Notation and control

In my last blog from March 9th, I started to talk about notation or score writing for Instrument (flute) conductor and electronics. I talked about the importance of finding the fine line of saying exactly what is needed. This is something I have been working on through most of my recent compositions where I have been using mixed media of live acoustic instrument and electronics ending op by using graphical lines and textures for the electronic part mostly indicating increase/decrease in the use of reverb, delay, and feedback. In the score, I do write them as textures random circles for the feedback, half circles in a triangle for the delay and black columns for the reverb. see attached:

Since there is a similar increase (crescendo) in all three of them at the beginning they are all combined into one crescendo sign. In line two the Delay and Feedback stay unchanged while reverb increases and therefore written on a separated line. Still not sure if this is the best way to do it, but will keep it till I find a better solution. Feel free to send me ideas.

Now a few words on my artistic need there. While flute plays very soft wind like sounds the electronics increase both in volume and complexity until they kind of drown the flute at the end of measure 6. At the fermata sign, the conductor stops the electronic timeline and waits for the electronic sounds to fade out before she/he turns the timeline on again. This allows the conductor and the performer to wait as long as needed before turning the play on again and still, everything is in synchronization when turned on again. This is, of course, possible to have done by a performer but would be rather difficult if there are more than one performers, hence the ConDiS conductor.
Let us take a closer look at the score and follow the indicator line. Unfortunately, if the play is stopped in measure 7 the electronics stop (which they do not do in real performance). But still, it should give a little look into the things I am dealing with.

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