Digital Score: Cantata for female voice, electric guitar and laptop
This composition explores the imaginary sound world evoked by a quote for Jules Verne’s book Twenty Thousand Leagues under the Sea(s) (1869): “Adieu, soleil! s’écria-t-il. Disparais, astre radieux! Couche-toi sous cette mer libre, et laisse une nuit de six mois étendre ses ombres sur mon nouveau domaine!”.. This poetic phrase, a surprising and moving lament by Captain Nemo, directed at the vanishing Antarctic sun as it retires for the Austral winter, is capable of being interpreted in several ways. It is, by its content, a deep and dark composition due to its literal and metaphoric associations. But, for me, the homonym of sun (for son) offers a more personal interpretation of the phrase.
Farewell, sun! (Adieu, soleil!) (2015) is the second movement of a collection of works entitled the Sea Quartet.
NOTE: These scores are based in software. Although they share many similar properties to that of paper based/traditional scoring methods, they also benefit from the usability and functionality of dynamic software environments. The visual information will be familiar to the musician and welcomed by a curious spirit of adventure. Above all, these scores are responsive, evolving as the performance progresses – giving the feeling of being alive – and should be considered as co-operative creative partners.
IMPORTANT -
This score is based in Max/MSP. This must be downloaded and installed prior to operation.
Some of the folders contain a document called 'get_files'. These provide a link to media files stored on Dropbox that are required to operate the score. These must be downloaded first and placed in each of the correspondng folders.
Instrumentation: Libretto: Duration: Female voice (non specific), electric guitar (with effects), laptop Jules Verne (trans. C. Vear 2015) c. 12 minutes
This composition explores the imaginary sound world evoked by a quote for Jules Verne's book Twenty Thousand Leagues under the Sea(s) (1869): “Adieu, soleil! s'écria-t-il. Disparais, astre radieux! Couche-toi sous cette mer libre, et laisse une nuit de six mois étendre ses ombres sur mon nouveau domaine!”. This poetic phrase, a surprising and moving lament by Captain Nemo, directed at the vanishing Antarctic sun as it retires for the Austral winter, is capable of being interpreted in several ways. It is, by its content, a deep and dark composition due to its literal and metaphoric associations. But, for me, the homonym of sun (for son) offers a more personal interpretation of the phrase. Farewell, sun! (Adieu, soleil!) (2015) is the second movement of a collection of works entitled the Sea Quartet.
Dedicated to WRV (with deep love)
Farewell, sun! (Adieu, soleil!) is a composition for female voice, electric guitar and laptop. The role of the computer is both functional (score generator) and performative (soundscape), as such it is an integral member of the ensemble. I could describe this piece as a ‘play’ for musicians, in so much as each musician has a responsibility to a narrative exposition – however abstract this may be. The role of the musician is to contribute to a sense of place evoked by the combination of materials, and to collaborate within the ensemble. This piece is to be approached Adagio, con abbassamento As sold by Composers Edition this product includes all the files necessary to perform the work including the software files and media samples. Due to the size of these files these will be delivered via online transfer. To receive your files please email orders@composersedition.com stating the operating system on which you wish to run the composition: MacOS or Windows. Functionality of the score Press the start button: the computer will start to perform a soundscape and generate a visual score for both voice and electric guitar; the composition has begun. The musicians auralise a response through improvisation using their voice or their instrument. At any given moment for any given duration this improvisation can be positioned between literal and abstract associations to the visual and/ or aural stimulus. This response can move freely across this range, it can identify with individual elements within the collective sound or fragments of visual information; it can be proactive or reactive; it can be dependent or independent. Alternatively, the musician can choose to do nothing. After 12 minutes, the screen will reduce to a small size and remain black. At this point, the soundscape and musicians will draw the play to a close. Quit and load the software again to repeat performance. Exceptions: no “free” association improvisation; however, this does not exclude extended or avant-garde instrumental techniques. The recital of the text can involve speech, song, chant, or Sprechstimme, or a mixture or combination of these. This can include vocal sounds, emotional utterance or language. All texts can be read in their original syntax and context, or as abstract poetry, graphical score, libretto, material for loop, or as a mixture or combination of these. All sounds – instrumental and vocal – must be performed using the microphone and projected through the sound system. Notes on devised rehearsals The role of the musicians is to work in collaboration with all the elements to create a sense of the place within the music. The evolving composition will be a negotiation between the ears and the eyes with the intellect and the imagination. The overall effect should be one of the sensorial not the cognitive. There will be a sensitive line between artistic intent and perceived success, as such, the realisation of this piece should be developed through a series of devised rehearsals. Of paramount importance is that each musician enters into the spirit of the piece as described in the programme notes.
Each musician needs a separate screen: the guitarist’s score will be presented on the laptop screen; the vocalist’s score will be presented on the additional screen (connected to the laptop via VGA, HDMI &c.) The soundscape uses 4 outputs. A soundcard will be needed facilitate this. • Output 1 and 2: narrow stereo image; e.g. speakers positioned in front of the performers • Output 3 and 4: wide stereo image; e.g. speakers positioned at the edge of the stage
The projected sound of the instrument and voice should be located centrally, and reverb should be applied. Alternatively, the whole soundworld (soundscape and live musicians) can be diffused across multiple speakers. The guitarist is encouraged to use pedals and/ or processing, but this must not take paramount over working in co-operation with the vocalist. The vocalist can also choose to treat her own voice using effects or processing.