YATES, DANE;
Spectre
For III Violins, No Input Mixer and Electronics
Scrolling Score for the Decibel ScorePlayer app
Violins performed by Aaron Wyatt
Electronics controlled and performed by Dane P. Yates
Recorded @ Soundfield Studios by Stuart James
mastered by Matthew B. Wilding
Spectre is a piece exploring different timbres and extended techniques of the violin. The relationship between the violin and the electronics, as well as the interaction with the no input mixer, adds to this collection of new timbres and textures.
The name Spectre comes from the ghostly texture of the introductory ‘fuzz’ from the no input mixer. The microtonal gestures of the violin pizzicato also add to the ominous texture. One by one, the violins start playing bigger gestures. Other textures included in the piece include hard tremolos, quite intimate yet blatant scratching of the strings, glissandi and legato movements, plucking and scratching with a plectrum as well as clusters; also included in the score are ambiguous maps of which the players has several possibilities of melodic shapes and pitch paths he/she can take.
The no input mixer utilises aleatoric glitching of the phantom button and routing buttons as well as ‘fiddling’ of the output jack. General interference and grounding issues are used within the piece both musically and noisily.
I have used processing and manipulations of the strings post hoc in Reaper 11 and Ableton Live 9, in a studio environment as this would have been hard to coordinate (as it wasn't my studio.) I used granular processing on all three violins using Ableton’s grain delay.
Upon reflection, I enjoy the relationship between the violins and the noise swell as the binding interaction with the granular delay and the violins. The influence for this piece came from Ligeti’s use of cloud clusters and really intimate sounds and sudden changes to loud, obnoxious string textures seen in String Quartet No. 1 “Metamorphoses nocturnes” and String Quartet No. 2. Notationally, I have utilised graphic scoring like John Cage and the like, as well as the Screen Score and scrolling score developed by Vickery and Hope with the ScorePlayer App developed by Aaron Wyatt. The notations in my score follow from spetromorphological shapes explored by Manuela Blackburn. Electronic Scoring for No input mixer have been utilised following conversations with Lindsay Vickery as well as previous works by Sam Gillies. Timbral changes for the violin are indicated by colour changes and thickness. Different textures are also indicated by different graphics developed in Word and MSPaint. The glitching and processing of these images is also taken from Vickery’s Nature Forms [2014].
For III Violins, No Input Mixer and Electronics
Scrolling Score for the Decibel ScorePlayer app
Violins performed by Aaron Wyatt
Electronics controlled and performed by Dane P. Yates
Recorded @ Soundfield Studios by Stuart James
mastered by Matthew B. Wilding
Spectre is a piece exploring different timbres and extended techniques of the violin. The relationship between the violin and the electronics, as well as the interaction with the no input mixer, adds to this collection of new timbres and textures.
The name Spectre comes from the ghostly texture of the introductory ‘fuzz’ from the no input mixer. The microtonal gestures of the violin pizzicato also add to the ominous texture. One by one, the violins start playing bigger gestures. Other textures included in the piece include hard tremolos, quite intimate yet blatant scratching of the strings, glissandi and legato movements, plucking and scratching with a plectrum as well as clusters; also included in the score are ambiguous maps of which the players has several possibilities of melodic shapes and pitch paths he/she can take.
The no input mixer utilises aleatoric glitching of the phantom button and routing buttons as well as ‘fiddling’ of the output jack. General interference and grounding issues are used within the piece both musically and noisily.
I have used processing and manipulations of the strings post hoc in Reaper 11 and Ableton Live 9, in a studio environment as this would have been hard to coordinate (as it wasn't my studio.) I used granular processing on all three violins using Ableton’s grain delay.
Upon reflection, I enjoy the relationship between the violins and the noise swell as the binding interaction with the granular delay and the violins. The influence for this piece came from Ligeti’s use of cloud clusters and really intimate sounds and sudden changes to loud, obnoxious string textures seen in String Quartet No. 1 “Metamorphoses nocturnes” and String Quartet No. 2. Notationally, I have utilised graphic scoring like John Cage and the like, as well as the Screen Score and scrolling score developed by Vickery and Hope with the ScorePlayer App developed by Aaron Wyatt. The notations in my score follow from spetromorphological shapes explored by Manuela Blackburn. Electronic Scoring for No input mixer have been utilised following conversations with Lindsay Vickery as well as previous works by Sam Gillies. Timbral changes for the violin are indicated by colour changes and thickness. Different textures are also indicated by different graphics developed in Word and MSPaint. The glitching and processing of these images is also taken from Vickery’s Nature Forms [2014].
