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April 26, 26 at Loove
This time around, we’ll work with just the core matrix & concentrate a little more on the transformations of the material.
DOWNLOAD one PDF per clef or transposition
NOTES (for everyone)
Conducting Signals
Concert
Bass Clef
Bb
Bb Clarinet
Eb
Alto Flute in G
Viola – alto clef
The listening material below can still be supportive, as after all this is mostly about ear & concept, and the stuff can get tricky, so the more we can hear, the easier we can fly.
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ROUGH HUE (older notes)
old news for many of us, but here’s a basic practice grid:
Core Matrix
“Tune” Interface
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New material, April 2017: Sliding Scales
midi sound samples
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2.
3.
notation
[ezcol_1third]
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core matrix
[/ezcol_1third] [ezcol_1third]
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“tune” interface
[/ezcol_1third] [ezcol_1third_end]
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notes
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sonic maquettes
[ezcol_1third]
rough hue: core matrix
rough hue: “tune” interface
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rough hue: “tune” interface superimposed with dotted quarter matrix
rough hue: “tune” interface superimposed with quarter note matrix
rough hue: “tune” interface with triplet quarter matrix superimposed
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rough hue: core matrix CROSSCUT
(rest / break every other measure)
rough hue: core matrix BACKLOOPED (measures in this sequence: 123, 231, 312, repeatrepeat)
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rough hue: sampler of EXPLODES, in order from #6-11:
For April 14: rough hue: PALMADORES variation:
For May 12: rough hue: Crosscut Explode skeleton:
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FOR EVERYONE:
Conducting Signals — DOWNLOAD PDF
NOTES
These interfaces are usually designed so that we’re often playing all or parts of lines in pitch & rhythm unison, & when that’s happening, the improvisational element comes in the delivery of timbre.
We’re playing toward an ensemble sound & blend, but that sound can be collectively reinflected with an unlimited potential for subtle variation.
1. Any pitch can be played in any octave.
2. Use as much timbral variety as you can in addition to your standard & personal sound.
Bowed Strings: include pizzicato, vibrato, sans vibrato, sul ponticello, sul tasto, harmonics …
Guitars: include near bridge, muted string, harmonics, bottleneck slide, electronic alterations …
Brass: every mute you got + half valve…
3. Each line accents features in the other lines. Listen for them.
4. Silence is as important as any sound. Silences should be accented. As this is a large ensemble leaving notes out (& laying out) may half of the time be your most important contribution.
5. > Accent the silences. When you stop sounding, make that change as audibly clear as you can.
5. Short or stacatto tones make space & help create a sforzando effect ensemblewise.
7. Leave out a lot of notes to taste, somebody else will play them.
8. Possible alternative voicings on conducted cue:
A. Play everything on one Single Pitch.
B. Play with a sound of Indefinite Pitch to get a percussion effect.
C. Thicken: play within a whole step of the notated pitch.
9. Some other developmental cues:
A. Loop a single line.
B. Crosscut: Play every other measure, or phrase, or line, or repeat.
C. Prune: Don’t play all the notes; leave some (or a lot) out.
D. Change Pitch as you hear it.
E. Local Development: Improvised elaboration of material.
F. Open Development: Follow your ear & whatever’s happening.
ONE MORE THING: with limited rehearsal time, and the material when played all together being kind of tricky — plus it’s all about hearing anyway, there are some supplementary audio tracks here for those of who’d appreciate that.
Download Notes (the same text as above) in PDF format for Printing
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conducting signals
PITCH
CONTINUITY