Deconstructing Dowland

Duet for guitar and computer (real-time sound processing and electroacoustic sound).

10’00 (2009). 2020 revision for MaxMSP-8

Natasha Barrett
 Deconstructing Dowland
Duet for guitar and computer (real-time sound processing).

10’00 (2009). 2020 revision for MaxMSP-8

Natasha Barrett

John Dowland’s song Can she excuse my wrongs? was published in 1597 in the First Book of Songs.
The song is in the form of a galliard that we find as both consort setting and as three galliards for lute
solo. Taken together, these lute pieces may give an idea of Dowland’s art of extemporization. In 2003
Barrett began work on a live electronics composition for guitarist Stefan Östersjö. This composition,
Where shadows do for bodies stand takes as its starting point Dowland’s Can she excuse my wrongs?
The electroacoustic medium provided a means to connect antique music to a new aesthetic of sound-
surrealism serving to expand the guitar's quiet and intimate sonority. Dragging the antique into the
modern even further, deconstruction of the three galliards was the source of Deconstructing Dowland.
The deconstruction is a process of dismantling to create something new, but is also a transgression, a
disruption, and a shift of meaning from the inside out. Deconstructing Dowland was commissioned by
Stefan Östersjö with funds from the Norwegian "Fond for lyd og bilde”.

Performers

Classical guitarist.
Computer performer (MaxMSP, live sound processing and score reading).

Technical requirements

• Two low noise condenser microphones.

• One miniature microphone (DPA 4060).
• MacOSX computer (current version compatible for OSX 10.14). Rather than providing a CPU
specification, please check that the performance patch is running at less than 50% CPU at peak
processing. The patch was designed in 2009 for the fastest laptop available at that time, and is
therefore unlikely to create significant CPU overheads on a 2020 computer.
• MaxMSP 8.
• MIDI faders to control MaxMSP.
• Audio interface for 1 input and four outputs.
• Mixer with three mic-inputs, four line-inputs, 4-6 post-fader outputs and one aux pre-fader
output (see setup and routing options below).
• Concert loudspeaker system of 4 to 6 loudspeakers (see setup and routing options below).

Note: the computer materials are at a sample rate of 44.1 kHz. To obtain the computer materials, please
contact at www.natashabarrett.org.

Guitar Notation

Opening preparation: Press small balls of Blu-Tack or similar, approximately 4 mm in diameter, around
the strings approximately 3 mm behind the frets specified below. To find the exact position some
experiment is needed, as the result is different for each instrument. Ensure that the ‘open string’ moves
freely without buzzing. It may help to pinch the ball such that the main mass of Blu-Tack it sticking up
above the string. The sounding result is different from a normal harmonic.

String-1, fret 18
String-2, fret 13
String-3, fret 17
String-4, fret 17
String-5, fret 15
String-6, fret 13
“Pull-off Blu-Tack” with Bartok pizz action (and therefore also removing the preparation).

“LH”: left-hand.

Small note heads: fast and always in left-hand slur without right hand re-articulation.

Lower note: tremolo percussive sound using thumb and ring

finger on the body of guitar above the sound-hole. Motion from
bridge to the left.

Upper note: Trill with right hand hammer-on

Lower note: tremolo percussive sound using thumb and ring

finger above and below guitar neck.

Upper note: sustained.

Finger specified pitches, dampen the other strings with left hand,
hit the bridge to make the pitches resonate.

Hammer-on, l=left hand, r = right hand.

When no hand is specified use left hand or as it comes naturally.

Finger note as written but pluck string on the left side of the left
hand with the right hand. The resulting pitch is not the written
note.

Heavily dampen note (not in normal pizz style)

Touch string as if playing a harmonic on the first note that comes

naturally under the hand on the 6 string. The result should be a
th

dampened ‘clonk’ sound with harmonic overtones.

Signal routing and loudspeaker setup options

Speakers 1-2
mics
(Speakers 5-6) Spk 3 Spk 4
Speakers 3-4 guitar
Spk 1 Spk 2

Mic post-fade stereo mix-down

mixer

audience

EA stereo mix extra reverb

mics mono mixdown
pre-fade aux send

audio interface

(Spk 5) (Spk 6)

computer controllers

From the computer, channels 1-2 contain EA materials. This is a stereo signal routed to speakers 1-2
and 3-4, at approximately the same volume for both speaker-pairs. These channels can also be routed to
optional speakers 5-6 at a lower volume. Speakers 5-6 may optionally point towards the walls to create
room reflections rather than a direct sound.

Channels 3-4 contain extra reverb. The level is controlled from the computer and the amount used will
depend on the real acoustics of the concert space. This is a stereo signal routed to speakers 3-4 (and 5-
6) only.

The live microphones are mixed to stereo, and sent post-fader to speakers 1-2. The microphones are
also mixed to mono and sent to the computer (see below).

The guitar and computer volume should be balanced throughout.

Computer instructions

• Use a full version of MaxMSP-8.

• Copy all materials into one folder.
• Launch MaxMSP-8
• Open the main Max-patch: "Deconstructing_dowland-live_max8-44100_wav.maxpat"
• Check for any errors in the Max Console and solve these before going further. If the work has
been correctly copied there should be no errors. Also check the console in the first run-
through for any warning messages.

The computer part is a MaxMSP patch controlled by a dedicated performer who is not the guitarist nor
a normal sound technician. The computer performer triggers consecutive cues in synchronization with
the guitarist. These points are indicated in the score by the marks T1, T2... to T56. The computer
performer should be able to read complex notation and rehearse with the guitarist prior to the
performance. The computer performer should be in visual contact with the guitarist, and be in a suitable
location to hear the sound balance.
The guitarist should not attempt to trigger the computer processes via a foot pedal as the score is too
complex and errors are likely to occur.

Contents of the computer part

The computer processes consist of the following:

- The playback of pre-made electroacoustic sounds, where one sound is triggered for a given T-
point. Note that sound-files overlap.

- Attack detection for automatic synchronisation of short electroacoustic sounds.

- Real-time cross synthesis, filtering and reverberation.

- Sampling of the live guitar for use in real-time cross synthesis later in the score.

The score contains a brief description of the live electronics for each T-point.

Audio processing setup: MaxMSP patch section 1

• Press the ‘open’ button to reveal the ‘Audio Status’ window.

• Select your audio interface as the input and output device.
• Status information should have automatically loaded. If not, manually change to these values:
- Sample rate: 44100 Hz
- I/O vector size: 128
- Signal vector size: 64
- Scheduler in Overdrive: ON
- Audio Interrupt: OFF
• The audio outputs are by default routed to interface outputs 1-4, and the input to interface input
1. To change these channels, open out of ‘presentation mode’ and edit the adc~ and dac~

Controllers setup: MaxMSP patch section 2

• Press the open button to reveal the controller setup. The default setup is for a Novation
LaunchcontrolXL. Any MIDI controllers can be used.

• Follow the on-screen instructions.

Microphones setup

• Two condenser microphones are positioned as close as possible to the guitar, one covering the
fretboard, one covering the sound-hole.
• One miniature microphone (DPA 4060) is fixed under the strings close to the sound-hole, to
achieve a high amplification of quiet sounds without feedback.
• Three microphones are connected to the mixing desk for phantom power and EQ. The
microphone signals follow two paths:
- a post-fade mix is sent to the mix output and to speakers 1-2
- a pre-fade mix is sent to an aux output and into the audio interface.

NOTE: First EQ the mics and create a good mix via the mic input gains while listening to the post-
fade mix over the loudspeakers. Then send a mono version of this mix, pre-fade, to the audio
interface via the aux output.

• Ask the guitarist to play bars 39-41. Set the pre-fade aux output to the level indicated in
MaxMSP patch section 3a.
 • Ask the guitarist to play bars 39-41. Set the level of the compressed signal routed to live
processing in MaxMSP patch section 3b.
• After setting the input level, the microphones must not be moved and the guitarist should
be in the same position. If in doubt, take a photo.

Calibrating the computer

1. Calibrating auto-attack detection: MaxMSP patch section 4.

Ask the guitarist to play bar 12. Change the value until the yellow button flashes only once on each
articulation. This value should be in the range 30-50. Next, ask the guitarist play bar 74. Change the
value until the yellow button flashes once on each articulation. This value should be in the range 10-20.
Save the patch ready for the concert.

2. Check the cross-synthesis at T24 to find a good volume (without distortion but clearly audible).
 Deconstructing Dowland
Natasha Barrett
 == 1/4 b (not notated)
Ê Eb; ·= 1/4 # (not notated)
Preparation: Blu-Tack balls (until bar 12) 7
q = 50 œ ‰-O

∏∏∏∏∏∏∏∏
2+3+3 #œbœ œ œ bœ ˙ O
4
Guitar &4 Œ œ.
j ‰ œœ ≈ bbœœœœ ˙˙˙˙ Ó
mf > 3
4
Computer /4 ∑ ∑ ∑
#
Ÿ ææ >
ææ > 3
‰
3
4 ¿ ¿ -œ 5 ‚™ ‚ ‚
œ œ™ œ
Gtr. & Œ Œ Œ ‰ ‰ - ®  bœ ‰ ‰ ≈ œ ŒŒ ‰ ®
™ ® œ™ œ ˙ 1
4
Œ
mf b œ. b œ. œ bœ b œ b ¿
 ‰ ≈ ææ ææ # œ- ™ œ ˙
Ò Ò f Trem. hit mf
f
3 3 neck
from bridge move left 1
cmp / ∑ ∑ ∑ ∑ 4

>œ œ 3 3

∏∏∏∏∏
8 œ œ ™
œ œ #„œbœ œ 7 ‰ œ œ œ #‚œ ·œnœ‚≈ ‰ b#>œœœ nœ b œ œ œ

∏∏∏∏∏∏∏∏∏
q = 40 œ œ 2+3+3
10
Gtr.
1
&4 Œ
4Œ
4 ‰ œ#œ œ0 12
nœ
8 æ 4
4
‰œ b‚ ‚ #œ œ #œ f
3
1 4ΠΠ3 Π7 4
cmp /4 ∑ 4 T1
8 ∑ 4
(Manual trigger pre-prep sound, 33 seconds)

pull-off Blu-Tack with Bartok pizz molto

11 slide· ‚» ‰ Ê Â b 1 1 ™ -vibrato
»
∏∏∏∏∏∏∏∏

4 bnnœœœ ‰ œ #œ#¿ ¿ ¿. Œ Œ
RH #œ » » » »
‰ J ‰ #œJ ‰ j ‰ b‚J ‚ ≈ nœ œ™ ‰ „œ œ ‰‰
œ ˙
‰ b ‚ 43
Gtr. &4 œœ ‚ sfz œ
b œ mp sfz sfz sfz Ê 1 1™ J J f (sul pont)
sul pont > f sfz sfz
4 ΠΠΠ3
cmp /4 T2
∑
(Activate auto trigger pre-prep sound)
∑ ∑ 4

q = 50
( e= 100) n
‚ ‚ Ÿ 3 ·
15 # œ ‰ ‰ bœ œ Œ Ÿ
‰ œ œ Œ ‰ œ ≈ ‰ #œ ‰ ‰ Ÿœ ™# ¿
3O
&4 ˙ œ bœœ‚ 4
4 ‰ bœ œ œ bœ ™ ‰ ŒŒ ≈
≈ œ™ œ ‰
Gtr.
mp
œ œ ‰ ≈ ¿™ Œ ≈ ‰ Œ
≈™ b œ
3 #œ
j > .R .
j j Œ ≈ j™
cmp
3
/4 ∑
4
4 T3 ‰ T4 Ó ‰ j3 ‰ Œ ‰ ‰ Œ Œ
T5 T6 T7 T8
(Manual trigger pre-prep sound for T3-T23. Accurate synchronisation required.)

Kr
3 bœ .
19 bmœ
Œ ‰™ bœ œ ‰™ œ œ œ bœœ œ œ Ÿœ™ ‰ ™ Ÿœ œ Œœ œ
Gtr. &Œ ‰
® Œ ®¿ Œ ‰ Œ œ. ‰
#¿ RÔ .
> >
3 r
cmp / Œ Œ ‰™ Œ
∑ ∑
T9 T10
q = 40
( e = 80)
22
bœœ ‰ ≈™ œ ‰ ‰ œ œ ‰ Ÿœ œ ‰™ Ÿ#œ œ ‰ #œ œ œ œ œ
Gtr. & ‰ b œ ™
≈ œ™ œ ≈ œ Œ ‰ ® ¿™ Œ Œ ® b ¿ ‰™ ‰ ® Œ ‰ ® œ™ Œ
J Kr j > >
≈™ ‰ ‰ Œ Œ ‰ j Œ
cmp / Œ ∑
T11 T12 T13 T14

Natasha Barrett 2009, rev 2020

 Natasha Barrett

2
q = 40
(e = 80) > 3
> 3

25 ≈ #œ ‰ # œ ®œ Ÿœ ™ œ 19‚#‚ Œ - œ ≈ Ÿ >œ b œ
® ≈≈œ œ ® b œ œ œ™ œ bœ #œ bœ œ ≈ œ™ #œ #œ nœ nœ
Gtr. & ŒŒ bœ ® œ≈ ≈ ¿ œ œ m ® œ‰ #œ ™ #œ œ œ ≈ œ‰ ≈
mf #œ ‰ nœ
> > > > 3 f
j 3
≈ ≈
cmp / ΠT15
Œ Œ Œ Œ
T16
Œ ∑

3
Ÿ Ÿ >
b > - #œ
Ϩ 3
28 #œ œ œ œ œ ≈ ≈ œ œ ™ b œ œ œœ™™
3 œ
œ
œ #mœ œ œ ™ œ œ 2 >œ
œ œ œœ > 4
Gtr. & ≈ ® ® 4¿ ≈ m œ‰ 4 #œ ® #œ œ œ 4
‰ ‰ ® ≈ ‰ ™ ® b ¿ ‰ > œ. ‰ ™ ‰
¿ #¿ RÔ > œ
f RÔ 3
3 f
RÔ > mf
> j>
Œ ‰ Ó 3Œ Œ ≈ ≈3 j ≈ 2 4
cmp / T17
4 T18
4 ∑ 4

>
m
(clear and articulated) -m > > m
m m 3 >j
œ >j
31 œ œ ™ b œ # œ¿ œ ® œ œ # œ œ œ n œ ™ œ # œ n œ œ œœ œ ™ n œ œ
>
#œ
œm m
bœ
4 Ù œœ œ nœ œ ‰
5 bœ bœœ ≈ œ œ ® >œ #œ 5
Gtr. &4 ¿ ≈ œ œ #œ Ù n¿ ® œ b œ œ ≈ ¿ 8 b œ 8
‰ #¿ ≈ ‰ œ™
œ ≈ . ‰
> >>. > > - > > >
m
4 >. 5 5
cmp /4 ∑ 8 ∑ 8

> m
bœ œ œ bœ œ
bœ 3 m 3 . # ‚ 3
nœ œ #œ
33 œ # œ
Gtr.
5 bœ nœ
&8 œ ≈ ≈#mœ ≈ 16
5œ #œ ™™œ œ ® 68 ≈ > #œ#-œ œ bœ ≈ œ#œnœœ ™™ ® ‰ mœnœœœ 48
J bœ œ mœ ® ®
œ > ¿ ® ¿RÔ . œ bœ
(f)
RÔ >
Kr > r
5 ≈ ™ ‰ ‰ ‰ 5
‰ 16 6≈ ‰ ‰ j ‰ ‰ 4
cmp /8 T19
∑ 8 T20 T21
8

m m q = 30
3
e = 60 3 q = 40
b œœ œœ 3 bœ
36 œ œ™ ≈b œ
œ ® b œ œ œ <b> œ œr
4 ≈ œ 9 bœ bœ nœ œœ œœ œ œ œ œ™ œ ≈ 6 #œ ‰ 5
Gtr. & 8 ‰‰ ≈ œ
#œ 16 œ#œ œ#œ ™ 16 œ
œ œ œ œ œ≈ ‰ 4
œ ™ #¿ ™ (f) #œ œ œ ® œ
Ù
j > Kr
4 9 6 5
cmp / 8‰ ‰
T22
‰ 16 ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ 16 ®
T23
≈ ‰ ‰ 4

3
q = 120 ‚ -· . . -
39 #>-œ ™ nœ ™ ‚ · œ >œ #œ ™ #œ ™ bœ œ b œ œ œ b œ ‰™
∏∏∏∏∏∏

≈ ·
#œ 3 # œ #œ
5 j nœ bœnœ ™ nœ µœ ‰ 1 3 ≈ ≈ ® 2 5
Gtr. & 4 œœ ™™ œ.
œ ≈ bœ œ œ bœ 16 ≈ 4 œœ ™™ œœ œ œœ ™™
œ 4˙ 4
f Œ bœ Œ
> > >
3
5 ΠΠΠΠ1 Š3 2 5
cmp / 4 T24 16 4 ∑ 4 ∑ 4
(Cross synthesis between live guitar and pre-prep sound)
 Natasha Barrett

-œ œ molto vib.
molto vib.
43 #œ # œ ™ #>œ #œ #œ #œ 3
> b‚œ -œ ˙ #œ #œ
5≈ ® #œ ® œœ ™™ ≈ œœ ™™ ‰ nœ ≈ œ ≈ 4 œœ œ j œœ œœ œ œ ‰ ‰ œ 5 b>œœ. ® œ>œ œ. œœ œ ≈3
Gtr. & 4 œœ œ. œ ™ œ. œ ™ œ œ
4 ÆJ œ œœœ œ
4
œ ≈ œ œœœœ 4
- 5:3e > .
3
Â
3
5 4 5 3
cmp / 4Œ Œ Œ
T25
Œ 4 ∑ 4 ∑ 4
(Cross synthesis between live guitar and pre-prep sound)

molto vib.
46
n-œ œ #œ # œœ n œœ

∏∏∏∏∏∏
3 ¿ b ¿ 4≈ œœ ≈ œ œ ‰ œ œ ‰ ≈ œ. 83 ‰ 9œ ‰ œ œœ bbœœ ‰ 81
& 4 œ œ ™ ¿ ¿ œœœ bœj œœ bœœœœ
∏∏∏∏

Gtr. 4 ¿ œ 8 œ œ
bœ bœ œ 3
œ- f
b œ #¿ n¿
3 5:4x 3
mp
3 4 3 9 1
cmp /4 ∑ 4 ∑ 8 ∑ 8 ∑ 8

molto vib. 3 q = 80 (clear hammer-on)

œ
∏∏∏∏∏∏∏∏∏∏∏

œœ œ ™ 5
50 q = 100 # œœ 11
∏∏∏∏∏∏∏∏∏∏∏∏∏

- bœ

∏∏∏∏∏∏∏
3 œ #œ nœ œ œ œ bœœ bœœ 8 œ™

∏∏∏∏∏
∏∏∏∏∏

® bbbœœœ ™™™
∏∏∏∏∏

Gtr.
1
&8 ‰ 4 bœ œœ #œ bÆœ
J
8 3
8œœ œœ 8 œ #¿ ¿ ≈ œœ ≈ ¿b¿b¿b¿ 44
bœ œ œ ¿ ¿ „
mf bœ œ J ¿‰ ‰
j
1 3 3 5 4
cmp / 8‰ 4Œ Œ ‰
T26
∑ 8 ∑ 8 ∑ 4
(Cross synthesis between live guitar and pre-prep sound. Auto stop after 8 seconds.)

55
 „ r r
¿ ¿ ¿ r¿ ¿ r
¿ r
¿ b ¿ ¿ >¿ l ¿l r ¿ Â ¿ r¿ „ r¿
4 b ¿
‰ ‰ b¿ ¿ b¿ b¿ ™ ≈ ™ ‰ ® b¿ r 43 ‰ ™™ ¿ ‰ Œ 43 Œ ¿ ¿ ® 87 b¿ ¿ ¿ ‰ 68
Gtr. & 4 b¿ ¿ ¿ ¿ ‰ Ó ¿ ¿ b ¿
‰
b ¿ b ¿ ¿ ¿ j
3 b¿ n¿ ¿
4 3 3 7 ‰ Ó 6
cmp /4 ∑ ∑ 4 ∑ 4 ∑ 8 T27 (Manual trigger pre-prep 8
sound, 31 seconds)
∏∏∏∏∏

r
˙˙
60 ¿ r
· r ¿ ¿b ¿ b ¿ ˙ · ‚ ‰
r r
6 ¿ ¿ ¿ ® ¿ ¿ r¿ ¿ ¿ b¿ ¿ r¿ ¿ #œ» ‰ #œ» ‰ » Â
Gtr. &8
¿ ®2
4
5
4Œ J J j ‰ B‚ 5
4
¿ ¿ ¿ ¿ sfz
‚ sfz
f (subito) sfz sfz

6 2 5 5
cmp /8 ∑ 4 ∑ 4 ∑ 4

retune in gliss
µ-‚ ‚ ‚
∏∏∏∏∏∏∏

63 n bœ #œ #Æœ
retune in gliss U r3
∏∏∏∏∏

J
∏∏∏∏∏

5O n Œ 3 4 ‰ bœ bœœ œ œ œ œœ
∏∏∏∏∏

œ
∏∏∏∏∏

#œ
∏∏∏∏

Gtr. &4 ‰ 4 Œ Œ 4 bœ œœ œ ≈ 4
J œ 5
œ œ
mp (subito)
5 3 4 3
cmp /4 ∑ 4 ∑ 4 ∑ 4

66 œ
∏∏∏∏∏

œ
3 œœ bœ
œ œ
œ œ™ ¿ ≈ œ œ œ œ œ™ œ œ œ œ ‰ Œ
Gtr. &4 - œ ¿ œœ œœ œ b ¿
œ bœ #œ œ œ  b¿
5 9 7 5
3 Œ Œ
cmp /4 ∑ T28
∑
(Manual trigger pre-prep sound, 16 seconds)
 Natasha Barrett

69 ¿ œ™ œ ¿ m¿ œ ¿ œ m
œ
œ œ b>œ bœ

∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
‰ b œ œœ ‰ Œ 6 ¿ ≈ ≈ bmœ œ ‰ ≈ ‚j 6 ‰ ‰ ‰ j ‰
Gtr. & 8 œ 4 œ ‰
f œ > 3
mf
6 6
cmp / ∑ 8 ∑ 4 ∑
q = 50
72
œ. . m ¿ b¿ ¿ ¿ ‰ œ œj œ
‚ 4
Gtr. &Œ bœ ‰ ≈ œ ™ ‰ ®œœ ‰ ≈ ≈
œ
œ 4
œ œœ œ œœ œ™ ¿ ¿ ¿
Ÿ bœ
Ÿ Ÿ
4
cmp / ∑ ∑ 4

NOTE: fingered pitch is not the sounding pitch

q = 50
74 Å ‚ ‰  „ ‚œ „ „ „ ‚œ ‰ ‚œ ·œ „ „˙ b·œ „ ‚  „ ·œ  ·œ „ œj #œ
4 ‰ Âj œ œ œ œ œ ¿ ‰ œ #œ Œ œ œ œJ ‰ j œ œ≈ R
Gtr. & 4 bœ œ J bœ œ
3 3
j
4 Œ Ó Œ Œ Œ Œ Ó Œ Œ ‰ Œ
cmp /4 T29 (Activate auto trigger pre-prep sound) T30 T31 T32 (Manual trigger
(Activate auto (Activate auto trigger pre-prep sound) pre-prep sound,
trigger pre-prep sound)
5 seconds)

78
m b œj œ Å„  ‰  „  ·
#œ „œ n‚œ ‚œ „ „ „
Gtr. &≈ œ ≈ œ ≈ ≈ ≈ œ™ bœ œ ‰ bœ œ œ ‰ ™ ® ‰ J œ bœ ¿ ‰ Œ
J
r
≈
/ Œ
Œ ‰ Œ
cmp
T33
∑ ∑
(Manual trigger pre-prep sound, 24 seconds)

3
q = 100
9 . b18œ 18 œ bœ bœ œ œ bœ
##nœœœ ™™™
∏∏∏∏∏∏∏∏∏∏∏

81 (check tuning, 10 œ #œ
≈ ##œœ
11 #œ
take time needed)
∑ 7 10 œ 5„œ #11œ ≈ 10
10 œ™ „n ‚ ‰™ Œ 8
Gtr. & 4 œ ‰ ® œ™ ® œ™ œ œ ‰™ Œ 4
f
8
b œœ ™™ bœ™
7 8
cmp / ∑ 4 ∑ 4

Pizz
j 3œ œ nœ 3œ
83 sul tasto 8 œ œ œ œ #œ œ œ œœ œ b œ œ
#œ nœ ‰ Œ œ #œ œ
8 j ‰ bœ bœ 10 œ Œ 7 bœ ‰ ≈ ≈≈ ‰ ≈ ≈ ≈ 6
Gtr. &4 ‰ œ œ ‰ ≈ #œ ‰ b œ #œ Œ Œ 4 œ 4
? œ 9
mp . f bœ
. 3
8 7 Œ Ó Ó Œ 6
cmp /4 ∑ 4 T34 (Manual trigger pre-prep sound, 21 seconds)
4

nat.
œœ ‚- ·œ # œ œ b œ ™ œœ. œ b œ n œ œ œ».
5:4x
œ œ #œ œ œ œ œ #œ œ œ œ œ # œ œ œ #œ
85
6 ‰™ Œ 7 œ™ ≈ >œ
bœœ ‰ Œ œ#œ œ ‰ 44
Gtr. &4 4 œ ™ #œ
mp 5:4x
bœ™ œ bœ œ
5:4x 3:2x
6 7 f 4
cmp /4 ∑ 4 ∑ 4
 Natasha Barrett

87 5:4x 3:2e
#œ nœ 5:4x q = 90
4 ##œœ œœ bœ œ nœ œ œ œ 6
Gtr. & 4 ‰™ R J œ œ R R j #œ #œ bœ ‰ Œ 4
#œ nœ sul tasto
bœ œ
p
4 6
cmp /4 ∑ ∑ 4
pizz
3
q = 90 pizz 19
œ19 15
89 5 œ#œ nœ - œ. œ #œ œ nœ œ œ #œ œ œ bœ
. œœ ‚ bœ n‚ ™
6 #œ œ ™ ‰ œ œ. œ. ≈≈œ ≈ ≈ ‰ 4
Gtr. &4 ≈® ≈Œ # œ œ™ ≈ nœ ™™ ≈≈ ≈ ‰ 4
bœ œ # œ- 5 bœ
mp 3

6 ≈ r‰ ≈Œ Ó Ó 4
cmp / 4 T35 (Manual trigger pre-prep sound, 27 seconds) ∑ 4

gentle e = 100
‚ œ œ bœ bœ
8
∏∏∏∏∏∏∏

91 q = 50
4 ‰‚‚ ≈ 8œ bœ8 ¿ ‰ 4Œ Œ Œ Œ 9
Gtr. &4  #œ ‰ 4 8
> œ b¿ n¿ #¿ b¿ ™
Ê
4 4 9
cmp /4 ∑ 4 ∑ 8

e = 100
q = 50 legato (as possible) pizz » » e= 120
93 pizz 3
≈ ≈ #œ œ » molto vibrato q = 60
9 œ œ 44 Œ 2 7
Gtr. &8 #œ œ œ œ ‰ 4 8
bœ ™ œ #œ œ nœ œ œ #œ nœ#œ œ œ ˙™ ˙
mp 3 sfz
‰
9 >3 > 4 2 7
cmp /8 ∑ 4 ∑ 4Œ T36
8
(Manual trigger pre-prep sound, 12 seconds)

11
96 3+2+2
#œ œ œœ U
∏∏∏∏∏∏∏∏∏∏∏

7 6 3 3
≈ 58 7
Gtr. & 8 #œ œbœ œ œ œ 8 ∑ 8
sul tasto bœ b œ b œ œ œ # œ n œ n œ œ™ œ œ # œ œ œ œ œœ# œ # œ b œ œœœœ œ œ
Detune
p - p ff Ê = Eb;
7 6 5 · = 1/4 # (not notated).
7
cmp /8 ∑ 8 ∑ ∑ 8 ∑ 8

e = 100
3
q = 50
100 2+1+2+2 b¿ ¿ n¿ >± b# ¿¿n ¿¿ 3+2+2 œœ 3:2 # ¿ ¿ ¿ ¿ # ¿ # ¿ ¿ # ¿¿ ¿ # ¿ # ¿¿ # ¿ ¿ b ¿
7 œœœ ‰ ≈ 3≈≈≈7
≈ 16 2
Gtr. &8 8 b n? b? #œbœ#œ ® ® 8
? b???
> ‚± 3 ‚ sfz
? œœœ ‚±
mp b œ.
3
>
3 7:6
7 ‰ Ó 3≈≈≈7 2
cmp /8 16 8 ∑ 8
T37 (Start record)

103 b ¿¿ #¿ #nn œœœ ¿ ¿ >± 1+1+2 b ¿¿ br¿ n ¿ n3¿ b ¿ #¿ ¿3

2 ‰ 3 ® b‚ 4 ≈ ® ® œ ® ® ≈ 88
Gtr. &8 J 8 bœ œ bœ œ bœ 8 œ œ
‚ œ œ œ
mf >

2 3 4 8
cmp /8 ∑ 8 ∑ 8 ∑ 8
 Natasha Barrett

6
ææ
106 ¿ b¿ n¿ #¿ ¿ ¿ # œœ œ # œ œ b œ œ ± ¿¿ # ¿ n ¿¿ # ¿ b ¿¿ n ¿¿ ¿ ¿¿
8 ææ ≈ ™ # > ¿ 1 5
Gtr. &8 ? ®™ ≈ 16 ≈ 8
ææ
b? ? ? b œ. ‚
?
sfz
8 1 ≈ 5
cmp /8 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 16 8

108
1+1+2+1
¿ ¿¿ ¿ ¿ ¿
≈ # ¿¿ # ¿ ¿ ≈#¿b ¿ #¿ # ¿ # ¿ ® # ¿ n ¿ b ¿ 3 ‰ ™ # ¿¿ b ¿¿n ¿¿ ¿ b ¿ ¿ ¿ ± # œœ œ nœ#3œ œ œ 3œ œ #œ# œ3œ œ
5 6 ≈ ‰ 81
Gtr. & 8 ? ??? 16 8
# ??
5:4 j ‚
? 5:4
sfz sfz
5 3 ≈6 1
cmp /8 ∑ 16 T38 8 ∑ 8
(Stop record)

l 3:2
l
¿ # ¿¿ b ¿ #n ¿¿ ¿ ¿ ¿ ¿ ¿
l r l r ‚ ·
nb·¿‚¿ b ¿ ·¿‚¿ ¿¿ ·¿ bnr„ 7:6
3 » »
111 ¿¿ n ¿ ¿™ ¿ ¿¿ #¿ ¿
1 6 ®® 2‰ ‰ 7 ≈ ? 3 ≈≈≈
≈ 16 7
Gtr. &8 8 ææ ææ 8 8 ≈ ? sfz 8
œ œ œ ‚ œ œ œ ®≈b sfz b ? ±‚
5:4 mp ±> ?
f 7:6 sfz »
j sfz sfz
1 6 2 7 ‰ ‰ ‰ ‰ ‰ ‰ 163 7
cmp /8 ∑ 8 ∑ 8 T39 8 T40 (Cross synthesis of live guitar and recorded section)
∑ 8
(Manual trigger
pre-prep sound, 2 seconds)
# n l r 3:2
Ÿœ œ ¿™ ¿ ¿ œ # ¿ n œ # ¿ œ #n ¿¿ œ # œ #·œ‚œ œ »
116 œ n ¿ ¿¿ œ ¿ bŸœ œ. » sfz
7 ®
>
®® 3 b‰¿ ‰ ‰ ‰ œ#œnœ 48 ≈
» ≈ ≈ 8
Gtr. &8 ± 8 ? œ bœ œ œ 8
7:6 ‚ ¿ J 3
?
‚> sfz ?
sfz
3
Ê ±
7:6
7‰ ‰ ‰ ‰ ‰ ‰ ‰ 3 4 8
cmp /8 8 ∑ ∑ 8 ∑ 8

# ææ ææ # # ææ
120 Ÿ¿ ¿™
# ¿ n œ > ¿¿ œ Ÿœ™ Ÿ¿ ™ ¿
œ æ
8 ® 1 5 3 6
Gtr. &8 ? ® ≈ ≈ ‰ ‰ 16 ≈ 8 ? 16 ≈ æJ 8
sfz ¿ ‚± »
» b œ
. b? sfz
Ò
>K Ò ™ 5:4
» > Ò
>™
sfz r 3
8 ≈ ™ r ‰ ‰ ‰ ‰ ‰ ‰ ‰ 1 ≈ 5 Œ™ ‰™ 6
cmp /8 T41
16 8 T42
16 ∑ 8
(Manual trigger pre-prep sound, 4 seconds)
(Manual trigger pre-prep
sound, 5 seconds)

#
l r l Ÿ ææ ææ
b œœ n ¿ ·¿ ‚¿ ·¿ >±
7:6
124
2+4 b œœ n œ œ œ œ #œb œ œ œ œ œ œ
2+4 œ œ >œ ¿> ¿ ¿ Å œ ¿ Åœ ¿ Åœ
6 ≈ #œ#œ#œ K
1 r œ 6 3 2 7
≈ 8 œ œ œ® 8 5:4 ≈ ® 4Œ
Gtr. &8 Š8 Π8
‚‚ 5
3
5:4 mp f ÒÒ Ò
f ææ mp
from bridge move left
6 1 6 ‰™ r ‰ Œ™ 3 2 7
cmp / 8‰ ‰ ‰ ‰ ‰ ‰ 8 ∑ 8 T43
8 ∑ 4 ∑ 8
(Manual trigger pre-prep sound, 7 seconds)

Å
#j
129 molto sul tasto 3 ‚œœ· Ÿ¿ ¿ œ ? ‰
5‚
‰ ‚
5‚
„ ‚ œ ≈
7 b¿ ¿¿ ‰ J ‰ 8 ¿ #¿¿ J J 6 4
Gtr. &8 ‰ œœ œ Œ 8 b ™
® ‰ 8 ∑ 4
œœ œ ?> ? ? ?
Ê » b? f
j 19 (with r-hand thumb) Ò
> > Ò mf »
7 from bridge move left j
cmp / 8‰ ‰ ‰ ‰ ‰ ‰ 88 j ‰ ‰ ‰ ‰ ‰ ‰ 6
8 ∑
4
4
T44 (Manual trigger pre-prep sound, 59 seconds) T45 (Manual trigger pre-prep sound, T46 (Manual trigger pre-prep sound, 4 seconds)
4 seconds)
 # Natasha Barrett
Ÿæ æ 7
# œœ
Åœ œœ
¿æ ¿æ Å >œ œ œ œ œ œ œ b œœ #œ œ œœ œœ

∏∏∏
132
4 R R ‰ 3 œ ¿¿ 4
Gtr. &4 4Œ œ bœ œ ‰ Œ
Œ ææ Œ 4
5:4y 5:4y ? ?
Ò
>
f Ò
5
4 from
Œ
bridge move left
Œ ≈ ‰ ® ® Kr ® ® ≈ ‰ 3 ‰ Œ™ 4
cmp /4 T47
4 ∑ T48 (Manual trigger pre-prep 4
(Manual trigger pre-prep sound, 5 seconds) sound, 7 seconds)

Trem. hit neck

Ÿ>˙ œ ¿ Ÿœ Åœ œ™ Ÿœ œ œ #Åœ ·„
œ‚ Ÿœ œ ™ Ÿœ œ
135
Å „œ (LH) Â
4 œ ≈ Ÿœ œ ææ
Gtr. &4 ‰™ ? b? ® ® ‰ ≈ ≈
mp ?

4 ≈ r‰ Œ Ó Œ Œ Œ
cmp /4 ∑ T49 T50 (Manual trigger pre-prep
(Manual trigger pre-prep sound, 81 seconds)
sound, 14 seconds)

hit top 3:2y

(LH) (LH) ·
138 œ Å œ œÅ œ œÅ œ ¿ of neck
œ‚„™ Ÿœ œ Åœ #Åœ ·œ„‚ œ‚ æ ææ
æ Ÿœ œæ™ „Åœ (LH) ? ? ? ? ? ? ?
.
Gtr. & ® ? b? ® ≈ ‰ ®® ≈ œ ≈ b? ®
3

p Ò Ò™ f Ò
> Ò™ move dampening /
from bridge from bridge pizz hand from right to left
move left move left
/ Œ
Œ Œ
cmp
T51
∑ ∑
(Manual trigger pre-prep sound, 12 seconds)

Ê
= Eb 3 14
Re-tune: = E · q = 100 # œ ‚ # >
œ > Ê 3 3
>
œœ # œ > œ ‚œ œ œ b œ
∏∏∏∏∏∏∏

141 >œ >‚

∏∏∏∏∏

? ? (quickly, but take time needed) # n

5 # œ œ ® #œœ œ ≈ J 5
Gtr. & ‰ Œ Ó 4 ≈ ≈ ?? ‰ 4
f #¿ „ ‰œ bœ b¿ ? #œ nœ

5 Œ Ó Œ 5
cmp / ∑ 4 T52 (Cross synthesis between live guitar and pre-prep sound)
4
3
19
g#g
∏∏∏∏∏∏∏∏∏

13œ 10
143 œ‰ gg 0> VII
∏∏∏∏∏

11 œœ
∏∏∏∏∏∏∏∏∏

5 œ Ê œœ gbœ ≈ 7 Œ ™ 5 # œ ∏∏∏∏∏∏∏
Gtr. &4 ≈ #œœ ‰ ‰ #¿
¿¿
Œ 8 Ó 8 œ ™ bœb¿ ‰ n œœ
> œ œ™ #¿ b œ
f
p
5 7 5 Œ ‰
cmp /4 ∑ 8 ∑ 8 T53 (Cross synthesis between
live guitar and pre-prep sound)

7:6x
146 œœ œ
5:4x
‰‚
##œœ œ 7:6x œ ™
∏∏∏∏∏∏∏∏∏

2+3 #œœœ #nœnœœ ™™™ bœ œ bœ ≈ 3 2

Gtr. & ≈ œ œ≈ œ ≈ œœ ≈ ≈ bœ œ ≈ ‰ 4Œ Œ Œ 4
œ bœ # œ nœ œ # œ 7>‚ R b œœ ™™
bœ Ê
5:4x
3 2
cmp / ∑ ∑ ∑ 4 ∑ 4
art harm
10

17
œ ‚ XII
5:4x
150 # -œ bœ ‚
n#‚œ‚‚ - 2+3 œ ‚> ¿ b‚œ œ
≈ „J ≈ œ œ
œ ≈ œ ≈ b‚ ≈ n œ
Gtr.
2
& 4 0 # œœœ ≈ bœ ≈ œœœ ‰ 8œ
œ
5 œ bœ ≈ ≈ ≈ ≈
9
‰ ‰ œ J
bœ b œ ¿Ê
>
7:6x
2 Π5
cmp /4 (Cross synthesis between live guitar and pre-prep sound)
∑ ∑ 8 ∑
T54
 Natasha Barrett

œ # œ ‚5:4x ‚ CII
154
œ j bœ b œ n œ #9œ œ
15 ‰ 5 3 #œ nœ 44
Gtr. & 12 ‚ ≈ nœ ≈ ≈ œ ≈ œ ≈ œ œ ‰ Œ 4Œ Œ Œ Œ Œ 4 œ bœ œ
#œ b œœ œ n œ „
bœ mp >
5:4x Ê 7
0
5 3 ΠΠ4
cmp / ∑ ∑ 4 ∑ 4 (Cross synthesis between live
4
T55
guitar and pre-prep sound)

>
158 œœ œœ œ œ 8
4 œ œ bœ ™ ‰ 3 bœ œ
b ≈ bœ œ™ #œ œ ≈ œ œ ##œœ bœ
Gtr. &4 ‰ #œ™ 4 b œ™ œ #11
œ bœ œ ≈ œ #œ œ #œ œ œ
œ œ ‰ œ ‰™ œ œ ‰ ‰ œ œ œ™ > œ œ
J 0

4 3 Œ Œ
cmp /4 ∑ 4 T56 (Cross synthesis between
∑
live guitar and pre-prep sound)

VII CIII
>- >- > 3:2q
161 j œ œ œ œ #œ b œ 3 œ
œ œœœ #œ #œ nœ œ œ nœ
‰ œœ #œ #œ œ œ 2 #œ œ #œ
bœ œ j œ
Gtr. & bœ ™ œJ ‰ œJ 4 œ
b œ œJ > œ œ œ#œ œ #œ
>
p
2
cmp / ∑ ∑ 4 ∑ ∑

.
>
5 >œ b œ œ
165
œ n#œœ œ œ œ ‰ bœ œ œ # œ Œ

∏∏∏∏∏∏∏∏∏
œ #œ #œ nœ œ #œ œ
Gtr. & bœ #œ
œ
œ Œ œ ‰ ‰ #œ ≈ ‰ #œœœ œœœ
œ™ œ #œ œ œ œ œ
sul tasto
#œ œ. bœ œ
5:4e . molto sul tasto
cmp / ∑ ∑ ∑ ∑ ∑ ∑