[  i  f  n  o  w  .  t  h  e  s  e  t  i  m  e  s  .  t  h  i  s  t  i  m  e  .  n  o  w  t  h  e  n  ]
a study in electronic accompaniment with ensemble 
Dane Yates
2015


s c o r e

 

 [ifnow.thesetimes.thistime.nowthen] uses a chamber ensemble of different coloured instruments [soprano, bass clarinet, cello, piano and percussion] with tape , existing as six solo pieces as well as coexisting, creating a collage between the instrumentation and the tape track. The tape track was made out of sampled acousmatic tracks, vocal samples and no-input mixing-board improvisations, collaged and pieced together to create a delicate ambient track from a noisy aesthetic. The compositional process of the piece started by creating the tape track, and analyzing a spectrogram view of the piece within Sonic Visualiser®. I then put the image file into MS PowerPoint and superimposed images on top of the analysis to create a score for ensemble. The piece is a scrolling score to be used within max/MSP or the Decibel ScorePlayer on iPad.
It should be noted that no notated pitches were used within the score, leaving it up to the performers choosing, within the scrolling score, the vertical height of the score should be read as the entire pitch range of your instrument. The vertical positioning of the graphics should be read and defined by the performer as to where they lie within the pitch range. Vertical heights of graphics define the volume of each notated pitch.
The piece exists as a work of which battles against itself between the ensemble and the tape track. The form exists as four miniature movements, pieced together to create the overarching piece. Within each movement, we see a different approach to the interaction between the ensemble and the tape track. We see concordance and mutual coexistence at the start of the piece and a gradual crescendo into chaos and disarray of both elements. The audience interprets the piece as if the ensemble is ‘giving up’ or ‘giving in’ to the tape track and letting it exist as is without accompaniment. The piece, for me, should be treated as a study in electronic accompaniment and if the tape track as, in fact, the accompaniment or if the ensemble exists as a complement to the electronic score.

i ifnow

In the first movement, there is a delicate approach to both elements of the piece, beginning with really ambient textures and crackling of the tape track with a solo soprano singing pure pp gestures. The soprano has a minimalist approach, only using two words in each movement (if now; these times; this time; and now then), as simple as this approach is, it builds up throughout the piece, and once this approach is understood and developed, it seems fulfilling and accepted by the audience. Long, delicate gestures are performed by bass clarinet and piano, with more hectic urgent, stuttered gestures being performed by percussion and cello, still in a quiet sense. During these moments, the tape track has slowly built up to a point of layered textures, several elements consisting of colored static noise, and others presenting several definable ‘pitches’. A fundamental sub sine is presented at 92.5Hz (F#) suggesting a possible harmonic point, thus the only defined harmonic graphic of f#m in the piano part although no instruction is given on how to approach the gesture.

ii thesetimes

            This ambient setting is quickly interrupted by an elbow slam in the lower register/s of piano with a loud and startling ‘tom.freakout’ being performed, attempting to take over from the tape track. ‘freakout’ gestures are defined as free improvisation bursts. These freakouts should be performed utilizing the full pitch range of your instrument unless otherwise stated. Harsher and more visceral gestures are performed by the ensemble, including; bass clarinet multiphonics, piano freakouts, rough bowing of the cello (cracking) as well as moments of ‘solo performance’ of the tape track. This section presents a highly collaged approach to the score using short ‘bricks’ or ‘bursts’ to create a whole. Going between ‘pure’ moments throughout the ensemble with atonal.freakouts performed in the piano. Freakouts are then shared between the ensemble giving moments to breathe and let the soprano share ‘these times’ repeated.

iii thistime

         This section can be seen as the ensembles last attempt at being at the forefront of the score with lengthy freakouts being performed by the whole ensemble before descending into very weak gestures on glassjars, bass clarinet breaths, and soprano lines [this time]. The tape track during this movement features very constant changes into the texture of the noise being developed. The ensemble, during these rapid changes, performs singularities on their instrument, developing a non-tonal phrase developing into an overarching klangfarbenmelodie (tone color melody).

iv nowthen

                                                                     The concluding movement to this piece begins with one final burst of tom.freakout with an introductory piano slam. This sections features more ‘solo passages’ of the tape track, inviting it to the forefront of the piece, taking over from the ensemble in which plays quieter and sparser gestures. A discreet bass drum roll underlies this last section while cello performs more ‘melodic’ content. The soprano features wider ‘now then’ glissandi while bass clarinet resorts to minimal key clicks. Three final piano ‘chords’ and a weak cello pitch conclude, giving way for the tape track to conclude the piece.

 

[ifnow.thesetimes.thistime.nowthen] was premiered April 21st 2015 at the Western Australian Academy of Performing Arts at a concert, also named “ifnow.thesetimes.thistime.nowthen” performed by Lila Raubenheimer [soprano], Lindsay Vickery [bass clarinet], Ash Lazenby [cello], Dane Yates [piano] and Matthew Cole [percussion].