S A M P L E. the devil you know (vs. the devil you don t) for contrabass and computer. Brad Decker

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2 20 rogram note: This iece became a symbol o the struggle we all ace between the known and the unknown, the things we can control and things we cannot. t arose out o a olitical disute between the agenda o the llinois state government and the eole who work or it. As watch the dismantling o our higher education system, many government rograms, and the loss o good jobs, am shocked at how vulnerable we all can become. The deals we are orced to make made me realize there are many things we take or granted, and there is so much at stake. This struggle is universal, and in a ersonal, musical context, is maniest in my current exerience in comosition and imrovisation. Some say they are essentially the same, while others maintain they are comletely dierent. ve ound both to be equally satiying, and ve ound mysel dealing with dierent tyes o vulnerability in either case. While my work as an imroviser has inormed this iece, ve decided to embrace the devil know. technical note: This work is or live contrabass erormer and comuter rocessing. All sounds and audio rocessing is done live. The outut is stereo. The comuter rocessing utilizes a Max 7 atch, that was rogrammed on a MacBook Pro lato. The original erormance was on a Samuel Shen SB200 Willow contrabass using a Realist icku under the bridge oot. The bass was connected to a audio interace via /4 instrument cable. The audio interace (M-Audio Firewire 40) also was connected to a Behringer FCB00 MD oot controller via MD out cable. The numerical instructions on the score reer to the ootads number on the Behringer FCB00 as originally rogrammed. These ootads are to control resets in the Max atch alication. Additionally, one must trigger the buer~ object in the Max rogram via ootad. The instruction buers lay buers sto and buers rec reer to these controls. n my original setu, ootads 4 and 5 controlled the buers rec unction (struck simultaneously with one oot, as there are two buers in the atch), and ootad 9 just above them toggled between buers lay and buers sto, thereby laying or not laying the audio traed in each buer. Note also the scordatura, to lower the G string to an E. For more inormation or technical suort, lease contact me at

3 20 E EADE q = 50 buers lay buers rec sul tasto tailiece col legno batt. sul ont /2 c.l. ont. L ont c.l ord..tasto izz P on bridge w/ ti izz c. l. batt ord. c. l. batt on bridge (an echo) on bridge (an echo) m izz ont.tasto. z brush vertically.tasto. ont z ont izz izz izz izz S z izz A ont battuto/ti M z buers o z Coyright 20 Bradley D. Decker - all rights reserved z

4 8 8 izz. inch harmonics both hands izz. 8 knock 8 etc. izz. etc. knock etc. harmonics, reely 7 thumb itch gliss. ont knock on bass izz. m tasto ont ord tasto ont ord ont. ord. thumb itch gliss. reely knock buers lay izz. ont.

5 sul ont. tremolo brush bow lightly in circular attern ress bow irmly on strings and twist LH ingers only (hammer-on) sul ont. sul tasto brush bow lightly in circular attern sul tasto - - thumb itch gliss. (ord) (hammer-on) sul ont. tremolo izz sul ont (sotto voce) izz m (otional hammer-on) izz