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153 views19 pagesMusic For Snare Drum and Computer - Lippe
Uploaded by
Walter BonfantinoCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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/ 19
sic for Snare Drum & Computer
by Cort Lippe
2007
‘Commissioned by and written for Pedro Carneiro.
Premiered at the Musica Viva Festival, Porto, Portugal, 2007.
© 2007 Cont Lippe
All International Rights Reserved Program Notes
Music for Snare Drum and Computer (2007) was commissioned by the percussionist
Pedro Carneiro and premiered by him at the Music Viva Festival in Porto, Portugal. The
electronic part was created at the Hiller Computer Music Studios of the University at
Buffalo, New York, using Max/Msp. Technically, the computer tracks parameters of the
snare drum performance and uses this information to continuously influence and manipulate
the computer sound output by directly affecting digital synthesis and compositional
algorithms in real-time. The digital synthesis algorithms focus on spectral processing in the
frequency domain, and include filtering, delay/feedback, spatialization, timbral snapshots,
cross-synthesis, noise reduction/enhancement, and component reordering, of individual FFT
channels, The instrument/computer relationship moves on a continuum between the poles of
an extended solo and a duo. This piece is dedicated to Convolution Brother #0 and
Convolution Brother #2 (aka Miller Puckette and Zack Sette).
Duration: 11 minutes. L,R,B,S
Performance Notes
left, right, brush, and stick
‘The performer is urged to make use of the detailed staff notation for each event
as a guide for an improvisation. Sometimes the notation can be thought of as an
out-of-time guide of techniques and gestures, while at other times, the notation
can be used as an in-time prompt for techniques and gestures. In other words,
the notation can be used literally at times and as a mnemonic at other times.
From a rhythmic point of view, the notation can be interpreted proportionally
and/or following the specifically notated rhythms. In addition, the location and
spacing of the notation can offer an indication of how to interpret the flow of the
music and the density of gestures within a given event.
Some snare drums offer more than just once choice of snares. Metal snares are
needed only from Events 5 to 12. Otherwise, player can choose other snares.
The score only calls for normal drumsticks and brushes, but other sticks/mallets
may be used with the performer's discretion.
‘The Max/MSP patch for this piece offers a very useful timeline interface with
event and timing information, The patch should be used on stage by the
performer, and is very useful to the computer operator during mixing,
—The easiest set-up requires two computers, one on stage in full view of the
performer, which runs the patch without DSP, and a computer in the hall by the
mixer, which runs the DSP. The performer can give a signal to the computer
‘operator in the hall, and both performer and operator can advance to event | at
the same time based on the performers downbeat (making sure to have already
initialized Section 1 of the piece). This simple method of synchronization
should be accurate enough to keep both computers relatively in-syne.
—Other performance options: the patch can run with the DSP on a computer on
stage, so that only one computer is needed for performance, or a second screen
can be on stage connected to the main computer in the hall. Finally, using two
computers, the stage computer can be connected/synchronized with the primary
computer via an Internet connection, if desired.)
—In any case, the performer is urged to use the patch while learning the piece,
in order to make use of the timeline. center of drum
= _ between center and edge
Se ceige of drum
rim of drum
side of drum
move from rim to center
move from center to edge
rim-shot_
place one stick across drum as in rim-shot but strike the stick repeatedly with
the other stick in a one-handed roll (so that a glissando up or down is produced)
smooth glissando from one area of drum to another
strike with stick and immediately dampen (with the stick) while adding and
releasing pressure to produce a slight glissando PRITAAQ OUI
strike two sticks together (near microphone)
event number
approximate time in seconds for an event
approximate time for a portion of an event
rub drum or sweep (with fingertips, fingernails, palms of hands or sweep with
wire brush), end brush strikes with short sweeps
brush sweeps with regular, irregular tremolo
roll evenly as fast as possible, not as fast as possible
roll unevenly, as fast as possible
one hand rebound (roll) with natural acceleration and decrescendo
irregular rhythm, as fast as possible
accelerando, ritardando SMES ORE S FINGERTIPS ONLY
2 STIER Tek one angen, wth hah of nds) (upt bal pus)
30
ot Tt o =p
®@ FINGERTIPS Cove and undamped) ... add FINGERNAULS 2, add RUBBING ...
— 4
a =
Pog p=ame
® 1 STICK, 1 HAND (tips nails palm, heel) Peto a poco more active ... >
aS SS SS
= gs SF
mp om ms RP omy Pome
f computer sustains — pace a pore eer aghve
BT OTS te lage ache allen i pater suste . e “Gus bgert fede)
SS
= == = lon
mp PP mf mpm
G) AEES OW (oth eos sibite mere actie, prea 0 prce mare ce bie oo
2 = 7
4 mer sg PP f Ye
© vest Leite for computer) Gaile (unit)
Se Se = Da a
20 = =
}——% i = rp Seo
ce bitten for tamegeten
@ 1STCK, 1 BRUSH Gert fies fis, Cee? longer vests ..
# +
nce amped)
Grr. oe os Ae tehice longer rasts.
5 s (R)
a} sesahah so :
ey De re
; 2 =>? it
, >
~page da EVENT 1 (30 seconds)
SNARES OFF, 2 STICKS. Begin with one very fast, loud roll with sticks. Then put down sticks. Wait 5 seconds.
CAUTION: AMPLITUDE BECOMES EXTREMELY HIGH HERE! Make sure to avoid feedback,
FINGERTIPS. (After putting down sticks stat playing very softly with fingertips.) Listen closely to computer output and use
‘only the fingertips, while damping the drum with the heels of the hands. This event serves to “tune” the drum, metaphorically.
Playing should be very tentative at first, with long rests. Gradually add very short bursts of faster notes. Notes that are struck
very softly do NOT change the timbre of computer output, while notes that are struck with more force change the timbre, One
hand should be very close to the mic and the other as far away as possible to give maximum variance to the sound. Do not,
‘move hand positions, as this will make sound. Make sure that finger strikes stay on the skin for maximum damping because
lifting the fingers also makes sound, Gradually add notes without hee! damping,
EVENT2 (30 seconds)
CAUTION: AMPLITUDE STILL EXTREMELY HIGH HERE! Make sure to avoid feedback.
FINTERTIPS. Continue playing softly, with fingertips with damped and undamped notes. The computer begins sustaining
timbres longer. Add FINGERNAILS for sharper attacks. Continue to vary sound, Ifthe computer sound gets too sustained,
just press the heels down on the drum skin to stop resonance. Pianissimo rolls, for instance with the fingernails, can be
interspersed between louder attacks. Also begin RUBBING the fingertips and/or the fingernails and/or the palms of the hands
‘on the drum surface. Keep all activity sparse and varied.
EVENT 3 (30 seconds)
CAUTION: AMPLITUDE STILL HIGH HERE! Make sure to avoid feedback.
I STICK, I HAND (fingertips, nals, palm, and heel). Star using one stick, but dampen the stick strikes like the finger strikes.
‘The computer sounds becomes longer and more sustained. Continue to vary sound. Flurries of pianissimo rolls and louder faster
notes can be interspersed between shorter rests. Activity should be higher than in previous event. Keep varying timbre with
combination of drumstick, fingertip, fingernail, rubbing the surface, and quiet ros along with louder accented attacks.
EVENT 4 (30 seconds)
2 STICKS, NO HANDS. Computer sounds become very long. Create clouds of computer sound, let fade away, and create
‘more. Use sticks in both hands, and mix damped and sustained strikes. BUT NOT TOO LOUD! This event should have many
‘more rest than the previous event. Continue quiet pianissimo rolls since they do not affect the computer output. Also add some
strikes on the rim and change the color of attacks by varying the location on the drum. Only advance to event § during a very
quiet moment.
EVENTS (20.econds)
SNARES ON. Make switch while striking fairly hard with stick (to mask the change to snares). Computer sounds are not as
{ong of sustained as in event 4. General musical goal isto give the impression thatthe “introduction” is over. Short rolls and
flurries shoutd still be separated by rests, but playing should be extroverted and the control over whether a note is picked up by
the microphone becomes very critical, since softer notes (with the snare on) will probably not be picked up. This is fine, just
keep in mind thatthe drum is less sensitive with the snare on, Some very fast short rolls rim-shots, and strikes on the metal
edge of the drum will add to variety here.
EVENT6 — 0 seconds)
Longer virtuoso flurries with full dynamic range can be alternated with quick, abrupt stops. Listen for continuing sounds inthe
computer after pausing to play. If, when paused, the computer continues, there are three possibilities to create akind of
“dialogue” withthe computer sounds: (1) wait for computer to finish, and then start immediately, as i interrupting the
‘computer. Or, (2) wait, but start BEFORE the computer stops, which will give even more ofan impression of interrupting the
computer. Or, (3) wat forthe computer to finish, then pause, and then continue, giving the impression of not attempting to
interrupt the computer, but rather playing in a “call-response” style.
EVENT7 (20 seconds)
1 STICK, 1 BRUSH. Begin using a brush in one hand for both striking and sweeping across the drum. Play in similar fashion
to previous event, except that durations of the computer sounds get longer. Continue to engage in a “dialogue”. Some computer
sounds should be allowed to fade out, while others can be interrupted. Computer sounds can even be IMITATED with the
f 5
# fan
we active .
se Six ste) s
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@ beet re Off PR Of bef ff
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® syinges OF F sone poo a pees eighty, more active Ceame regular chythas)
Rg Gaps
(#88)
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® Conic) campre pra pte more ond gore active» (pecs a poco mere regular it.)
fol : a
+ py > p> < t
(59) CH C48) =
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2 :
* bs) &
(eons
(FF-568)
= page 207 EVENT9 — (20seconds)
SNARES ON, I STICK, 1 BRUSH. Computer sound starts to continue constantly when the drum is not sounding. Try to
imitate the computer rhythms. Each loud strike will change the “harmony”, and this relationship between the computer and.
drum should be heard, Continue to lessen the amount of drum activity poco a poco. Quiet rolls do not affect the computer
‘output, so they can be interspersed between louder attacks and flurries.
EVENT 10 (20 seconds)
‘Computer sound is continuous. Imitate computer rhythms. The drum becomes more and more secondary, and is mainly useful
for changing the computer “harmony” and doing short flurries divided by long pauses. Very quiet rolls can end with loud
accents. However, activity should be somewhat minimal,
EVENT I1 (20.seconds)
Similar to previous event.
EVENT 12 20 seconds)
2 STICKS, NO BRUSH. Similar. Trade brush for stick. Play with less silence, poco a poco, but avoid playing continuously.
Flurries should be short but more regular. SNARES OFF later during this event.
EVENT 13 (20 seconds)
SNARES OFF, 2 STICKS, Imitate more and more the rhythms of the computer, including loud accents and syncopations.
Poco a poco mare activity, and more regular rhythms.
EVENT 14 (20seconds)
Similar, but poco a poco increase activity, keeping colors varied, and adding more regular rhythms.
EVENT 1S (20 seconds)
‘Similar, but poco a poco increase activity, keeping colors varied, and adding more regular rhythms.
EVENT 16 (20 seconds)
Play with maximum energy, maximum activity, and maximum rhythmic regularity, with fluries, syncopation, rim-shots, et.
‘added to interrupt the regular rhythm. Vary colors and techniques. Include drum glissandi by varying pressure on skin, etc.
age 2b- Abb 4 BRUSH
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1S pede g este my
= =
(rb teen) * a Goo
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2 STICKS £1 BRUSH pote a pres dese active ««.
R
Se
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20S le + +
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at de a ayy
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@ e008 orf Core ON Bak fade
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@ 2 STICKS, NO BRUSH ass # les SWARES OFF/ON ++. poco a pote more activer.
— a] ze
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etart realar rhythms oo.
poco «poco more active... oa
2
FES sche smile
pice a poco more active ve poco a poe muve repalar chythes sa,
# sini mn
Aye Ba. EVENT 17 (20 seconds)
SNARES OFF, 2 STICKS. As the computer part starts to fade and weaken, the drum should also. ADD BRUSH later on,
using brush in one hand along with stick (hold both in the same hand) during the later part of the event.
EVENT 18 (20 seconds)
2 STICKS and 1 BRUSH. Electronics are very quiet. Be careful not to mask the electronics, Play in very introverted fashion
‘There are some low sweeps in the electronics that can act as a guide rhythmically, Play glissandi across stick lying across drum
and rim, Continue to use brush as well,
EVENT 19 (20 seconds)
Much like event 18, but even less activity on drum. Electronics are very quiet. Be careful not to mask the electronics. Play in a
‘very introverted fashion. Play glissandi across stick lying across drum and rim, This event should be practically an electronic
solo,
EVENT 20_ (25 seconds)
Electronics fades out very much. Continue to play in an introverted fashion, but poco a poco increase activity and energy just
slightly. Reverb starts to increase in duration,
EVENT 21 (35 seconds)
CAUTION: AMPLITUDE IS EXTREMELY HIGH HERE!
SNARES OFF and ON ad libitum. Begin a free cadenza, keeping in mind that the electronics are mainly just very long reverb
Give gestures room to fade away. Use restraint. Start to make unusual sounds (strike the body of the snare, the rim, the sticks
together, etc.) mixed with “normale” strikes. BUT DO NOT PLAY WITH EXCESSIVE FORCE!
EVENT 22 (20 seconds)
CAUTION: AMPLITUDE STILL EXTREMELY HIGH HERE!
2 STICKS, NO BRUSH. Continue SNARES OFF and ON ad libitum. The reverb continues to be very long, Continue to
‘make unusual sounds, but start to make more “normale” drum sounds as the electronics start to fade back in. Activity should
increase as the electronies fade in. Turn SNARES OFF later in the event.
EVENT 23 (20 seconds)
SNARES OFF, 2 STICKS. Continue to build activity poco a poco with more and more regular rhythms and syncopation.
Listen closely tothe computer sounds, which are triggered by the drum, and try to follow the rhythms and accents of the
computer. Keep snares off
EVENT 24 (20 seconds)
Build activity poco a poco and start regular rhythms. Listen closely tothe electronics, which are triggered by the drum,
-page 3b- pace a poes more regular rhythms...
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Let tonputer fade completly
10:
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2007-08
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0:
~ Pye EVENT 25 (20 seconds)
SNARES OFF, 2 STICKS. Continue to build activity poco a poco, Play vi
computer rhythms. Include flurries, accents and syncopations,
ied but regular rhythm patterns following
EVENT 26 (25 seconds)
Continue to build activity poco a poco, Start playing more and more in virtuoso/solo fashion! Increase number of flurries. Vary
playing style and sounds, including rim-shots, etc
EVENT 27 (35 seconds)
MAXIMUM activity of the piece. Play a high-energy solo with great variety and flurries. Include drum glissandi by varying
pressure on skin, along with rim-shots, etc.
EVENT 28 (25 seconds)
Reduce energy molto, but poco a poco, with a few flurries, ete, Follow the electronics, until activity is very low. Do not play
‘while the computer is advancing to the next event,
EVENT 29 (1S seconds)
WAITS seconds before a series of final short flurries, which should be separated by rests, while the computer sound is allowed
to fade out, Make sure that final sounds have at least partially faded out before the computer advances to the next event.
EVENT 30 (10 seconds)
‘Wait 10 seconds of silence, allowing the computer to fade out completely. (END of piece.)
EVENT 31
Does nothing,
-page 4b- Printout of Max window and Timeline Performance window during event advancing
w= SECTIONnnn-=: 1
“EVENT: 0
~ AUTO_ADVANCE_of_events_is_ON
~: To_tun_off_AUTO_ADVANCE_of_events_click_toggle NOW
“EVENT: 1
~:DUR:_5_quick_loud_roll_with_sticks_NO_SNARES
~:Let_resonate_and_put_down_sticks
+: DUR:_25_Fingertips_only_non-resonant
~: (CAUTION: AMPLITUDE_EXTREMELY_HIGH!!!)
“EVENT: 2
~: DUR:_30_Fingertips_add_some_resonant_strikes_and_rubbing
=: (CAUTION:AMPLITUDE_STILL_EXTREMELY_HIGH!!!)
“EVENT: 3
~: DUR:_30_add_some_STICK_and_add_more_resonance
~! (CAUTION:AMPLITUDE_STILL_EXTREMELY_HIGH!!!)
“EVENT: 4
~:DUR:_30_ STICKS_ONLY
~:resonant_letting_long_computer_sounds_sustain
: -20_
~ Set_SNARES_ON_simultaneously_with_1st_strike
“EVEN
-: Listen_for_longer_sounds
“EVENT:
0
-: Listen_for_longer_sounds
“EVENT: 8
~: DUR:_20_
~:Clouds_of_sound_get_longer