alexander sigman fcremap for soloists, ensembles, electronics, and video ( )

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1 alexander sigman crema or soloists, ensembles, electronics, and video ( )

2 crema ( ): Table o Contents 1. cremaerc (2014) or ercussion and live electronics (ca. 9 30): I. Bubbles (ca. 3 30); II. lee (ca. 1 45) ; III. Home (ca. 4 15) 2. cremano (2014) or iano and live electronics (ca. 9'30) 3. cremaercremalvln (2015) or alto lute, violin, electronics, and video or imrovisor, electronics, and video rojection (ca. 5 ) 4. ホーム ( ) or koto and otional live electronics (solo koto version: ca. 4'15; koto + electronics version: ca. 7') 5. clrema (2016) or clarinet and electronics (ca. 5 ) 6. crema db (2016) or lute(s), clarinet(s), violin, ercussion, animated score, and electronics (ca ) Total Duration: ca

3 alexander sigman cremaerc or solo ercussion and live electronics (2014)

4 cremaerc (2014) erormance notes: general remarks: A. Perormance context and structure: eiglottis consists o three movements, ollowing an 18" electronics introduction: I. Bubbles (3'10) II. lee (1'46) III. Home (4:10) The titles and durations o these movements, as well as the source-material in the electronics derive rom the animation/electronics work uture Creatures (2013) (Eunjung Hwang, animation; Alexander igman, music) o which cremaerc is a "remix." Pauses between movements should only be emloyed or urely ractical transition uroses, and should be minimized to the extent ossible. B. Electronics Projection: The electronics should be rojected through a series o small sound exciters (transducers): one attached to a thundersheet (or similar thin metal sheet), another to a snare drum membrane, and two to a zither. [ee Aendix: TECHNICAL RIDER or details.] C. uggested tage Coniguration: Medium! Cymbal! Large! Cymbal! Zither! Tam4tam! Metal! heet! mall! Cymbal! Tamb! nare! Drum! Lato! ELECTRONIC/MIXING! DEK! D. Glissandi should occur during exact indicated durations, and occuy the entire given duration. E. Unless otherwise indicated, all actions are l.v. signs and symbols: = transition rom one "state" to another I. Bubbles: general remarks: This movement is scored or large solo tam-tam. The metal sheet is used solely as a resonator.! i!

5 A 2-sta notation (corresonding to right hand and let hand actions, resectively) is emloyed. the sta-lines divide the tamtam vertically into regions, as deicted below: The tam-tam is to be activated by 6 objects o contrasting size, shae, and material. This decision is let to the discretion o the erormer. However, the comoser advises the erormer to take into account the actions to be erormed using each resective object and the san o the instrument which each object should encomass rior to making this selection. (N.B.: These objects will also be emloyed in movement III on the zither.) signs and symbols: = center o instrument (along the x-axis) = rim (edge) o instrument (along the x-axis) = heavy ressure = medium ressure = light ressure = raid and irregular scraing o surace II. lee general remarks: This movement is scored or a 3 susended cymbals (small, medium, and large) and a edal-oerated tambourine. The snare drum is used solely as a resonator. The tambourine should be mounted on a stand and oerated using a medium yarn mallet attached to a bass drum edal. Preerably, a tambourine with a membrane (as oosed to a rame-only model) should be emloyed. All cymbals are to be bowed with a cello bow. (N.B.: this bow will also be used in movement III on the zither.) A 3-line sta notation is utilized or each cymbal, reerring to high, middle, and low artials (resectively) to be obtained via bowing and touching the cymbal surace at dierent nodal oints. The dynamics in " " are intended as intensity dynamics. That is to say: these dynamics reer to the amount o eort required to erorm the bowing actions, regardless o the intensity o the sounding results. signs and symbols: = a single artial to be roduced = a multihonic to be roduced! ii!

6 III. Home: general remarks: This movement is scored or a zither o the ollowing (or similar) model: The ollowing scordatura is to be emloyed. or the inal 3 retunings ("Melody and Bass trings"), all bass strings on the indicated itches are to be adjusted accordingly. The zither is to be activated by the 6 objects used in movement I, as well as the cello bow used in movement II. A 4-sta notation is emloyed. The uer 2 staves reer to right-hand actions (chromatic melody strings and bass strings, resectively). The lower 2 staves reer to let-hand actions (ditto). As the hands at times simultaneously activate the same strings, the right hand and let hand should be laced at oosite ends o the instrument (along the x-axis). To the extent ossible, the strings should be bowed between the bridge and the tuning ins when the bow is in the let hand. When is indicated in the bass string line, it may be erormed on any D bass string with coiling, excet on the inal age (4'01" to 4'10"), where it reers to the bottom string o the instrument. The dynamics in " " are intended as intensity dynamics. That is to say: these dynamics reer to the amount o eort required to erorm the bowing actions, regardless o the intensity o the sounding results. signs and symbols: = heavy scraing ressure = medium scraing ressure = glissando with object across indicated strings. The articulation o the dearture and arrival itches raming the glissando should be emhasized. Total Duration: ca. 9'30! iii!

7 APPENDIX: Technical Rider Hardware: small sound exciters (transducers): 2. 2 stereo 15W ower amliiers (Leai or similar) in 4-out audio interace (MOTU or similar) sensitive dynamic or condenser mics (Tam-tam and Cymbals/Zither inut) lato running d-extended or later. I/O and Interconnection Inut: 2 sensitive dynamic or condenser microhones (Tam-tam and Cymbal/Zither). Inut Routing: end 2 inuts directly to audio interace (or irst through mixer i hantom ower required); rom audio interace to/rom lato. Outut: 4 sound exciters: 1 on back o metal sheet (towards the center), 1 on snare drum (snare on), 2 on zither on either side o sound-hole. Outut Routing: Each air o sound exciters should be owered by a ca. 15W ower am. Lato outut should be routed via the audio interace directly to the ams. Pure Data (d) Patch otware Version: This atch was created in d-extended , and should be run on this version or later. Directory: The atch should be stored in the older PERORMANCE_MATERIAL, which also contains audio iles and one essential external. Audio etu: Ensure that the roer inut and outut devices are selected: 2 channel inut, 4 channel outut. Routing: ADC 1 - Tam-Tam ADC 2 - Cymbals/Zither DAC 1 - Metal heet DAC 2 - nare Drum DAC 3 - Zither LET DAC 4 - Zither RIGHT unctionality: 1) The master slider (yellow) level should irst raised. Each outut level may be controlled indeendently but this ensures that the erormer does not orget to raise and adjust levels. 2) The ADC on/o switches (1 and 2) are located in the to let o the atch. The ADC sliders (Mic levels) are located in the lower let. 3) There are 3 audio iles/sub-atches to activate: Intro (beore the Introduction), II_LEEP, and III_HOME. The audio iles/sub-atch corresonding to the irst movement (I_BUBBLE) will automatically be activated once the Introduction audio terminates. 4) The TOP (red) buttons or each sub-atch ONLY need to be ushed to terminate audio iles/rocessing mid-section. These need NOT be ressed in erormance!!!! iv!

8 1) DAC ON!! 2) ADC 1 ON! cremaerc 0. Introduction a. sigman 3) MIC/OUTPUT LEVEL UP!!! 4) d_intro TART!!!! 18" OUTPUT: METAL HEET and NARE DRUM ound Exciters

9 Pd Patch: d I_BUBBLE starts automatically cremaerc 0" 1" 7" 9" I: Bubbles 20" 32" object 1: RH Tam-Tam LH ã ã Ï (ingernails) object 2: (scraed) 33" 37" 48" 58" object 2: RH T-T LH ã ã object 5: (simile) (semre) Ï 59" 1'09" 1'12" 1'15" 1'18" 1'25" 1'26" RH T-T LH object 3: ã ã (simile) object 4: object 3: Ï

10 2 1'27" 1'28" 1'38" 1'42" 1'46" 1'49" 1'52" 1'57" RH T-T LH object 4: 1'58" (simile) (scraed) (simile) 2'10" (ingernails) object 2: (simile) (24x) 2'21" RH T-T object 5: LH '22" 2'27" 2'32" 2'38" 2'43" 2'48" 2'53" RH T-T LH object 6: '54" 2'55" (16x) 3'10" RH T-T LH object 1: (scraed) ADC 1 O! ADC 2 ON! Move to NARE DRUM/U CYMBAL

11 Pd Patch: d II_LEEP TART! II: lee 0" 3" 6" 9" 12" 15" 18" Cymbal ã arco (semre) "" "" (simile) M Cymbal ã arco (semre) L Cymbal Tambourine ã "" ã "" (simile) 19" 21" 23" 25" 26" 27" 29" 31" 33" ã arco (semre) M ã "" "" M "" L ã Tamb. ã

12 2 34" 36" 38" 39" 43" 44" 45" 46" 49" M L Tamb. ã ã ã "" ã "" "" "" "" "" 50" 52" 54" 56" 58" 1'00" 1'02" 1'04" 1'07" ã "" (simile) M ã L ã Tamb. ã

13 1'08" 1'12" 1'13" 1'16" 1'17" 1'20" 1'21" 3 ã "" " " M ã M L Tamb. ã ã " " "" M "" 1'22" 1'27" 1'32" 1'37" 1'42" 1'46" M L ã ã ã "" "" "" "" M "" (damen) "" Tamb. ã

14 4 ADC 2 O! ADC 3 ON!! Collect 6 TAM-TAM ACTIVATION OBJECT; move to ZITHER

15 Pd Patch: d III_HOME TART! III: Home 0" 8" 15" 23" 30" 38" 45" Melody RH arco "" * # " """ " """ " " # "" # " """ " " " " (release Bow) (take Object 5) Bass ZITHER Melody LH Bass object 1: (scraed) Ï tuning ins *bow strings in given range

16 2 46" 50" 54" 58" 1'02" 1'06" 1'10" 1'14" 1'15" M RH object 5: (scraed) : ; : ; : ; : (take Object 4) B ZTH M Ï object 2: Ï (lucked) # Ï n Ï # (gliss.) Ï Ï Ï # n # n LH B

17 1'16" 1'20" 1'24" 1'26" 1'28" 1'32" 1'33" 1'37" 1'41" 1'43" 1'45" 1'50" 3 RH M object 4: (gliss.) # # # # B ZTH M object 3: # # n object 3: K ** LH B (take Bow) arco * N "" arco "" *always bow between bridge and tuning ins **strum across indicated strings

18 4 1'51" 1'53" 1'55" 1'59" 2'01" 2'03" 2'07" 2'08" 2'10" 2'11" 2'15" 2'16" 2'19" 2'20" 2'23" 2'24" 2'26" 2'28" 2'30" M RH B ZTH M LH B (object 4): # (object 3): # object 3: arco "" object 4: # # arco "" # (scraed) : N #

19 2'31" 2'36" 2'41" 2'46" 2'51" 2'56" 3'01" 3'05" 5 M (take Object 2) object 2: # (26x) RH B ZTH M arco "" LH B (take Object 5) object 5: : (scraed) ; : Ï ; :

20 6 3'06" 3'13" 3'20" 3'27" 3'34" 3'41" 3'48" 3'55" 3'15" 3'24" 3'33" 3'42" 3'51" 4'00" RH M (take Object 1) object 1: # # # K B ZTH M LH B (lucked) object 6: H# K H# K H # (take Bow)

21 M 4'01" 4'05" 4'06" # 4'10" 7 RH B ZTH M arco (object 1): (gliss.) * (gliss.) ** LH B "" " " "" " " (Daegu, Korea, 2014) *strum across all melody and bass strings **bow across all melody and bass strings ADC + DAC O!

22 alexander sigman cremano or solo iano and live electronics (2014)

23 cremano (2014) erormance notes: general remarks: cremano is scored or solo iano and live electronics (Max/MP atch). The atch may be oerated by the ianist, as interaction with the atch will only be necessary at the beginning and conclusion o the iece (see Technical Rider or details). It is the comanion iece o cremaerc (or solo ercussion and live electronics), and derived rom the video animation iece uture Creatures by the comoser and animation artist Eunjung Hwang. All actions are erormed inside the iano with a set o imlements and objects, as ollows: 1) 1 Philis screwdriver: 2) 1 small tubular bell hammer (or similar): 3) 1 chisel (or i unavailable or ineasible, lastic card), to be scraed across the strings, wide enough to san a minor 6th: 4) 1 metal beater (triangle beater or similar): In addition, the erormer is asked to choose 2 objects (denoted Object 1 and Object 2 in the score) that are contrasting in size, shae, material, and/or consistency with each other as well as with the 4 imlements listed above. Both the right hand (m.d.) and let hand (m.s.) make use o these imlements, in dierent orders. ingernails and ingertis are also to be used to luck the strings where indicated. A 5-sta system is emloyed. The to and bottom 1-line staves denote resectively high-register and low-register locations on the metal rame o the iano, to be struck with the tubular bell hammer or metal beater (as indicated). The resonances roduced at these resective locations should be as contrasting as ossible. The time-line indicated above each system should be ollowed as strictly as ossible. m.d.: right-hand actions m.s.: let-hand actions signs and symbols: olid lines (e.g.: ) always indicate a glissando between two itches on the strings. Glissandi should be erormed as smoothly as ossible, desite the resence o intervening metal cross-beams, and to be executed with light ressure alied to the strings by the given imlement, excet where otherwise indicated. Dashed lines (e.g.: ) are rovided or coordination uroses only (e.g., in instances in which the hands cross, or material assigned to a given hand crosses over into another sta). = strike string(s) orceully with imlement. I a notehead is indicated without an accent, it is either to be lightly struck (i in isolation) or not searately articulated (i in the context o a glissando). = scrae string(s) vertically, in the direction away rom tuning ins = scrae string(s) vertically, in the direction towards tuning ins Total Duration: 9'30!

24 APPENDIX: Technical Rider Hardware: small sound exciters (transducers): 2. 1 stereo 15W ower amliier (Leai or similar) in 2-out audio interace (MOTU or similar) sensitive dynamic or condenser mic, 5. 1 lato running Max or later. (The gratis Max Runtime environment may also be used, i the erormer does not own a coy o Max.) I/O and Interconnection Inut: 1 sensitive dynamic or condenser microhone (on either side o the iano, near iano strings, but a reasonable distance rom the sound exciters). Inut Routing: end inut directly to audio interace (or irst through mixer i hantom ower required and not ossible to suly on audio interace); rom audio interace to/rom lato. (N.B.: this mic inut only aects the internal behavior o the Max atch it is not to be rojected through the sound exciters.) Outut: 2 sound exciters: inside the iano, on/near soundboard, at 2 distinct locations. E.g.: The erormer is ree to exeriment with sound exciter lacement on the instrument, inding the most eective sots with resect to resonance and channel dierentiation (i.e., reserving the stereo image). The sound exciters may be secured in lace with tae or any other non-ermanent, non-destructive adhensive. Outut Routing: Each air o sound exciters should be owered by a ca. 15W ower am. Lato outut should be routed via the audio interace directly to the ams. Max Patch otware Version: This atch was created in Max 6.1.3, and should be run on this version or later (or in the corresonding Runtime environment). Directory: The atch should be stored in the older PERORMANCE_MATERIAL, which also contains audio iles and one essential external. ile Path: Under the Otions menu, go to ile Preerences, and add the ath to the PERORMANCE_MATERIAL older. Audio etu: Under the Otions menu, go to Audio tatus and select the aroriate inut/outut device (the audio interace). Also seciy 1 inut channel and 2 outut channels. Max Patch unctionality: 1) Turn ADC (microhone button) on. This also activates the DAC (seaker button). 2) Press green button to start electronics. 3) It is not necessary to ress the red (sto) button in erormance. The electronics terminate automatically ater 9:24. This button is to be ressed in rehearsal only, i necessary to sto mid-iece. 4) Elased time is indicated in the uer right hand corner.!

25 ADC ON! cremano TART Electronics/Clock! (GREEN button) a.sigman Piano trings A? crewdriver (head): (strike strings) t m.d. 0" 1" 2" 4" 6" 8" 10" 12" 13" 15" 16" 18" 20" 23" 24" 27" 30" 33" 35" 36" # # (gliss.) hammer on metal rame: m.s. (simile) # # 37" 40" 42" 44" 46" 48" 49" 51" 52" 54" 56" 59" 1:'00" 1:'03" 1:'06" 1:'09" 1:'12" Ped. (gliss.) (semre) (semre) # # # n # # # # N n # # # # # # # Pno tr.? t # # n # # # # n Ped.

26 2 1:'13" 1:'14" 1:'16" 1:'18" 1:'20" 1:'22" 1:'24" 1:'25" 1:'27" 1:'28" 1:'30" 1:'32" 1:'34" 1:'40 Pno tr.? # # # # # # n # hammer on metal rame: m.s. n take Object 1 take Chisel Object 1: # t Ped. 1:'41" 1:'42" 1:'43" 1:'44" 1:'46" 1:'48" 1:'50" 1:'51" 1:'52" 1:'53" 1:'54" 1:'56 1:'57 1:'58 1:'59 2'00" 2'02" 2'03" 2'04" 2'06" 2'08" B # n # # # n ## # n # # # Pno tr. Chisel: (scrae vertically across strings) (strike strings)? # n # n # # Chisel: (strike strings) n # n t #

27 2'10" 2'12" 2'16" 2'19" 2'20" 2'21" 2'23" 2'24" 2'25" 2'27" 2'28" 2'29" 2'31" 2'32" 2'33" 2'35 2'36 2'37 2'39 2'40 3 ## # n # # # # Pno tr.? # n m.s. Ped. Chisel:! # (change direction 2'41" 2'43" 2'44" 2'46" 2'48" 2'49" 2'51" 2'52" 2'55" 2'56" 2'57" 2'59" 3'00" 3'01" 3'03" 3'04" 3'07" 3'08" 3'10" n ## # n # # ## take Object 2 Object 2: Pno tr.? # n # Chisel: m.s. t # m.d. m.s. (simile) # take Hammer hammer on metal rame: take Chisel

28 4 3'11" 3'12" 3'14" 3'15" 3'16" 3'20" 3'24" 3'25" 3'26" 3'28" 3'31" 3'32" 3'33" 3'35" 3'36" 3'37" 3'39" 3'40" 3'41" 3'42" C n Object 2: n # Object 2: # # # ## # # n a Pno tr. Chisel: (scrae)? (strike strings) b Object 2: ingernails: b # (luck) # Object 2: # ingernails: 3'43" 3'45" 3'46" 3'47" 3'48" 3'50" 3'51" 3'54" 3'55" 3'57" 4'00" 4'02" 4'03" 4'05" 4'06" 4'07" 4'09 4'10 4'11" 4'12" 4'14" 4'17" 4'18" 4'20" n Chisel: m.s. # Object 2: m.d. # # n # # m.s. n take Chisel Pno tr.? N # # ingernails: m.s. Object 2: # # t Object 2: # #

29 4'21" 4'22" 4'23" 4'24" 4'26" 4'28" 4'29" 4'30" 4'34" 4'35" 4'38" 4'40" 4'42" 4'50" 5 Chisel: m.s. # ## Object 2: m.d. n m.s.: take Hammer hammer on metal rame: m.s. m.s.: take Chisel m.d: release Object 2 Pno tr.? # # Pno tr. D Chisel: m.s. #? m.d. ingertis: Object 2: m.s. # # m.d. n # 4'51" 4'52" 4'53" 4'54" 4'55" 4'58" 5'00" 5'02" 5'04" 5'05" 5'06" 5'10" 5'12" 5'16" 5'18" 5'22" 5'23" (luck) # # ingernails: m.s. (luck) b ingertis: m.s. (luck) Object 2: m.s. ingertis: m.d. n n Object 2: t Ped. b m.d. # m.s.

30 6 5'24" 5'28" 5'29" 5'34" 5'35" 5'38" 5'40" 5'41" 5'45" 5'46" 5'47" 5'50" 5'52" 5'53" 5'57" ingertis: m.d. ingernails: b ## n # ingernails: # Pno tr.? ingernails: take Chisel Object 2: ingernails: m.s.? ingertis: take Object t Chisel: m.s. n m.d. Object 2: m.s. # 5'58" 5'59" 6'04" 6'05" 6'06" 6'10" 6'16" ingertis: ## # take Chisel Pno tr.? Object 2: t Object 2: take Hammer take Object 1 hammer on metal rame:

31 6'20" 6'22" 6'26" 6'28" 6'32" 6'33" 6'34" 6'38" 6'39" 6'44" 6'45" 6'50" 6'51" 6'52" 7 E m.d. æ æ # ingernails: # Chisel: #? tr. Pno Object 1: m.s. # # # # n # # Chisel: t m.d. Ped. Object 1: 6'53" 6'54" 6'55" 6'56" 7'01" 7'02" 7'03" 7'07" 7'08" 7'09" 7'10" 7'13" 7'16" 7'19" 7'21" 7'24" 7'25" 7'27" Chisel: m.d. æ b æ # æ Pno tr.? Object 1: m.s. # # n # # # # n t m.d. * æ # Object 1: m.s. *(change direction raidly; scrae continuously)

32 8 7'28" 7'30" 7'33" 7'37" 7'39" 7'41" 7'45" 7'46" 7'50" 7'53" # m.d. æ æ a hammer on metal rame: m.s. take Object 1 take Metal Beater Pno tr.? Object 1: m.s. # t m.d. # æ m.s. take Pno Object 1:? 7'54" 7'56" 7'57" 8'00" 8'01" 8'02" 8'04" 8'06" 8'07" 8'08" 8'12" 8'13" 8'14" 8'19" 8'20" 8'22" 8'23" 8'25" m.s. Metal Beater: m.d. beater on metal rame: (scrae) ## # # # a t Ped. Object 1: # # # m.d.

33 8'26" 8'28" 8'31" 8'32" 8'37" 8'38" 8'40" 8'44" 8'46" 9 N # Pno tr.? # n # (scrae) take crewdriver t # # # n crewdriver (head): # # m.s. m.d.

34 10 8'47" 8'48" 8'49" 8'50" 8'55" 8'56" 9'00" 9'01" 9'02" 9'07" 9'08" 9'11" 9'13" G m.d. # # (Metal Beater): Pno tr.? m.d. # t # # (simile) # # # # ADC O! 9'14" 9'16" 9'19" 9'20" 9'22" 9'24" 9'30" N Pno tr.? t # m.d. # # take Hammer # hammer on metal rame: m.s. (Laugarvatn, Iceland, July 2014) Ped.

35 alexander sigman cremaercremalvln or alto lute, violin, video, and electronics (2015)

36 cremaercremalvln (2015) erormance notes: general remarks: A. Perormance contexts, media, and versions: Modular in nature, this iece may be erormed: 1) without video or electronics (alto lute and violin ONLY) 2) with video, but without the electronic soundtrack (instruments and visual media ONLY) 3) without the instruments (video and electronic soundtrack ONLY) B. Amliication: The instruments may be amliied, deending uon a) the acoustics and coniguration o the erormance venue and b) whether or not the erormance includes the electronics. C. Tambourines: Each erormer is requested to lay a tambourine, mounted on a bass drum (kick drum) or hi-hat oot-edal (ideally in consultation with a ercussionist). The tambourine may be activated by a bass drum mallet or medium yarn mallet. In the event that these comonents are not obtainable, either a) a reasonable ercussive substitution may be made or b) the tambourine arts may be omitted altogether. The tambourine arts may also be layed by other erormers, i necessary. D. Accidentals (including quarter-tones) obtain throughout the measure. E. Glissandi should occur during exact indicated durations, and occuy the entire given duration. ermati: signs and symbols: = ca. 1-2 = ca. 3-5! i!

37 Alto lute: general remarks: this is a transosed score. ingered itches are indicated. a 3-sta notation is used throughout. The to sta indicates voice actions; the middle sta indicates instrument actions. On the bottom sta are indicated edalactivated tambourine actions (otional). In the interest o intonation and consistency, the vocal art is also transosed (i.e., sounds a P4 lower than written). the vocal line should be sung on a neutral schwa vowel. signs and symbols: = latterzunge = key-click attack + tongued itch sustain = tongue izzicato /t/ = ercussive, hard-tongued articulation = alternate ingerings o the erormer s choosing (bisbigliando). The sounding results should be as contrasting in tone quality and tuning rom each other as ossible. Once selected, these ingerings should remain consistent throughout the iece. = raid alternation between two ingerings. The key-noise that is roduced should be exaggerated, rather than reduced. smorz. = diahragm smorzato; as raid as ossible, unless otherwise indicated! ii!

38 Multihonics: In cases in which a multihonic is ully notated, the sounding result need not be restricted to the indicated itches but rather, it is reerred that the multihonic contain those (and other) itches, i ossible. I unable to roduce these exact multihonics on one's instrument, multihonics bearing similar sound qualities at the indicated dynamic levels would be accetable. uggested ingerings may be ound in: Carine Levine/Christina Mitrooulos-Bott, The Techniques o lute Playing II (Kassel: Bärenreiter, 2004). Multihonic ingerings are listed in order o aearance: 1) 2) 3) 4) 5) 6) = raid tremolo betwseen multihonics. Irregularities in tone roduction and tremolo rate are accetable. Violin Tuning: The instrument is to be tuned to the ollowing scordatura: ingered itches are indicated in the score. In a ew designated locations, sounding itches are indicated in arentheses, as a reerence to the erormer, in order to acilitate tuning with (or in some cases, against) the lute.! iii

39 Bow Position:!!!!! AT = alto sul tasto ORD = ordinario PP = oco sul onticello AP = alto sul onticello Articulations: c.l.b./c.l.t. = col legno battuto/tratto (absolutely no bow-hair) 1/2 c.l.b./c.l.t. = ½ wood, ½ hair crini: with bow hair; cancels col legno jeté: uncontrolled bow ricochet; as dense and raid as hysically ossible (N.B.: the number o stems does not indicate the exact number o imulses)!! Bow Direction: = raid vertical bowing; light bow ressure!! Bow Pressure: laut. = light, minimal ressure, high bow seed = slightly exaggerated bow ressure, medium bow seed (unless otherwise indicated) = over-ressure: high noise-content, maximallyreduced itch-deinition, low bow-seed; arox. the same degree o ressure, relative to changes in osition, duration, etc., should be maintained throughout. Bow eed: trem-rit/trem-accel: uniorm decrease or increase in tremolo-seed over given duration Video/Electronics: The instruments should enter 1-2" ater the video rojection has been triggered.! iv

40 The audio is deliberately glitchy. The glitches thereore do not relect a roblem with either the audio quality o the video ile or the audio equiment! The sound levels are relatively low throughout, and should be rojected at a moderate, "comortable" level. (at or just below unity). In no case should the electronics mask the instruments. Duration: ca. 5:00!! v

41 A. Video as animated score: cremaercremalvln (2015) erormance notes or imrovisors: The video should be treated as an animated score by the erormer(s). A black screen, or black regions o a given scene reresents the absence o score inormation. The erormers should not begin laying until the initial scene, and should either be tacit or sustain the revious material until the onset o the subsequent scene. B. core interretation strategies: There are 2 tyes o ossible interaction with the video-score: 1) still image arsing and 2) movement detection. In a solo situation, both strategies may be undertaken by the erormer; or grou imrovisations, each erormer should select only one strategy. or details on each strategy, lease see sections and G. C. Physical arameter maings: In both solo and grou imrovisation situations, each erormer should select 2 hysical arameters, which are to remain constant throughout the iece. One should be assigned to the x- axis, and the other to the y-axis. D. Physical arameter list: 1) Voices, winds, and brass: breath ressure (minimal/normal/overblowing) itch content (breath/aolian/normal) vibrato seed/itch stability lutter content (luttertongue/throat lutter) tone brightness 2) Bowed and lucked strings: vibrato seed bow/lectrum ressure inger ressure bow/lectrum osition (alto sul tast.-dietro sul ont.) bow angle (crini-col legno) or lectrum scraing direction (horizontal or vertical) 3) Piano (iano strings and rame only; no keyboard actions): sustain edal osition (ully deressed - non-deressed) inger/hand/lectrum/object ressure inger/hand/lectrum/object osition along strings (tuning egs-bridge) registral osition (low-high) string quantity (1-n)

42 or ercussion, objects, electronic/electrical devices, homemade instruments, etc., erormers should select a air o relevant and non-contradictory hysical arameters or their resective instruments. E. Attack-tyes: The selected hysical arameters should be articulated according to one o the our ollowing attack tyes. or a grou imrovisation, each erormer should select one attack-tye that obtains or the entire iece; or solo situations, a new attack-tye should be chosen at the onset o each scene. 1) Isolated oints (low density) 2) Collection o oints (granular/high density) 3) Pulsations (no strong attack or decay; equal durations) 4) ingle continuous sound (no strong attack or decay; no breaks in sound roduction). Interretation trategy 1: till-image Parsing or each scene: 1) Choose a small coloured segment or character (i.e., not a black background area o the rame). 2) Ma the selected hysical arameters to the x and y coordinates o the segment/character. 3) elect a visual arameter or each axis (e.g., colour value, colour density, line thickness, line angle ). (Can also be the same visual arameter assigned to both axes.) 4) Let changes across instrument hysical arameters relect changes across selected visual arameters. I no changes in visual arameter are evident, then select hysical arameter settings that seem most aroriate to given visual arameter settings. G. Interretation trategy 2: Movement Detection or each scene: 1) Only lay when there is a change in either a) a change in the visual ield (e.g., suerosition o additional segments/characters) OR b) a shit in camera ersective (zooming in/out, or scanning u/down or right/let). 2) In the case o (a): ma selected instrument hysical arameters to the x and y axes o an intermittently aearing segment/character. elect hysical arameter settings that seem most aroriate to given visual arameter settings. 3) In the case o (b): ma selected instrument hysical arameters to the x and y axes o a segment/ character in the scene. hits in the hysical arameters should correlate with shits in camera ersective (movement within the rame) across the x and/or y axis.

43

44 Al. tamb. 2 Ÿ~~~~~~~~~~~ µ m æ æ ( ) Ó J 8 5 Œ b æ 8 5 µ j æ b n B B }. (3-5") Ó /t/ * µ n b æ J Vln. ORD Ó æ AT laut. æ (vertical bowing) AT æ laut. AP J 8 5 j. j II III ORD *(raid hard-tongued attacks) AP 1/2 c.l.b. r B( b ) Œ J.{ (3-5") 6 Al. /t/ B 8 6 j µ b µ /t/ n m m æ µ Ó J 1 2 B b. /t/ Vln. ORD c.l.b. jeté 8 6 B AP ORD AT ORD crini } AP j PP ORD laut. } B AT laut. ORD

45 3 Al. tamb. /t/ 1 æ 2 µ b B µ n J Ó J 1 B b æ 2 b B 1 æ 2 Œ Œ. J Ÿ~~~~ ( ) Vln. } AP } B ORD } AT laut. c.l.b. jeté J Ó ORD AP ORD AT B j ORD PP AP crini } j B Al. 1 2 /t/ æ m 1 2. n } C m a temo (izz.) m µ B µ B 8 5 7:4 rk B. m m µ B (semre) 8 6 Vln. AP } Œ. B AT laut. {. ORD izz. (semre) (semre) IV III (semre) m 8 5 III III m m 8 6

46 4 Al :4 µ B B m rk m µ B µ n B B m m µ B Ÿ~~~~~ 7:4 Ÿ~~~ µ. B rk B( ) b ( ) 6 8 II m b I I m III arco }. r IV laut... m æ. Al. smorz. 1 m Ÿ~~~~ Ÿ~~~~Ÿ~~ ( m ) æ 2 µ ( B ) B( µ. ) µ B 7:4 rk B m m µ B. µ 7:4 rk Œ. Œ 7:4 rk R B B m m (1-2") µ Vln. æ III } (trem.-rit.) m.. æ!. m! II laut. b. æ I æ æ. m æ Œ. Ë (1-2")

47 v D. j.. j... 5 Al.. B. B. µ. B µ. m. m µ. B µ. B. µ... Vln. III laut. m III IV IV } m n IV III } III m} m } } IV III IV 7:4 } } m} rk N} m } m }. m 7:4 rk Œ Œ. R IV III III III laut. 7:4 rk IV IV N m m. 7:4 rk Al. j B B µ B B µ m m. 8 5 µ B µ B 8 6 µ Œ Vln. N } IV III III 1/2 c.l.b. IV jeté } m. 7:4 rk m IV III III 7:4 rk jeté j m n. m m III IV IV 1/2 c.l.t. III 7:4 rk 8 5 m n m Œ.. R 6 8m III IV IV m n IV III Ë 7:4 rk

48 6 Al. Vln. E 1 smorz. III } * smorz. smorz. *smorzato as raidly as ossible II III crini IV m IV laut. 1/2 µ c.l.b. laut. } m µ Ó laut. } µ ** m m 8 5 m m m Œ. J 1/2 c.l.b. jeté m } n 2 J laut. III IV 1/2 c.l.b. 8 5 r. Ó J III } laut. } m m n crini IV smorz. m J 1/2 c.l.b. laut. laut. } jeté m m Ó J crini laut. **tremolo between multihonics as raidly as ossible. OK i irregular, or i there is variation in multihonic sonic qualities at each iteration Al. smorz. m J m r m Ó J m m m m j Vln. IV } } N 1/2 c.l.b. laut. jeté III IV j I II m } ( µ ) laut. n laut. Ó II III } } J 1/2 c.l.b. laut. jeté r b crini laut. } laut. I II }. 1/2 c.l.b. I II µ } laut. Ë

49 7 Al. 3 smorz. B J smorz. smorz. smorz. B J µ 4 smorz. B smorz. B J smorz. smorz. 8 5 Vln. c.l.b. II jeté I J I II II I Ó crini I II b n } III II } b æ laut. b } laut. æ II laut. b æ n } izz.. II arco I laut. b æ J I II II I Ó II } } b II I laut. æ 8 Al. tamb. Vln µ m µ m I 8 5 IIm J Ó J izz. Œ arco c.l.b. I II jeté µ m II I m I II 6 µ m m m n n n B m B crini I laut. }} m J æ æ III laut. m B n m B smorz. n µ J I II laut. II I izz. b m } n R } æ J J Ó smorz. µ J arco III IV laut. B æ J smorz. AP } Œ æ (ca. 5') (Kou, Jaan, August 2015)

50 alexander sigman or 13- and 17-string koto and otional live electronics ( )

51 ホーム ( ) erormance notes: general remarks: A. Perormance context: ホーム may be erormed as a solo koto iece, or with live electronics. B. Electronics Projection and Microhone Placement: Ideally, a contact microhone should be aixed to each koto (13-string and 17-string) or live rocessing. The electronics should be rojected through 2 standard PA seakers. A sound level balance should be attained, such that the electronics rarely (i ever) mask the koto. [ee Aendix: TECHNICAL RIDER or details.] C. uggested tage Coniguration: It is recommended that the 13-string and 17-string kotos be ositioned erendicular to each other. Given the simultaneous laying o the two kotos, and the necessity to access the entire san o each string, the layer should consider standing. D. All actions are l.v. E. The ollowing scordatura tunings are emloyed. In the score, string numbers and sounding itches are indicated. All actions are executed exclusively on the oen strings:! 1

52 . Objects: The strings are to be activated by 6 discrete objects o contrasting size, shae, and material, thereby creating audible dierences in the sounding results when exciting the strings. The erormer is ree to select the 6 objects. Below is a list o suggested objects, which may be considered or ignored entirely. Care should be taken in ensuring that each resective object is suitable or the actions that it must execute. object 1: cimbalom mallet or similar (wood) object 2: guitar ick or similar object 3: eather or other light-weight object object 4: timani or suerball (rubber) mallet object 5: guiro or similar serrated surace object 6: bottleneck (metal) signs and symbols: = transition rom one "state" to another, or between the indicated strings = heavy ressure = medium ressure = light ressure!2

53 = scrae a short distance along string, creating a rictional, granular sound esecially over long durations = scrae a medium distance along the string (e.g., rom one set o bridges to the center o the string) = scrae across the entire san o the string(s) = scrae rom let to right across the string(s) = scrae rom right to let across the string(s) Total Duration: olo Koto Version: ca. 4:15 Koto + Electronics Version: ca. 7:00 APPENDIX: Technical Rider I. I/O A. Lato running Max 7.1 or later connected to audio interace (4 in, 2 out). B. 2 contact mics (1 aixed to each koto) connected to audio interace. Exact mic lacement at the erormer s discretion. C. Audio interace connected directly to 2 PA seakers or to mixer. II. Balance The electronics should be rojected at a comortable sound level in the given erormance sace. An attemt at blending the electronics and koto (source) outut should be made. The masking o the koto (source) outut should be avoided.! 3

54 III. Max Patch etu A. Version: The atch was created using Max It may be run on this or any later version. B. CataRT: IRCAM s CataRT and tm should be installed in the Packages subolder o the Max 7 older. C. The Max atch and all associated iles are ound under the PERORMANCE_MATERIAL older. IV. Electronics Perormance Realization A. Corora: Beore the iece begins, analysis iles cmrema_i+ii should be loaded into Corus I; cremaerc_ii+iii into Corus II. Both will be triggered by the koto. The live electronics erormer is ree to select acoustic arameters or each corus, and change x- and y-arameters at any time. B. Target ile: The audio ile (under the PERORMANCE_MATERIAL subolder cremaerc_audio ) should be oened/read by the slay~ object. This will be used as the target ile or the electro-coda (see below). C. Electro-interlude: In this interlude, the live electronics erormer is asked to imrovise on one or both corora, selecting acoustic arameters as desired and triggering segments according to reerred method(s). D. Electro-coda: or the conclusion o the iece, the analysis iles o a revious erormance o the iece (with or without electronics) should be loaded into Corus I. This corus should irst be cleared o existing material. It is recommended that the corus ile relacement be comleted between ca and As indicated above, the target ile will be 2_cremaerc_lee.ai. At the beginning o this section, the slay~ toggle should be clicked.!4

55 dedicated to Nanae Yoshimura ADC/DAC ON! a. sigman µ 13-string object 6: 0" 8" 15" 23" 8 6 (scraed) B µ M µ L B µ M µ 30" 38" 45" 39" B µ ø Ï (take Object 5) object 1: 17-string? 1 (scraed) Ï

56 2 13 object 5: 2 46" 50" 54" 58" 1'02" 1'06" 1'10" 1'14" 1'15" ; M : Ï Ï L ; Ï : Ï M ; Ï L : M ; Ï Ï (take Object 2) object 2: B B m 11 µ 10 (gliss.) 7 n m '16" 1'20" 1'24" 1'26" 1'28" 1'32" 1'33" 1'37" 1'41" 1'43" 1'45" 1'50" 13 object 4: m 4 7 (gliss.) µ 8 12 µ µ B 9 13 B 4 m 7 µ 8 µ µ 9 12 B B 13 17? (take Object 6) object 6: M object 3: 7 3 B 11 m 10 m 9 8 µ B 7 object 6: n L object 3: 7 3 K B

57 3 13 1'51" 1'53" 1'55" 1'58" (object 4): 2 4 m 7 µ ELECTRO-INTERLUDE (*OPTIONAL*) 45-60" (CataRT imrovisation on one or both corora) (object 3): 17? µ m object 3: 1'59" 2'01" 2'03" 2'07" 2'08" 2'10" 2'11" 2'15" 2'16" 2'19" 2'20" 2'23" 2'24" 2'26" 2'28" 2'30" µ µ µ n 6 µ µ µ n µ µ µ n µ µ n (scraed) 3 2 : b 17 object 6:? 2 : m M object 4: µ µ m B object 6: 7 ; m object 4: 7 12 m * durations do not relect insertion o electro-interlude, as it is otional and o variable duration

58 4 2'31" 2'36" 2'41" 2'46" 2'51" 2'56" 3'01" 3'05" 13 (take Object 2) object 2: 1 7 B µ (26x) (take Object 5) object 5: 7 1 ; : : ; : M L M L ; Ï (take Object 1) 1? 3'06" 3'13" 3'15" 3'20" 3'24" 3'27" 3'30" 3'33"3'34" 3'37" 3'41"3'42" 3'44" object 1: 8 µ object 6: (strummed) ; HµB (scraed) * M 9 µ µ Km µ * begin scraing motion immediately ater strumming across indicated strings 5 2 : L 12 B H 13 B ; M B µ K m µ :

59 3'48" 3'51" 3'55" 4'01" 4'06" 4'07" 4'08" 4'15" µ ø : b µ Ï B B µ 11 B ? ; µb K L Ï 16 m n m slay~ toggle ON ELECTRO-CODA (*OPTIONAL*) 1'46" (CataRT corora I and II; target = "2_cmeraerc_lee.ai"; corus I = rior erormance) ADC/DAC O! (Kou, Jaan )

60 clrema (2016) or Pei-Lun Tsai erormance notes: This iece may be erormed on any member o the clarinet amily. There is no conventional notated score or this iece. Rather, the 6 rovided audio segments and 6 images unction as an integrated audiovisual score which the erormer interrets according to the criteria and conditions outlined below. A. Audio egments 1. Place the audio segments in an itunes (or similar) library. et to hule (random order layback) mode. 2. Attend to one dimension o the audio segments (register, rhythm/morhology, noise content, relative dynamic, harmonic density, etc.). The dimension may change with each new audio segment, but should remain consistent or the duration o each segment (ca seconds). Allow this dimension to inorm/constrain your sound materials. 3. The audio should be rojected via a PA system (2 seakers) at a comortable sound level, such that a balance between clarinet and electronic sound may be achieved. B. Images: 1. Place the 6 given images in any desired order either as colour rint-outs on music stands, or in an image gallery/camera roll on an ipad or similar device. 2. Do not advance to the next image until the termination o the current audio segment. (Audio segments range rom seconds). 3. elect 2 hysical arameters, which are to remain constant throughout the iece. One should be assigned to the x-axis, and the other to the y-axis. Physical Parameter List: breath ressure (minimal/normal/overblowing) itch content (breath/aolian/normal) vibrato seed/itch stability lutter content (luttertongue/throat lutter) tone brightness 4. Attack-tyes: The selected hysical arameters should be articulated according to one o the our ollowing attack tyes. A new attack-tye should be chosen at the onset o each o the 6 images: a) Isolated oints (low density) b) Collection o oints (granular/high density) c) Pulsations (no strong attack or decay; equal durations) d) ingle continuous sound (no strong attack or decay; no breaks in sound roduction)

61 5. Recommended visual-to-audio maing strategy: or each image: a) Choose a small coloured segment or character (i.e., not a black background area o the rame). b) Ma the selected hysical arameters to the x and y coordinates o the segment/character. c) elect a visual arameter or each axis (e.g., colour value, colour density, line thickness, line angle, etc.). (Can also be the same visual arameter assigned to both axes.) d) Let changes across instrument hysical arameters relect changes across selected visual arameters. I no changes in visual arameter are evident, then select hysical arameter settings that seem most aroriate to given visual arameter settings. Duration: ca. 5 minutes

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64

65

66

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68 alexander sigman crema db or lute(s), clarinet(s), violin, ercussion, and electronics (2016)

69 crema db (2016) erormance notes: general remarks: A. Perormance context and structure: crema db consists o 6 ages o material, each 100 seconds (1:40) in duration. Each age is associated with a stereo audio ile o 100 second duration. The images emloyed in the lute, Clarinet, and Violin arts are derived rom the animated video iece uture Creatures (2013), rom which the title also derives: c (uture Creatures)-rema-dB (Decibel). Each age has been loaded as a searate score into Decibel Ensemble s coreplayer alication. However, the iece may be realised without the use o the score-ollowing alication, using a timer/stowatch or synchronisation, or in an alternative alication. Pauses between ages should only be emloyed or urely ractical transition uroses, and should be minimized to the extent ossible. B. Electronics Projection: The electronics should be rojected through a standard PA system, as well as 2 sound exciters (transducers): 1 attached to a snare drum (with snare engaged), the other to the to o a small kalimba, acoustic guitar, zither, or similar. It is exected that the sound exciters will distort the outut signal. I sound exciters and/or the aorementioned resonator instruments are unavailable, the electronics may be rojected via PA system only. The electronic sounds should be audible at all times, but eorts should be made to blend the electronics and instruments: instances in which the ormer masks the latter should be ket to a minimum. By the same token, a balance should be struck between ercussion instruments activated by the erormer (cymbals and tambourine), and those activated by sound exciters (snare drum and kalimba). [ee Aendix: TECHNICAL RIDER or details.] C. Instrument Amliication: The lute, clarinet, violin, and ercussion with the excetion o the snare drum and kalimba should be amliied and mixed with the electronics. The level o amliication is contingent uon the acoustics o the erornance sace. D. uggested tage Coniguration: mall Cymbal Tamb Large Cymbal VIOLIN Kalimba Medium Cymbal nare Drum LUTE CLARINET ELECTRONIC/MIXING DEK notation and instrumentation: A. lute, Clarinet, and Violin: 1. Grahic notation is emloyed. The x-axis reresents time, the y-axis itch (indicated on the let border in requency in Herz, and on the right margin in terms o itch chroma and height). 2. Tranosition: or the lute and clarinet, any member(s) o the resective instrument amily may be selected. In all cases, the indicated itch range should be treated as the written range (i.e., sounding itches may dier deending uon the instrument emloyed).! i

70 3. Grahics interretation strategies: a. Physical arameter maings: Each erormer should select 2 hysical arameters, which are to remain constant throughout the iece. Each should be assigned to a given visual arameter (e.g., color value, line thickness, line contour/steeness, line curvature, geometric shae, or visual scene activity-level ). b. Physical arameter list: 1) lute and Clarinet: breath ressure (minimal/normal/overblowing) itch content (breath/aolian/normal) vibrato seed/itch stability lutter content (luttertongue/throat lutter) tone brightness 2) Violin vibrato seed bow/lectrum ressure inger ressure bow/lectrum osition (alto sul tast.-dietro sul ont.) bow angle (crini-col legno) or lectrum scraing direction (horizontal or vertical) c. Attack-tyes: The selected hysical arameters should be articulated according to one o the our ollowing attack tyes. A new attack-tye should be chosen by each erormer at the beginning o each o the 6 ages: 1) Isolated oints (low density) 2) Collection o oints (granular/high density) 3) Pulsations (no strong attack or decay; equal durations) 4) ingle continuous sound (no strong attack or decay; no breaks in sound roduction) d. Color ields and maskers: olid-colored sections o each image may be sonically interreted. However, white or black suraces that are clearly being used as maskers o the original uture Creatures image should be interreted as silence. B. Percussion: 1. Time-san/roortional notation: Each o the 6 ages is o a uniorm 100 second (1:40) duration. Each measure is an equal division o this 100-second unit. Within each measure, events are saced roortionally. or ages on which there is a uniorm number o events in each measure, the timing o these events may be varied rom one measure to the next. 2. Instrumentation: This movement is scored or a 3 susended cymbals (small, medium, and large) and a tambourine, which may be struck with hand or may be edal-oerated. The snare drum and kalimba are used solely as resonators. The tambourine may be mounted on a stand and oerated using a medium yarn mallet attached to a bass drum edal, i available. Preerably, a tambourine with a membrane (as oosed to a rame-only model) should be emloyed. 3. All cymbals are to be bowed with a cello or contrabass bow at all times. 4. A 3-line sta notation is utilized or each cymbal, reerring to high, middle, and low artials (resectively) to be obtained via bowing and touching the cymbal surace at dierent nodal oints. 5. The dynamics in " " are intended as intensity dynamics. That is to say: these dynamics reer to the amount o eort required to erorm the bowing actions, regardless o the intensity o the sounding results. 6. signs and symbols: = a single artial to be roduced = a multihonic to be roduced Total Duration: ca. 10:00! ii

71 APPENDIX: Technical Rider Hardware: small sound exciters (transducers):!! 2. 1 stereo 15W ower amliier (Leai or similar) in 4-out audio interace (MOTU or similar) mixer 5. 2 PA seakers with decent requency resonse. I/O and Interconnection Outut: (1) 2 sound exciters: 1 aixed to snare drum (snare on), 1 on to surace o kalimba (or guitar, zither, etc.), near sound-hole (2) 2 PA seakers Outut Routing: The air o sound exciters should be owered by a ca. 15W ower am. Lato outut should be routed via the audio interace directly to the ams. The same stereo outut should be routed directly rom the lato to a mixer and 2 seakers.! iii

72 core 1 crema'db or Decibel New Music Ensemble a.sigman lute(s) Clarinet(s) Violin

73 2 crema'db 2 l. Cl. Vln

74 crema'db 3 3 l. Cl. Vln

75 4 crema'db 4 l. Cl. Vln

76 5 crema'db 5 l. Cl. Vln

77 6 crema'db 6 l. Cl. Vln