Does blue in the photo mean ‘rest’ or ‘play’?
Here is what this sectioning might suggest:
>A1a1: 8 Minutes
>sax,s1,v1:
>A rather “ordinary” Opening: Live-Sax, one electronic layer, initial picture. Might present all of the material. Probably slow and not too dense
The essential audible material should enclude pitched/interval material – rendered in a way that is characteristic of each performer. Each performer should have some freedom in this regard. Perhaps a 15 second ‘wake up the audience’ hit would be a good first gesture prior to the 8 minutes of slow and not too dense activity. For example if I could play an improv that would use some of these pitch/interval ideas. I can build this off of the fibonacci series. I can even use the f-series for dynamics/timbre etc. This can be processed in real-time and/or the processing musicians can use pre-recorded material to process in real time. Again … some what ‘ordinary’ Eroica symphony or Lutoslawski’s 3rd symphony ‘knock out punch’ to get going. Then we can take out time to advance – the audience will anticipate something of what is coming.
>A1a2:5 minutes
>Sax,s1,s2,v1,v2: strong contrast, almost a “tutti”, high density, probably loud as well
Good. Also fast alternation between players. Not just unison. Perhaps alternate FFF with very short silences.
>A1b1:
>5 minutes
>Sax,sp,v2
first introduction of processed sound,kind of “enlarged sax”, or sax playing with itself,
only one videolayer, could be more a kind of background to this almost solo sax.
>A1b2
>Sax,v1
>3 minutes
>Sax soloing to video1, slowly ending section A1
As I suggested in an earlier mail today – I can give a pitch-midi feed for sax, as well as a more dynamic amplitude reading. Or, perhaps we can dedicate one computer to feeding this to everyone.
>A2a1
>5 minutes
>s1,s2,v1,v2
electronics only, first longer pause for sax, intermiediate audiovisual high point.
Great … I’ll enjoy the pause.
>A2a2
>3 minutes
Sound is even getting denser by the processing electronics, video otoh goes back to only v2
Good.
>A2b1
>3 minutes
>v2
>Solo video2, no sound
Good.
>A2b2
>2 minutes
>sax,s1,s2,sp,v2
>All sound including Sa back in. End of A, soundwise the high point of the piece
3 second silence right before peak?
>B1a1:
>sax,s2,sp
>5 minutes
>Opening section of B: Only Sound, no Video, acoustic, electronic, processed. Probably very calm again, reminding of A1a1
20 seconds of SILENCE AND BLACK?!?!?
>B1a2
>3 minutes
>s1,sp,v1,v2
>Full video, only electronic sounds, live and procesed
good. also remember, the sax makes great key clicks and I can play on the mouthpiece, without the mouthpiece … breath through the horn … (Lachemann is in Boston this spring … ;)
>B1b1
>3 minutes
>sax,s2,sp,v2
>like B1a1 with video
good .. need to look at B1a1
>B1b2
>2 minutes
>s1,s2,v1
>live generated electronics with only one video layer
good … I’ll hack some pre-recorded sax sounds. I am enjoying the program SPEAR these days. Great sine wave synthesis of anything. This might make a good section in and of its self. 3 part sine wave resynthesis of sax.
>B2a1
>3 Minutes
>sax,s1,sp
>Same situation as in B1a1, only shorter. might be reminiscent
I’ll review B1a1
>B2a2
>2 minutes
>s1,v2
>electronic audiovisual, maybe a reduced version of A2a1, mostly calm to prepare B2b1
calm good. ppp-pp sax multiphonics through my delays – similar to first cut on my myspace page …
>B2b1:
>2 miutes
>sax,s1,s2,sp,v2
>Sound tutti with one video layer like in A2b2, suggesting the final high point of the piece
Good.
>b2b2:
>1 minute
>sp,v1,v2
>Sound may only process rests of previous section(s)which would suggest a ing of coda. Video might do something similar.
>These, as I said, are only first suggestions. Feel free to modify anything you like or put it into the waste and suggest something else.
All good for a first working model. I should do an inventory of things that I can contribute in this context so we can start thinking through the next draft.
