open end
for vibraphone and electronics
program notes
Open end is a piece for vibraphone and realtime electronics. Much of the work contains passages with de-tuned frequencies between instrument and the computer sound. Speakers are placed underneath the bars of the vibraphone and are used to create specific patterns of 'beating' between the acoustic and electronic signals. The beating gradually permeates into other realms of the piece; gestural, timbral and spatial. While the sonic materials create somewhat static textures at times, they constantly reorganize and create new trajectories, synthesizing new situations and relationships between the electronic and acoustic parts.performance notes
speaker configuration
The outputs of the pure data patch used in this piece should be routed to the following locations (see image).
The speakers in the interior of the vibraphone are to be placed underneath the bars, in between the resonators. Position them so that the cones are as close to the bottom of the bars as possible. Close proximity will help to ensure significant amplitude modulation from the interaction between the vibraphone and electronic signals.
electronic cues
Electronic events are coordinated through a series of cues taken from the vibraphone in live performance. This structure provides a flexible framework in which the performer can take liberties with the tempo and the electronics will adapt. I use this system for two reasons: (1) to make coordination with the electronics easier so that the performers can focus on other musical tasks and (2) to permit variation in successive performances.
Each electronic cue is shown in the score as a number inside of a circle. A vertical arrow extends from the circle to show which acoustic event ``triggers'' the next electronic segment.
aluminum foil preparation
One note on the vibraphone, F4, should be prepared with aluminum foil before the start of the piece. This should be done so that, when bowed, the note buzzes at many different frequencies. This seems to be rather hard to achieve; if the foil is too tight, the buzz will be mono-dimensional and only reinforce the fundamental frequency. Conversely, if the foil is too loose, the buzzing will be mostly noisy, unpitched rattling. Also, care must be taken to make sure that the tin foil does not obstruct the motor flaps.
| [102] |
recordingMatt Jenkins, Percussion |
files associated with this work
| Filename | Filetype | Filesize |
|---|---|---|
 8ChannelPatch | dir | 376K |
| ngen | dir | 640K |
 score.pdf | file | 1.0 MB |
| speaker_setup.jpg | file | 7.6 KB |
 vibes-8-chn.orc | file | 34.7 KB |
Upcoming Peformances
· Joachim Goßmann and I will be designing audio for a virtural reallity installation by Ruth West presented at SIGGRAPH in August.· On tour with the The GO Duo March 24th-31st.
· The Arditti String Quartet will premiere string quartet no. 1 for amplified string quartet during their residency at UCSD in March of 2007.
· Percussionist Matt Jenkins will perform open end for vibraphone and eight channel electronics at the UCSD composition juries on Februrary 18th, 2006.