar IContrast:max - IStyle:overDurs:short - RPeriods:long

2:42

Improvise:@ ________, ____________Complement:all

2:36

Improvise:@ ___Complement:all Dynamics:mp-mf consistent - DVA

3:36

(flt)

(ob)

(b. clar)

(bssn)

(gt 1)

(gt 2)

(f. v. 1)

(f. v. 2)

(f. v. 3)

(m. v.)

(vln 1)

(vln 2)

(vla)

(vc)

(db.)

2


23/104

3:51

Affect:calmNArray:[ colLegno,woodBowTap,bowBhndBrdg ]PS: [ 57,60,65, 69,72,77,80,85,89, 92,97,100 ]Durs:med - PLengths = long

3:40 3:50 4:00 4:10 4:20 4:30 4:40 4:50 5:00 5:10 5:20 5:30 5:40 5:50 6:00 6:10 6:20 6:30 6:40TIME:

4:28

(flt)

(ob)

(b. clar)

(bssn)

(gt 1)

(gt 2)

(f. v. 1)

(f. v. 2)

(f. v. 3)

(m. v.)

(vln 1)

(vln 2)

(vla)

(vc)

(db.)

Affect:mixed - NArr ay:[ blowing,fngrC lck,qBlow ]RatioSets:[ 1,4 ] - Durs:medPLengths:med - Dynamics:p-fDType:consistent - DVAmount:none

4:28

REST

5:24

Improvise:@ present,f singer 2Complement:all - Durs:longDynamics:p-f - DType:consistentDVAmount:none

NArray:[ whistle,breath, bodyPerc,clap ]WRSets:List[ [ 1,5 ] ] - SPitch: 7 - RatioSets:[ 2,5 ]Durs:random - PLengths:long - Dynamics:p-fDType:consistent - DVAmount = none

5:09

RESTImprovise:@ _________, anyComplement:all - PLengths:medDynamics:p-f - DType:variedDVAmount:a lot

4:49

4:20

NArray = [ zh,whistle ] - WRS

RatioSets:[ [ 4,5 ],[ 3,4 ], [ 1,1PLengths:long - Dynamics:pppDType:varied - DVAmount:a OrdText:[ [ oo ],[ awm ],[ iht [ hah ] ]

6:26

NArray:[ [ blowing,fngrClck ,qBlow ],[ whistle,breath,bod yPerc,clap ] ]WPCS:[ [ 0,1,3,4,8,9,11 ] ,[ 0,2,4,6,8,10 ] ,[ 0,2,4,6,11 ] ,[ 0,3,4,5,7,8,9 ] ]WPS:[ 72,75.5,77,78,80.5,81.5,83,87 ] - PCS:[ 0,1,3, 4,8,9, 11 ]Durs:med - PLengths:short

4:06

NArray:[ blowing,fngrClck, qBlow ]Durs:random - PLengths:randomDynamics:mp-mf - DType:variedDVAmount:a little

4:30

Affect:mixed - NArray: [ whistle,breath, bodyPerc,c lap ]WRSets:[[ 0,5,8, 13,16,21,24,29,32 ],[ 0,3,4, 5,7,8, 9 ],[ 0,1,2, 3,4,6, 7,8,9, 10,11 ],[ 0,1,3, 4,8,9,11 ],[ 0,5,10, 15,20 ],[ 0,1,3, 4,8,9, 11 ],[ 0,2,4,6, 8,10 ],[ 0,3,4, 5,7,8, 9 ] ]Dynamics:ppp-fff - DType:varied - DVAmount:aLot

4:30

Affect:f reneticNArray:[ whistle,breath,bodyPerc, clap ]WRSets:[ [ 3,7 ], [ 5,6 ] ]

4:25

REST

6:15

4:54

REST

Improvise:@ _________, anyComplement:all

4:57

3:58

REST

3


24/104

TIME: 6:40 6:50 7:00 7:10 7:20 7:30 7:40 7:50 8:00 8:10 8:20 8:30 8:40 8:50 9:00 9:10 9:20 9:30 9:40 9:50 10:00 10:10 10:20 10:30 10:40

Afect:calm - NArray:[ [ sh, tthok,lipPop,t,k,p,s ],[ whistle,breath,bodyPerc,clap ] ]SPitch:5 - RatioSet:[ [ 3,5 ],[ 1,1 ],[ 3,5 ],[ 1,2 ], [ 4,5 ] ]WSet:[[ 1,5 ],[ 3,4 ],[ 5,12 ],[ 1,1 ] ] - Durs:longPLengths:random

8:00

REST

6:45 PCS:[ 0,1,3,4,6, 7,9,10 ]Dynamics:p-fDType:variedDVAmount:a lot

9:00

Improvise:@ present,guitar IContrast:max - IStyle:aroundDurs:long - RPeriods:short

NArray:[ sh, tthok,lipPop,t,k,p,s ]PCS:[ 0,3,4,8,11 ]Durs:shortPLengths:long

7:34

9:00

(flt)

(ob)

(b. clar)

(bssn)

(gt 1)

(gt 2)

(f. v. 1)

(f. v. 2)

(f. v. 3)

(m. v.)

(vln 1)

(vln 2)

(vla)

(vc)

(db.)

REST

9:00

Improvise:@ present,f.singer 1 - Contrast:subtle IStyle:around - Durs:long - PLengths:longDynamics:mp-mf - DType:variedDVAmount:a lot

10:17

Improvise:@ _________,anyComplement:all - Durs:short

6:51

REST

10:17

Improvise:@ ________, anyComplement:all - PLengths:randomRPeriods:long - Dynamics:mp-mfDType:varied - DVAmount:a little

9:00

REST

9:00

Improvise:@ _______,_ ________Complement:rhythm - RPeriods:longDynamics:ppp-fff - DType:variedDVAmount:aLot

6:43

REST

8:31

NArray:[ [ colLegno,woodBowTap,bowBhndBrdg ],[ whistle,breath, bodyPerc,c lap ] ]WRSets:[ [ 1,2 ], [ 4,5 ] ]SPitch:9 - RatioSets:[ [ 1,3 ],[ 3,4 ] ]Durs:long - DType:varied - DVAmount:a little

REST

7:09

Improvise:@ __________, __________Complement:rhythmDurs:random

REST7:01

9:49

Affect:f reneticPCSet:[ 0,3.5,5,6,8.5,9.5,11 ]PLengths:randomRPeriods:random

9:49

10:00

Improvise:@ _________, __________Complement:rhythm

7:08

4


25/104

Affect:f renetic - NArray:[ whistle,breath, bodyPerc,c lap ]WRSets:List[ [ 5,6 ],[ 1,5 ],[ 4, 5 ] ]RatioSets:List[ [ 1,1 ], [ 5,6 ], [ 2,3 ] ]RPeriods:short

TIME: 10:40-10:50-11:00-11:10-11:20-11:30-11:40-11:50-12:00-12:10-12:20-12:30-12:40-12:50-13:00-13:10-13:20-13:30-13:40-13:50-14:00-14:10-14:20-14:30-14:40-14:50-15:00-15:10-15:20-15:30-15:40

12:00

Improvise:@ _________, _________Contrast:max - IStyle:aroundDurs:randomRPeriods:med

15:20

Improvise:@ _______,_ __________Contrast:subtle - IStyle:around

13:30

Improvise:@ present,guitar IComplement:all - RPeriods:short

Improvise:@ _________, __________Complement:pitch - Durs:longPLengths:long - Dynamics:p-fRPeriods:med - DType:consistentDVAmount:none

10:48

12:00

(flt)

(ob)

(b. clar)

(bssn)

(gt 1)

(gt 2)

(f. v. 1)

(f. v. 2)

(f. v. 3)

(m. v.)

(vln 1)

(vln 2)

(vla)

(vc)

(db.)REST

12:51

5


26/104

TIME: 15:40-15:50-16:00-16:10-16:20-16:30-16:40-16:50-17:00-17:10-17:20-17:30-17:40-17:50-18:00-18:10-18:20-18:30-18:40-18:50-19:00-19:10-19:20-19:30-19:40-19:50-20:00-20:10-20:20-20:30-20:40

NArray:[ sh,th,ch,h,k,m,n,s,t ]RPeriods = random

18:00Improvise:@ _________, anyComplement:all

20:00

REST18:00

NArray:[ breath,bodyPerc,clap ]PLengths:short - RPeriods:medDynamics:p-f - DType:variedDVAmount:a little

18:00Affect:mixedNArray:[ bdyTap,sideBdyTap,fngrTap ]PCS: [ 0,2,3,4,5,7,9,10 ] ,[ 0,5,7,9 ] ,[ 0,4,8,9,14,18 ] ]Durs:random - RPeriods:med

NArray:[ breath,bodyPerc, clap ]PLengths:long - Dynamics:mp-mfDType:variedDVAmount:a lot

18:00NArray:[ [ sh,tthok,lipPop,t,k,p,s ],[ whistle,breath,bodyPerc,clap ] ] - WPS:[ 72,74,75,76,77,78,79, 80,81,82,83 ] - RatioSets:[ [ 2,5 ],[ 2,5 ],[ 3,4 ],[ 3,5 ],[ 1, 3 ] ] -Durs:med - PLengths:short - RPeriods:medDynamics:mp-mf - DType:varied - DVAmount:a lot

(flt)

(ob)

(b. clar)

(bssn)

(gt 1)

(gt 2)

(f. v. 1)

(f. v. 2)

(f. v. 3)

(m. v.)

(vln 1)

(vln 2)

(vla)

(vc)

(db.)

NArray:[ 'sh','tthok','lipPop','t','k','p','s' ]Durs:long REST

20:00

20:00

20:00

18:00

REST18:00

REST18:00

NArray:[blowing, fngrClck,qBlow]18:00 Affect:calm - PCS:[ 0,2,3, 5,6,7, 8,10 ]Durs:short - PLengths:longRPeriods:long - Dynamics:ppp-fffDType:consistent

20:00

Improvise:@ ________, ________Contrast:max - IStyle:overDurs:med - PLengths:medDynamics:ppp-fff - DType:variedDVAmount:a lot

NArray:[ w,r,y ]Durs:medPLengths:longRPeriods:random

18:0020:00

REST18:00

REST18:00

NArray:[ breath,bodyPerc, clap ]18:00

Improvise:@ _________, _______Contrast:max - IStyle:over

20:00

NArray:[ sh,th,ch,h,k, m,n,s, t ]PLengths:randomRPeriods:long

18:00 PCS:[ [ 0,4.5,6,7.5,10.5,0,1.5 ],[ 0,6 ],List[ 0,2,7,11 ],[ 0,2,3,5,6,8,9,11 ] ]PLengths:med - RPeriods:long

20:00

REST18:00

NArray:[ breath,bodyPerc, clap ]Durs:short - PLengths:medDynamics:mp-mf - DType:variedDVAmount:a little

18:00 Improvise:@ present,violaIStyle:around - PLengths:random - Dynamics:p-fDType:varied - DVAmount:a little

20:00

6


27/104

Affect: freneticNArray:[ whistle, breath,bodyPerc, clap ]WSet:[ 0,3,5,6,10, 13,15,16,20 ] ]

23:20

TIME: 20:40-20:50-21:00-21:10-21:20-21:30-21:40-21:50-22:00-22:10-22:20-22:30-22:40-22:50-23:00-23:10-23:20-23:30-23:40-23:50-24:00-24:10-24:20-24:30-24:40-24:50-25:00-25:10-25:20-25:30

NArray:[ [ bdyTap,sideBdyTap,fngrTap ],[ whistle,breath,bodyPerc,c lap ] ]WRSets:[ [ 1,1 ],[ 1,2 ], [ 1,3 ],[ 1,4 ],[ 1,5 ],[ 2, 3 ],[ 2,5 ],[ 3,4 ],[ 3,5 ],[ 3,7 ],[ 4, 5 ],[ 5,6 ],[ 5,12 ] ]RatioSets:[ [ 1,1 ],[ 1,2 ],[ 1,3 ],[ 1,4 ],[ 1, 5 ],[ 2,3 ],[ 2,5 ],[ 3,4 ],[ 3,5 ],[ 3,7 ], [ 4,5 ],[ 5,6 ],[ 5,12 ] ]SPitch:9 - Durs:random - RPeriods:random

25:00

REST

25:00

REST

22:19

(flt)

(ob)

(b. clar)

(bssn)

(gt 1)

(gt 2)

(f. v. 1)

(f. v. 2)

(f. v. 3)

(m. v.)

(vln 1)

(vln 2)

(vla)

(vc)

(db.)

Affect: mixed - NArray:[ whistle,breath, bodyPerc,clap ]WRSets:[ [ 1,3 ],[ 2,3 ],[ 1, 1 ],[ 3,5 ],[ 3,4 ] ]RatioSets:[ [ 1,3 ],[ 2,3 ],[ 1,1 ],[ 3,5 ],[ 3, 4 ],[ 2,5 ] ]Dynamics:ppp-fff - DType:variedDVAmount:a lot

23:20

NArray = [ zh,whistle ] - WSPitch:5WRSets:[ [ 1,1 ], [ 1,2 ],[ 2, 3 ],[ 3,7 ] ]SPitch:5 - RatioSets:[ [ 1,1 ],[ 1,2 ],[ 2,3 ],[ 3,7 ],[ 3,4 ], [ 1,2 ],[ 1,3 ] ] - RPeriods:med

22:30

REST

25:00

Affect:calmNArray:[ [ blowing,fngrClck, qBlow ],[ whistle,breath, bodyPerc,clap ] ]WPCS:[ [ 0,1,3, 4,8,9, 11 ],[ 0,1,2,3, 4,5,6, 7,8,9, 10,11 ],[ 0,2,4, 6,8 ],[ 0,1.5,4.5,6, 7.5,10.5 ] ]Durs:short

22:06

REST

23:42

Improvise:@ _________, anyComplement:pitch - Durs:random - RPeriods:longDynamics:ppp-fff - DType:consistent - DVAmount:none

24:26

REST

24:17

Affect:f renetic - SPitch:0RatioSets:[ [ 3,4 ],[ 2,5 ], [ 1,3 ],[ 5, 6 ],[ 3,5 ] ]Durs:long - RPeriods:med - Dynamics:mp-mfDType:varied - DVAmount:a little

22:06Improvise:@ present,oboeContrast:subtle - IStyle:aroundDurs:med - PLengths:long

24:04

23:45

PCS:[ [ 0,2,4,6,8, 10 ],[ 0,4.5,6,7.5,10.5,0,1.5 ],[ 0,4.5,6,7.5,10.5,0,1.5 ],[ 0,3.75,6,6.75,8.25,9,11.25 ],List[ 0,4,6, 11,13 ] ]RPeriods:random

Improvise:@ present,anyContrast:max - IStyle:around

22:51

Improvise:@ __________, anyContrast:max - IStyle:around

23:45

Affect:mixedRatioSets:[ [ 1,1 ],[ 1,2 ],[ 1,3 ],[ 1,4 ],[ 1,5 ], [ 2,3 ],[ 2,5 ],[ 3,4 ],[ 3,5 ],[ 3,7 ],[ 4, 5 ],[ 5,6 ],[ 5,12 ] ]Durs:long - DType:consistent - DVAmount:none

22:51

Improvise:@ present,violin IComplement:pitch - Durs:long - RPeriods:medDType:consistent - DVAmount:none

24:02

Improvise:@ present,violin IIComplement:all

25:02

Improvise:@ __________, __________Contrast:subtle - IStyle:around

22:56

7


28/104

NArray = [ [ sh,tthok,lipPop,t,k, p,s ], [ whistle,breath,bodyPerc,clap ] ]WSet:[ 0,1,2, 4,7,8, 9,10,11 ]PS = [ 48,51,52,53, 55,56,57 ]Durs:long - PLengths:med - Dynamics:mp-mfDType:consistent - DVAmount:none

25:33

TIME: 25:30-25:40-25:50-26:00-26:10-26:20-26:30-26:40-26:50-27:00-27:10-27:20-27:30-27:40-27:50-28:00-28:10-28:20-28:30-28:40-28:50-29:00-29:10-29:20-29:30-29:40-29:50-30:00

Affect: freneticNArray:[ zh,whistle ]WRSets:[ [ 5, 6 ] ]RatioSets:[ [ 5,6 ],[ 2,5 ], [ 5,12 ],[ 4,5 ], [ 3,5 ] ]RPeriods:long

29:18

REST

26:15

Improvise:@ _________, _________Complement:pitchPLengths:longRPeriods:long

27:30

REST

29:23

Improvise:@ _________, __________Complement:all - Durs:short - PLengths:longDynamics:ppp-fff - DType:consistent - DVAmount:none

26:42Affect: freneticPCS:[ 0, 1,3,4,8,9,11 ]Durs:randomRPeriods:longText:[ eh,oo,ah,ih,oh,aw,ee ]+[ sh,th,ch,h, k,m,n, s,t ]

(flt)

(ob)

(b. clar)

(bssn)

(gt 1)

(gt 2)

(f. v. 1)

(f. v. 2)

(f. v. 3)

(m. v.)

(vln 1)

(vln 2)

(vla)

(vc)

(db.)

REST

27:46

Improvise:@ _________, anyContrast:subtle - IStyle:around - Durs:randomPLengths:med - RPeriods:random

27:51

Improvise:@ _________, anyContrast:subtle - IStyle:aroundPLengths:med - RPeriods:randomDynamics:mp-mf DType:consistent

NArray:[ whistle,breath, bodyPerc,clap ]WRSet:[ 0,3 ]

26:13

REST

29:15

REST

26:21

Improvise:@ present,bassonContrast:subtleIStyle:aroundDurs:random

PLengths:short

29:37

REST

26:30

Improvise:@ _________,anyContrast:max - IStyle:over

26:52

Improvise:@ present,celloComplement:pitch

REST

26:02

Improvise:@ _________, anyContrast:subtle - IStyle:over

27:48

Improvise:@ _________,anyContrast:subtle - IStyle:over

28:37

Improvise:@ __________, anyContrast:subtle - IStyle:around

25:32

Improvise:@ _________, ________Complement:all

26:49Affect:calmNArray:[ whistle,breath, bodyPerc,clap ]WRSets:[ [ 3,5 ],[ 3,4 ],[ 1, 5 ],[ 3,7 ],[ 1,4 ] ]RatioSets:[ [ 3,5 ],[ 3,4 ],[ 1,5 ],[ 3,7 ],[ 1, 4 ],[ 5,12 ],[ 1,2 ] ]RPeriods:long

28:35

REST

26:54

Affect:mixed - NArray: [ scratchTone,whistle ]WRSets:[[1,4],[2,3]]RPeriods:short - Dynamics:mp-mfDType:consistent - DVAmount:none

25:35

REST

26:53

29:27

28:45

29:06

8


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Date post:	10-Apr-2018
Category:	Documents
Upload:	scott-petersen
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