tangle & porteño refractions

 

We’ve got, as usual, two different interfaces for this session: tangle & part one of porteño refractions. Likewise, as usual, I do my best to simplify the intricate, and, as usual, it’s best not to underestimate how tricky the material can become in practice. So, (as usual) parts & MIDI generated sound samples are below. The more you can get the sound of the whole in your ear in advance, the more comfortable it can get.

tangle networks 3 different concurrent tempos—3:4:5. 

The 5 sounds on line1,
the 4 on lines 2 & 3,
and the 3 on line 4 (while including the 5 pulse on the downbeats as anchors).

It’s all cut as 3/4 followed by 2/4. 

The 3/4 is the meat of the tangle.

The 2/4 is the breath.

The true “one” of the composite pattern lands on the second beat of the 2/4 measure (understating the “obvious,” perhaps, perhaps…)

The patterns on line 5 (2/4) have no particular pitch. Find your own.

It’s not fast, almost a slowish Reggae tempo.

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For those of you who didn’t play on that occasion, porteño refractions disassembles tanguero Ariel Pirotti’s composition Despertar in la Ciudad and resituates it in a transparency context. This is part 1 of 3. It’s hard to explain all of this one, but it works, and we’ll get to know it in rehearsal. Check out the details below.

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tangle

Concert Treble
Alto Flute
Bass Clef
Bb Trumpet & Clarinet
Bb Saxophone
Eb

SOUNDsamples

tangle 1

tangle 2

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Refracciones Porteñas / porteño refractions 1

Concert Treble
Alto Flute
Bass Clef
Bb
Eb

(ugly, but adequate) MIDI sound sample:

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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

DEVELOPMENT