Updates: Part 11 (with treatments) added to Loops, 30 seconds of silence added.
Cello Parts 1 (Loops):
Cello Parts (Notes):
Cello Parts (Notes):
Tuesday, December 8, 2009
Sunday, December 6, 2009
Saturday, December 5, 2009
Broken Cello 1.0
Starting each of the three players below will create a stereo mix approximation of the randomization of three audio sources playing the same 31 tracks.
Experiment with starting the players at different tracks. (Unfortunately these Box players do not shuffle play. They run sequentially track-to-track, but you can achieve some degree of 'false' randomization with manual manipulation. The longer the tracks continuously loop, the more the players will drift out of sync and seem more random, even though they are still playing in sequence.)
(This cello performance by Josh McClain)
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Experiment with starting the players at different tracks. (Unfortunately these Box players do not shuffle play. They run sequentially track-to-track, but you can achieve some degree of 'false' randomization with manual manipulation. The longer the tracks continuously loop, the more the players will drift out of sync and seem more random, even though they are still playing in sequence.)
(This cello performance by Josh McClain)
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Looped Phrases:
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Individual Notes:
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Phrases:
Broken Cello Description
Broken Cello is an experimental piece for solo cello for performance with a recording of itself, playing in 1-2 devices set on continuous random play. The piece may also be performed by 2-4 players, with or without the recording(s).
Instructions
1. Record each phrase and save into separate sound files (WAV). (Play each phrase smoothly and leave 1-2 seconds in the front and back of the files. Feel free to extend each track with silence. Added silence to each phrase will increase the probability of more space in the music)
2. File naming: phrase#_last_first.wav (20_jones_david.wav)
3. Transfer files to CD or other media or device. (It is optional to include the loop phrases in the randomization. Loop phrases will not be in sync in the shuffle order and will result in a cacophony of rhythms. It is recommended that only the single notes and phrases be included in the random shuffle of tracks.
4. Connect outputs of devices into a mixing board and set on continuous shuffle, or in normal sequence a few seconds apart, i.e. start one, then start the other)
5. In performance, play phrases in any order against the tracks playing in random order in the background. A typical configuration is to shuffle the single-notes and phrases and play the loops against the background.
Other Ideas:
1. Connect the outputs of each system to a mixing board and record the output.(Effects and other processing can also be added.)
2. Make a set of discs with 3-5 sounds on it and random loop them, recording the output. (Instant film music, with lots of variations!) These discs can also be used in live performances using portable players and controlled at the mixing board.
3. Apply treatments and effects, transfer to media, then incorporate the new sounds back to the mix.
4. Use with visuals: Multiple projectors on one screen, dissolving into each other. Another approach would be to use contextual information, for example, pastoral scenes placed against war scenes. (This would be an ironic juxtaposition with soft music.)
5. Use for soundtracks in multimedia and films, as they create endless variation based upon a well-defined set of diegetic and non-diegetic sounds.
Instructions
1. Record each phrase and save into separate sound files (WAV). (Play each phrase smoothly and leave 1-2 seconds in the front and back of the files. Feel free to extend each track with silence. Added silence to each phrase will increase the probability of more space in the music)
2. File naming: phrase#_last_first.wav (20_jones_david.wav)
3. Transfer files to CD or other media or device. (It is optional to include the loop phrases in the randomization. Loop phrases will not be in sync in the shuffle order and will result in a cacophony of rhythms. It is recommended that only the single notes and phrases be included in the random shuffle of tracks.
4. Connect outputs of devices into a mixing board and set on continuous shuffle, or in normal sequence a few seconds apart, i.e. start one, then start the other)
5. In performance, play phrases in any order against the tracks playing in random order in the background. A typical configuration is to shuffle the single-notes and phrases and play the loops against the background.
Other Ideas:
1. Connect the outputs of each system to a mixing board and record the output.(Effects and other processing can also be added.)
2. Make a set of discs with 3-5 sounds on it and random loop them, recording the output. (Instant film music, with lots of variations!) These discs can also be used in live performances using portable players and controlled at the mixing board.
3. Apply treatments and effects, transfer to media, then incorporate the new sounds back to the mix.
4. Use with visuals: Multiple projectors on one screen, dissolving into each other. Another approach would be to use contextual information, for example, pastoral scenes placed against war scenes. (This would be an ironic juxtaposition with soft music.)
5. Use for soundtracks in multimedia and films, as they create endless variation based upon a well-defined set of diegetic and non-diegetic sounds.
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