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Composed By Tristan Louth-Robins & Sebastian Tomczak (March-April 2005) PERFORMANCE SCORE For solo performer and recordable Cds, CD players, amplification and loudspeakers. Solo instrument Prepared recordable data/audio CD-Rs 4 CD playback devices Amplifiers 4 Loudspeakers Preparation: Ensemble players must provide a one-minute track of sound material. The sound material may be an arrangement originate from any source and throughout be varied in contrasting or consistent timbre, dynamics and expression. Ensemble players may consider the following sounds: Instrumental, environmental, industrial, organic, mechanical, human, animal, imposing, threatening, ambient, reverberant, dirty, enclosed, abrasive, ceramic, amphibious, subterranean, astral, sub-sonic, climactic and so forth. After selecting sound materials, a one-minute arrangement is to be composed; this process can best be achieved using a software program such as Pro-Tools, Cubase or Garageband. The one-minute arrangement will become a single track to be copied to a recordable CD, players should ensure that tracks are formatted appropriately and in a stereo format. Players may produce as many CD-Rs as they have CD playback devices (CD players, DVD players, laptop computers, etc.) Performance: Players bring their Unit of CD, playback devices, amplifiers and loudspeakers to a designated performance site. The ensemble player loads a CD into their playback device and selects the REPEAT function. Before playing, the ensemble should decide on a length for the performance. To start performance, players press PLAY and then PAUSE shortly afterwards, then BACK to ensure the opening track is at 0:00. On a count of three, players press PLAY simultaneously. To end the performance players wait until the end of their CDs final iteration. Further Considerations: The ensemble of players are encouraged to experiment with arrangements of Units to create interesting spatial results and contrast each units pitch, timbre and intensity. Ensembles could experiment with shapes (circular, square, triangular and fractal arrangements), oppositions (parallel, close proximity) and contrasts in environment (separate rooms/petitions/spaces) or sound (amplitude, equalisation, processing) at various heights and positions. Score revised and edited by Tristan Louth-Robins (October 2005) |