where we meet
(séance intime nr.2)
for 3 Foley artists on sensible surfaces
Duration: 482'' or maybe much more
I love the vast surface of silence; and
its my chief delight to break it. Carl Nielsen
Rules of game
Each musician chooses a different sheet and starts with one of four possible reading orders. Start together!
There are two different modi of reading: Either the entire sheet as an entity / or the individual square as an entity The area of an individual square represents the whole range of the instrument (sensitive surface), whereas the area of the entire sheet stands for merely a quarter of
the instrument's range. The signs mark time and position, thus when and where to play on the instrument (= proportional notation).
Choose only one instrument (= sensible surface & performing tools) per variation.
There are two time durations: vivace (ca. 7'' / entity) and adagio (23 - 25'' / entity)
Per sheet there are 4 different reading orders, each with four variations. The chronological order will be set by the musicians. Out of the 16 possible variations, at least 9 shall be played as initial structure. BUT… the piece will be essentially expanded by your interaction with the live electronic process and the other musicians as follows:
The signs in the score represent a basic repertoire of gestures and are just an initial reference; the thickness of lines and dots correlates with dynamic, the distance between them are time intervals (= rhythm). As the live electronic processes the sounds right from the beginning, soon there will be variations in dynamic, rhythmic and color of the live music. Listen to the expanded sounds coming back to you. Let this influence your playing. Partially imitate some quick gestures you can hear, breaking up the given tempo rules and contradicting even the performance indications: If you hear a pizzicato like sound, why not follow it! The electronic instrument might be producing some complex rhythmic themes from single hits and strokes. Play by ear and don't pay attention to the score anymore at this point. Ignore or even break the rules mentioned above, change and mix surfaces and performing tools. Chase, pursue, develop, vary and shift a certain "motive" you happen to like, maybe the other musician(s) join you. If so, let them have your theme and find another one. A given set of interactive algorithms in the electronic instrument (Kyma documentation is available) produces these new variations with ease, morphing, mixing and recalculating these parameters interdependently at all the time. The musicians in turn listen
to the alterations, adapt to them, modify and propagate them. Thereby they enlarge and augment the given sign repertoire, turning simple instructions into complex
behaviour patterns. Mind though, if you feel the machines going too "virtuoso", reintroduce the basic gestures by falling back to the score in order to disentangle and
Sensible Surfaces, or better: with contact microphones sensibilized surfaces: cardboard, (thin) wooden board, (corrugated) metal sheet, marble, … coats, trousers, …
Each player has at least two different surfaces, playing on them with fingers, sticks, metal objects, balls, toothbrush, fork, wooden spoon, rubber …
The borrowed sound
The musicians agree upfront to a trigger, which will start the process of ending the piece ("the borrowed sound"), taking into account the performance space, number of
musicians and instruments: All start gradually to aline their sounds by copying the otherones gesture. Take your time! What subtly begins, ends in a joint Klangmotiv. Copying each others gestures will eventually cause conflicts, which lead to aberrations and automatic reductions and ultimately result into syncronicity. At this very moment the music fades away in a decrescendo, which can last up to half a minute, ending in silenzio. THERE – we meet!