Trapani CogCon Complete Score

7/29/2019 Trapani CogCon Complete Score

http://slidepdf.com/reader/full/trapani-cogcon-complete-score 1/89

CHRISTOPHER TRAPANI

COGNITIVE CONSONANCE

Two studies for two plucked-string soloists,ensemble, and electronics

(2010)



Cognitive Consonance (2010)I. Disorientation (qanûn solo)

InterludeII. Westering (hexaphonic electric guitar solo)——————

Duration: ca. 23 minutesScore in C

Instrumentation:

Qanûn SoloHexaphonic Electric Guitar Solo

Alto Flute / Flute (only in II. Westering)Clarinet in B flat / Bass Clarinet in B flat (only in II. Westering)

Mandolin / Just Intonation Autoharp in GHarp

Guitar (nylon strings, only in I. Disorientation)

Percussion (1 player): Crotales, Glockenspiel, Vibraphone, Marimba, Zarb, Bendir,Snare Drum, 2 suspended Cymbals, 5 tuned gongs (G#2, B2, D3, F3, C#4)

ViolinCello

Contrabass (with low C string or 5th string retuned to C)——————

Cognitive Consonance was written in conjunction with the Cursus 2 at IRCAM, and premiered during theAgora festival on 9 June 2010 at the CENTQUATRE in Paris, with Julien Jalâl Eddine Weiss on qanûn,

Christelle Séry on hexaphonic electric guitar, and the Ensemble L’Itinéraire conducted by Mark Foster.The electronics were realized at IRCAM by the composer, under the guidance of Eric Daubresse.



Performance Notes:

1. Disorientation was written specifically for the qanûn player Julien Weiss, using his system of intonation — with 15 microtonal possibilitiesbetween C flat and C sharp — and notation, with the accidentals outlined in figure 1.2. The hexaphonic electric guitar is a custom instrument, fitted with a hexaphonic pickup (such as the Roland GK-3) capable of sending out aseparate signal for each string. These six signals must be sent to the patch, so a converting device such as the RMC fanout box may also beneeded.3. The scordatura required of the ensemble for Disorientation is detailed in figure 2.4. The just intonation autoharp used in Westering is an adapted version of the Appalachian folk instrument, retuned and fitted with newchord shapes. It is easily played by any guitarist or mandolinist. Its tuning and chord shapes are described in figure 3. The instrument isavailable from the composer.5. Microtonal accidentals are used throughout the piece. For the strings and winds, these generally denote tempered quarter-tones, though theplayers are sometimes asked to tune to a pitch already sounded by the soloist or electronics. Microtones a quarter-tone or greater on frettedinstruments are notated using the fretted pitch with an up or down arrow attached to its accidental as a reminder. This same accidental isused for the open string and octave harmonic of the cello’s retuned A string during the first half of Disorientation. Diamond-head harmonicsfor retuned strings however are notated at the fingered position, without any microtonal alteration. Dotted lines in the score between stavesindicate a microtonal unison

6. A glissando is an incremental change in pitch that lasts the duration of the note to which it is attached, whereas a portamento denotes aquick slide just before the final pitch.7. For strings, an x on the note stem denotes a duller color, obtained by using a harmonic-style touch at the end of an open string, deadeningthe upper partials and creating a “palm-muting” effect.8. The guitar part in Disorientation is intended for a classical nylon-string guitar; It can however be played by the same player who performsthe solo part of Westering, as long as two separate guitars are used.9. The electronics are controlled by a Max/MSP patch, whose events are triggered by the guitarist using a MIDI foot pedal. The patch isavailable from the composer.10. The players should be seated as outlined in Figure 4.

Technical Note:

The live electronics in Cognitive Consonance require a Macintosh computer equipped with Max/MSP (and certain supplementary patches, such

as IRCAM’s Spat 4.0, sogs~, and SuperVP objects) with a minimum 2.93 MHz processor and 8 MB of RAM. The audio output is in eightchannels, intended for eight equidistant speakers configured in a ring around the audience. The ensemble should be amplified in the front leftand right speakers, while a ninth central speaker positioned on stage simulates a local amplification for the soloists. A video monitor can bepositioned onstage to display event numbers for the guitarist or conductor. Further details are available from the composer.



5880 5902 5918 5933 5945 5958 5972 5994 6016 6 032 6047 6059 6072 6086 6108

5496 6198 6900 76023594 4296 4998 5634 2394 3300 3798 4296

5496 6148 6900 7602 3980 4562 4998 5496 5882 6402 2394 2626

difference in centsfrom central pitch

MIDI

CENTS

MANDAL NUMBER

-114

- 7

-92

- 6

-78

- 5

-65

- 4

-53

- 3

FIGURE 1: QANÛN ACCIDENTALSdevised by Julien Weiss

-38

- 2

-22

- 1 0

0 +22

1

+38

2

+53

3

+65

4

+78

5

+92

6

+114

7

differencefrom A= 440

MIDI

CENTS

VIOLIN

-4 -2 0 +2

FIGURE 2: SCORDATURA in ENSEMBLE to be retuned and verified before the piece begins

-6

CELLO

-4 -2 -66 -6

CONTRABASS

0 -2 -4

difference

from A= 440MIDI

CENTS

MANDOLIN

-4

* To tune the guitar: first, tune in just 4ths around = 440. Then:1.) Tune the 4th partial of the B string to the 5th partial of the G string2.) Tune the 3rd partial of the E string to the retuned B string3.) Tune the 5th partial of the A string to the 7th partial of the retuned E string

-52 0 +2

GUITAR *

-20 +62 -2

** Only the two lowest strings of the harp should be retuned.The rest of the instrument should be tuned to A = 440.

-4 -18 +2 -6

HARP **

+26



3984 4300 4820 5002 5184 5318 5388 5500 5704 5800 5886 6020 6090 6202 6286 6384 6466 6588 6700 6722 6904 7000 7086 7220

7252 7402 7486 7540 7666 7788 7900 8004 8104 8198 8286 8370

ORIGINAL PITCHES

FIGURE 3: TUNING and CHORDS for JUST INTONATION AUTOHARP in Gto be retuned and verified before the piece begins

differencein cents

MIDI

CENTS

RETUNED PITCHES

-116 0 +20 +2 -16 +18 -12*

0 +4 0*

-14 +20 -10*

+2 -14 -16 -34 -12*

0 -78 +4 0*

-14 +20

G3 F9 G11 E1 G21

includes allhigh strings

differencein cents

MIDI

CENTS

-48 +2

* Asterisks denote pitches which do not appear in the final chord shapes for the piece, and thus need not be precisely tuned.

-14 -60 -34 -12 0 +4 +4 -2 -14 -30



FIGURE 4: SEATING DIAGRAM

P O W E R B O O K

1 5 "

i a i s o n

E t h e r n e t

[courtesy of Clément Marie]



Composer's Note:

Cognitive Consonance: A state of internal harmony arising from the reconciliation between two initially contradictory ideas.

Here, a single piece divided into two parts, linked by an electronic interlude. Two plucked-string soloists from two disparate worlds. Two

different sets of tools for composing with electronics, and two different approaches to the practicality of writing non-tempered ensemblemusic.

Or, a two-word manifesto, for a music as "cognitive"—capable of provoking thought and reflection, engaging the faculties of association andmemory—as it is "consonant"—a notion that the piece aims to explore, expand, and redefine, the common thread between its superficiallydisjunct episodes.

The title of the first section, Disorientation, should be understood in a second, more etymological sense: a turning away from the orient, thedisassociation of the qanûn from its Middle Eastern context. The spotlight here is on the custom-made instrument and microtonal tuningsystem devised by Julien Weiss, which specifies fifteen non-equidistant intervals per string (between a given flat and sharp). The pitch isaltered by raising or lowering small levers under the string (mandals), often in the middle of playing, or even while executing a phrase with theother hand. Based on a Pythagorian rather than tempered framework, Julien's instrument is capable of closely approximating several just

intervals with reliable precision. With a scordatura for the strings onstage—a mixture of plucked and bowed—and retuned samples in theelectronics, the goal is to explore the combinatorial possibilities offered by the qanûn while maintaining the same precise control of pitch in theensemble writing.

The electronics mirror the soloist with several shades of plucked strings, created with IRCAM's physical modeling software Modalys, whichsynthesizes each pitch according to the physical parameters of three separate strings given a slight variation in pitch—as would be the case ona real qanûn. The final eight-channel sound files are created via an OpenMusic interface, where pitch, synthesis, and spatialization (using theOMPrisma library) are controlled in a single integrated process.

Disorientation is divided into three sections, with the following subtitles:

1.) Inici (Falling): Starting from a high E (later understood as the 81st partial), a prolonged descent over about five minutes, duringwhich the partials of a low C (from the 17th, a C sharp, to the 5th, a natural third) will serve as the local tonics of 'makams' constructed fromhigher partials. The descending curve ends with a mass of resonant strings, a harmonic spectrum perturbed by 'commas' derived from whole-number frequency ratios.



2.) Meyan (Midpoint): An exploration of the division of the perfect fifth (or twelfth), with pitches derived from inverted ratios movinginwards from each of the two poles.

3.) Croissant (Crescent): An episode written with an approximation of the Bohlen-Peirce scale and its odd-ratio intervals (5/3, 9/7, 9/5,etc.) triggers a progressive accumulation of string sounds, then tactile models in Modalys—sweeping motions over a plane of tuned strings,

modeled on Harry Partch's harmonic canons. Mirrored harmonies, with the same ascending and descending ratios around a central pitch(often the D above middle C) create an increasingly dense texture that spills over into the electronic interlude.

The title of the second section, Westering, evokes the idea of a westward movement; the piece is largely inspired by music associated with thewest—country and western guitar timbres, West African balafon music, but above all music from California: the just intonation ratios andplucked-string instruments of Harry Partch (to whom the adapted autoharp played by the mandolinist pays homage), Los Angeles folk/rock(Joni Mitchell's chains of consonant harmonies, Jeff Lynne's superimposed layers of strummed guitars), as well as psychedelic rock from SanFrancisco, and its rig of classic guitar effects.

Here the soloist is a hexaphonic guitar—an electric guitar fitted with a hexaphonic pickup that sends out a separate signal for each string.With an independent transposition control for each string, an even finer degree of microtonal precision than the qanûn's can be obtained.Effects can be applied with a different rate to each string, creating a polyrhythmic tremolo for instance, a six-voice wah-wah effect, or a

dynamic delay that transforms a strummed chord into an arpeggio or a fingerpicking pattern. Spatializing each string separately as well, theelectronics control the pitch, timbre, and movement of several independent layers in real time. The computer-aided orchestration softwareOrchidée was also used to reproduce the timbre and pitch content of distorted electric guitar chords in the ensemble.

The image of a westward wandering is also embodied in the loose form of the piece, a chain of interlocking events that unfurl like a series ofdiscoveries in an unfamiliar landscape, the western myth of perpetual possibility…

Cognitive Consonance is deeply indebted to all the researchers, developers, and musicians at IRCAM who contributed their time and expertise,notably Nicholas Ellis, Marlon Schumacher, Jean Lochard, Clément Marie, Jean Bresson, René Caussé, and Yan Maresz. Special thanks toCyril Béros, for his vision and his encouragement, and Eric Daubresse, for his invaluable advice and guidance throughout the project.



Qanun Solo

Electronics

Mandolin

Guitar

Harp

Percussion

Violin

Violoncello

Contrabass

pppp pp pppp pp

I. Inici (Falling)

= 60

p pppp pp pppp p pppp pp pppp pp

p

pppp pp pppp pp

pppp pp pppp

ppp

Score in C

ca. 12"

"Further, I am quite optimistic over the prospect of new exoticisms— in Louisiana, Wisconsin, and California,to pick a few random spots from the map—regardless of what India and Arabia do." — Harry Partch, Genesis of a Music

I. Disorientation

for Julien Jalâl Eddine Weiss

CHRISTOPHER TRAPANI (2010)

1sfile in back of hall

soundfile continues

l. v.

very thin knitting needles

CROTALES

l. v.

sul tasto



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

n pppp ppp pp p ppppppp pp pppp

= 132without changing character

A11

p pp

pppp n n pp pppp

p ppp ppp p pppp pp ppp

ppp mp ppp

n p n n mf

pp ppppn ppp n

start mandal trill without striking stringD

rattle chopstick betweentwo lowest strings

l. v.

sul tastoIII. IV.

col legno battuto

punta d'arco ricochet l. v. sul tastoarco

2



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

p ppp pp f mf pp f

B20

pp p ppp sfz mf

sfz mp pppp p pppp pppp pp

n pp p

mp pp n

n n mp

pp pppp p

pp pppp

(in the style of a Taksim improvisation)

SOLO until rehearsal mark S

near bridge

(put chopstick down)

hit with chopstick

con Ped.

VIBRAPHONE

with bow

(irregular tremolando)

col legno battuto punta d'arco

ricochet pizz.

col legno battuto punta d'arco ricochet l. v.

3



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf mp pp f pp p ff mf

C29

ppp mp ppp

ppp mp pppp ppp p pp ppsfz mf

mp ppp p ppp sfz mp

ppp

pp ppp n pp pppp

ppp n

n p ppp

p

pppp p n

near bridge near bridge

2Mlys sfile in center

high plucked sounds continue

(palm-muted)

P. M.4

P. M.

l. v.

scrape

l. v. l. v. soft mallets

sul tastosenza vib.

pizz. trem. l. v. IV. l. v.

arco sul pont.l. v.

4



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

pp mf ff fp

38

mp ppp mf ppp p

mp pppp ppp mp pp p

pp

p pppppp ff pp

ppp p

n mp n pp ppp

n p

one hand

2 l. v.

l. v.

scrape

(harmonics sound oneoctave higher than written)

l. v. knitting needles

CROTALES

l. v. VIBRAPHONE soft mallets

col legno tratto

arcocol lengo battuto punta d'arco ricochet

(sul pont.)

5



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f mf

p ppp f f

D45

ppp sfz f p mf pp mp ppp p p mf

pp ppp pp pppp ppp

pppp pp p ppp

n pp f

ppp mp

nn p pp f pppp

mandal trill

3

Mlys and retuned glock sfile

21

2 finger trill('hammer on')

2

l. v. reversed thin mallets l. v.

arco ord. III.

arco ord.III.

sul tasto l. v. ord.I.

6



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

p mf mp ppp p ppp mp pp f ff

mp p f

E53

ppp mp ppp

ppp mp ppp

mp

mf p ppp sfz

mf mf

pp mp p

mp pppp

ppp f pp

ppp f p n

pp n n mf

mp n

near bridgeone hand

near bridge

4

III.

1 2

5

2

5 2 5

2

l. v.

CROTALES

bundlesticks l. v.

III.

sul pont.III.

7



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mp f pp mf pp p

F G63

fp ppp

pp

ppp fp

ppp f f

n f p n

gliss.

one hand

5trem. and gliss.

6

(repeated in sound file)

high partials sfile

5

GLOCKENSPIEL

bundlesticks (wood)

II.molto sul pont.

harmonic gliss. to bridge

pizz.I.

near bridgearco

8



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f mf f pp mp mf pp

74

sfz f pp mf pp

pp f pp

f pppp f p pp f pp

p f p n fp n

ppp mp pp

near bridgenear bridge

7 Mlys trem sfile

l. v.near bridge

près de la table

pizz. (pizz. trem.)l. v.

arcosul pont. sul tasto

II. sul tasto ord.I.

9



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf mf-p f p mf mf ppp mf f pp mp p

H82

mf

p mf p mf mf

ppp mf pp p

sfz p

n mf

pp f fp ppp mf n mp

f pp mf n pppp

near bridge

one hand

8 Mlys trem sfile

IV.

2

3 1

scrape

VIBRAPHONE

soft mallet

sul tasto

ord. sul pont. pizz. arco

sul pont. sul tasto pizz.

sul pont.II. ord.

sul tasto

10



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

pp f mp p f mp pp f

I91

pp mf pp p f pp f

mp f

mp f pp mf mp p

ppp mf pp ppp

ppp mp ppp

n ppp p pp pp f p

n mp p

n

sfz f pp f p

p ppp mp

one hand near bridge

9 retuned vibraphone trem samples

+Mlys staccato or slide with adhere

III. IV.III. l. v.

5 5 4 6 4

reversed sticks

ord. l. v.

arco

(l. h. pizz.) l. v.

(arco)

l. v.

ord.harm. gliss.

11



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mp p f mf f p f

J98

mf pp p f pp f pp mf pp pp f

pp f p f

pp mf pp pp f pp

pp f pp f p p

f p

near bridgenear bridge, very noisy

10 Modalys soundfile in center

IV. III.II.

III.

soft mallets l. v. reversed mallets

sul pont.

III. sul pont.III.

12



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

ppmf

ppp mf pp

K 106

p mf ppmf-p ppp

p ppp

f p f p

f

p p fpmf fp

mp pp ppp

n n f n

mp ppp mf f mp fp ppp

fp n ppp

l. v. l. v.

11

spin out and gliss.

IV. l. v.

P. M.3

4 2

l. v.CROTALES bundlesicks (wood)

VIBRAPHONE

l. v.

gliss. ord. III.

pizz. l. v.

sul pont.II.ord.

13



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf p ppp f pp f

mf mpp pp

M

123

ppp mp pp fp fp mf-p

p f p fp

p f

pp ff

pp f pp ppp

p f n mf

mp n ppp f n

ppp

near bridgetwo hands ord.

13slow gliss to reflected C spectrum (ca. 20 sec)

IV.

l. v. 3

près de la table

l. v.

l. v. l. v.

pizz. vib.

sul pont.

sul tasto

15



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f

N130

mf pp ppp mp ppp

ppp p ppp p pp ppp fp

mf p mf p p p

mp p p

ppmf

pp

f ppn pp

mp p

ppp p n pp ff

mf ppp mf n ppp mp ppp

pp pp mp pp f

14

III.

4 3

5

4

6 25

f

near bridge

bow l. v.

sul pontarco

port. ( = 7th partial) col legno tratto

pizz. vib. arco III.

gliss. ord. harm. gliss.

16



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf p

f fp f f

mp p f mp f

P147

mf p f pp fp f mf

f f

fp pp f f mf

f

mf

n mpn mp

n

p f n ppp

f n

one hand mandal trill

16 sfile layer of vibe sec

l. v.

65

26

5 25 6

3 2

(bow) l. v.

III.ord.

molto sul pont.

IV. III.

18



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

ff f f mf f

QR

157

mf f p

sfz f p f p f f mf

f f

mpn p

f

f f f f mp

ppp f n f

mandal trill mandal trill F mandal trill mandal trill

17 sfile sec vibes + Mlys figures of single plucks 18 modalys sound file

finger trill finger trill finger trill

3 5finger trill 2 finger trill

3

5finger trill

6 finger trill

près de la table près de la table

pedal trill

(put down bow)

pizz.

IV.III.

I. finger trill

II. finger trill

con vib.

ord. pizz.

gliss. con vib.

I.finger trill

19



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f p

mf p

rall. = 90S165

f

mf mf mp

mf mf mp

f mf mp

mandal trill mandal trill

19modalys sound file

4

5

5

6

4

6

5

6

4

6

pedal trill pedal buzz pedal gliss.

pedal trill

III.

gliss. con vib.

finger trill

gliss. con vib.

IV. finger trillcon vib.

gliss.

finger trill gliss. con vib.

20



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

pp ppp

poco rit.= 69T

172

p pp mp pp

mp ppp mp pp

sfz mf mp

pp

n p n pn p

p

mp pp mf pp ppp p

pp f

pp pppp pp

then high

5 1

pedal gliss.l. v.

l. v.

arcoIII. pizz.

arco l. v.

21



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f

p

f

pp

II. Meyan (Midpoint)

Subito Animato

= 80U

180

n pp pppp ppp p ppp

p sfz f

mp p ppmf

sfz f

pp ppp ppp pppp

sfz f

pp pppp pp sfz p pp sfz mf

pp f pp

p pp mp

p pppmp

l. v.

20fade out longer file,short Mlys file in 21 longer sfile off

l. v.

(l. h.) I.

5 6

retune

5 to 4 (repeat ad lib.)

with chopstick as before

fingertips near rim

ZARB knuckles on wood

I.

arco ord.I.

(pizz.)I.

III.pizz. l. v.

22



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf f f p

V189

p ppp mp f

f

f

f pp mf pp f

mp pp

pp pp sfz mf pp f

mp n p p p

pp mf

ppp

near bridge

near bridgel. v.

retune

2 to1 (repeat ad lib.) retune

6 to 5 (repeat ad lib.)

près de la table

low dull sound incenter of membrane

high resonantsound near edge

harmonic gliss to scroll

retune to A (repeat ad lib.) II.arco I.

arcoII.

23



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f mf f mpmp f mf f-mp p

W198

mp p fp ppp

mf p f p mf pp

pp mf mp mf p f

p

ppp f sfz p

pp sfz mf sfz f

mf p mf sfz f

22 Modalys sfilein center

(I.)(l. h. pizz.)

(check tuning, thencorrect if necessary) pizz.

sul pont. molto sul pont. pizz.

24



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f p f

207

fp ppp f

sfz f

f

sfz f mf mp f

f p f mf mp

mf f

sfz f p ppp

sfz f ppp fp fp ppp

p mf pp f mp sfz f

23 Modalys sfilein center 24 Modalys sfile

center -> out

I.

I. pizz. l. v. (arco)

I. sul pont.arcoord.

arco ord. sul pont. pizz.

III.I. slap left hand on strings, no pitch

25



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

sfz f p mf pmp f mp

Poco più mosso

= 88X Y216

f p mf p p f pp f sfz p ppp

pp mf pp p f pp f sfz p

sfz f

sfz p

f sfz f p

p f p f fp n

mp pp mf p p mf

mp p mf p n

mp pp mf n f

25maquette sfile center

26360 maquette sfile

27

III. l. v.

6

près de la table

VIBRAPHONE bundlesticks (wood)

pizz. arco

pizz. vib.sul tastoarco sul pont.

(pizz.) vib.arco

sul pont. pizz.

26



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

p f p

mf sfz f

Z226

p ppp

pp mp pp f pp

p f p

sfz f sfz f mp

f n

f mf

p

n

p

pp mp ppp

p f p n

near bridge ord.

28 sfile 11/8 fifths outward 29 sfile with retunedvibraphone samples

(=7ths)

l. v.

6

sec

scrape

CROTALES

I.arcosul pont.

(sul pont.)

arco sul pont.

27



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

234

fp mf p f mf p

f mf sffz

mf

mp f p f mf

sfz mf

mf

pp sfz f

p

sfz f

psffz

mf

ppp p fp

mp

fp fp fp

mp

mp mf-pp n mf

30 Mlys sfile with retuned trem samples

(=7ths)

31 sfile retuned ricochets and reversed sticks

III. IV.

vib.

32

gliss.

VIBRAPHONE

soft mallets

sec

dead-stick reversed sticks

white gliss.

ord. pizz.

III.ord. IV.

col legno battuto

ricochet gliss.

col legno battutoricochet

28



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

sfz f p ppp

AA243

ppp f p f

f sfz f

p ppp pp sfz f

f

p f

sfz f

fp

f p fff

pp

p ff pp

p f p

32Modalys sound file,moves to back 33 Modalys sound file,

high RM partials back swirl to front

34retuned bundlesticks

rev sticks sfile

mute strings, no pitch

mute strings, no pitch

gliss ad lib.

bundlesticks (wood)

vib. gliss. III. I.II.

arco sul pont.

sul tasto senza vib.

II.III. arco

sul pont.ord.

arcosul pont. ord.

29



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

ppp mf f pp f p sfz f mf

BB

255

p f mp pp f

mp

f p f sfz f

pp

f p f pp f n mp

mp p sfz mf mp p

mf p

gliss. gliss.

35

III.

près de la table, secgliss.

soft mallets

pizz.I.

II. III.

30



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

poco rit.

f

mp

ppp p pp

Meno mosso

= 66CC263

p pp mf mp pp pp mf p p sfz mf

p

f pp

mf ppp

p f mp sfz mp

pp

sfz p pp

pp

n

n mp nmf p

36sfile qanun plane in center

37 sfile planes38 sfile planes

IV.

ord. lightly with palm

reversed malletsl. v.

ord. IV.

IV.arco

senza vib.sul tasto pizz.

vib.

(pizz.)

31



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mp p

pp f pp f

III. Croissant (Crescent)

Subito più mosso

= 84DD274

pp pp ppp pppp

p pppsfz mp

p pp

pp

ppp p pp mf

mp n pp

p n

pppp p n

39 soundfile with canontranspositions, then 7ths

40 BP burst(higher partials)

l. v. l. v.

3

fingertips near rim

BENDIR low sound in center

l. v.

sul tasto, senza vib.arco I.

32



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf f p f p f p

EE285

mp p pp mp pp

pp mf pp

p mf

sfz mp

pp mf p mf p mf p ppp

p f

pp

sfz p mp sfz p

41RM burst

42 RM burst 4344

near bridge, noisy

près de la table

sharp, near rim

col legno tratto

II.

col legno tratto

pizz.col legno battuto

gliss.ricochet

pizz.

33



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf p f-mp

fp f

f f

mp

293

mp ppmf pp

p mf pp

mp pp mp pp

pp mp p f pp mf p

mpp

f pp

mf

gliss.l. v. near bridge

45 46

near bridge

près de la table


pizz.

harmonic gliss.to bridge

gliss. con vib. pizz.

gliss. con vib.

34



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f p mf f mf p f

FF

GG302

mf

n mf pp

f mp pp mf

pp f pmp f-pp f

ppp f mp

mf mf mp

l. v.

47 48 rising 3/7s sfile 49 rising 5/3s sfile

etc.

scrape con vib. l. v.

con sord.arco sul pont.

IV. SOLOmolto vib.

ord. port. port.

sul pont. ord. port. l. v.

arco molto sul pont.

col legno battuto

gliss.

gliss. con vib.

col legno battuto gliss.

35



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

p

f sffz mf

309

pp sfz f

pp mp ppp sfz f

f

mp

f

p

f ppp p

f

ppp fp f mp f mf

p f p f

50 rising 9/5s sfile

etc.


(+3pitch burst quicker/softer) etc.


etc.

near bridge

near bridge

scrapel. v. pedal buzz l. v.

very resonantspiccato

sul pontmolto sul pont. ord. l. v.

con sord.

SOLO

molto sul pont

arco con vib. ord. port. l. v.

pizz.gliss. con vib. arco

III.

36



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

mf pp

f

ff

HH315

mf pp

mf ppp

mf ppp mp

mp f p

n

f p f pp mf p

p f mf f p f p mf p

n p f pp mf p pp mf p

near bridge

53Mlys sfile: burst, spiral steps, then spiral rising ratios to high A

near bridge

near bridge

près de la table

pedal buzz l. v.l. v.

col lengo battutoricochet gliss. l. v. l. v. arco gliss.

l. v.

gliss. molto vib. port. sul pont.spiccato l. v. col lengo battuto

ricochetarco gliss.

l. v.

molto sul pont. sul tasto gliss.

37



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

p

poco rit.

Meno mosso

= 72II JJ322

p pp n ppp mp pp mp p

sfz mf

p sfz mp

sfz p

p f p p f pp fp f psfz p

pp mf mp n p

mf-p

sfz p mf-p

pp mf

brushes on retuned crotalesand vibes descending

54 Mlys sfile

IV. III. II. IV.

6

4

près de la table

VIBRAPHONE

bundlesticks (wood)

sec

II. senza sord. III. l. v. pizz. arco

pizz.II. arco

II.ord.

38



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

pp mp ppp pp

Più vivo

= 92KK 331

mp p mp p p ppp

p mp p mp

pp pp f psfz mp

ppp f

pppp

p

pp p

pp p

mp pp

ppp ppp mp n

pp p f p fp n

ppp mf n ppp mp

55 large sweep, then BP burst plus sweep

5

near bridge

l. v. près de la table

bowed

con Ped.

l. v.

possibile

leggero port. gliss.

I.senza sord.

sul tasto ord.

39



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

f

= 100MM347

sfz p p mf n pp mp pp p p fp

f p

mf sffz f

sfz mp sfz mp f mf sfz p

mp pp sfz f

p p f p f

p

sffz

mf p mp pp f p f p fp

ppp mf n pp f pp f pp

59D = 11th partialsplintering sfile

IV. III. IV.IV.

II.IV. noisy, near bridge

4 5

noisy, near bridge

près de la table

dead-stick dead-stick reversed sticks dead-stick

l. v. III. col legno battuto ricochet arco sul pont.III.

gliss.l. v.

pizz. I.arco

ord. sul pont. gliss.molto vib.

I.sul pont. II. molto sul pont.molto vib.

41



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

pp

NN356

f-mp f fp f pp

pp sfz p pp sfz p pp

pp

p f f mp

pp fp

fp

ppp

pp

p f n p ff

pp p f ff

f p n pp ff

60 sweep forward

gliss.

l. v.with guitar pick gliss.

près de la tablewith guitar pick

gliss.

bundlesticks (wood)

molto sul pont l. v. sul pont. gliss.

molto vib.

sul pont.

sul pont.

42



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

p

369

f fp f mf p

pp f pp n

fp fp

mf f

mp f mf

mf

gliss.

gliss. ad lib.

gliss.

ricochet

ricochet ricochet

44



Qanun

Elec.

Mand.

Gtr.

Hp.

Perc.

Vln.

Vc.

Cb.

p mf

f ff

OO372

f fp sfz f fp sfz f sffz

mf f

f fp ff fff

mf ff

ff

f ff

alternating handsgliss.

l. v.

INTERLUDE

ca. 1' 40"

62

sweep, high to low

63massive 8chMlys sfiles

l. v.

gliss. l. v. gliss. l. v.

gliss.

l. v.

45

f P l Ed d



Flute

Clarinet in B

HexaphonicElectric Guitar

(sounding)

Electronics

Mandolin /Just Intonation

Autoharp

Harp

Percussion

Violin

Violoncello

Contrabass

= 56

ppp

ppp mp p

ca. 20 "

"On this my thirtieth birthday, I know nothing and there is nothing to do but fall prey to desire... Nothing remains but desire, and desire comes howling down Elysian Fields like a mistral."

—Walker Percy,The Moviegoer

II. Westering

for Paul Edmonds

ca. 20 "64

strum with flesh of fingers, very light

buffer record on, all strings front and center

unmeasured gliss. ad lib.under sound file

46



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

4

mp p

pppp

65

move gradually towards bridge very near bridgechoke strings with left hand

trigger sogs, one voice at a time to matrix, spat in back of hall amp volume down

string buffers read with 8 sec delay granulation patterns

l. v.

47



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

A6

ppp

ppp p n ' pp' ' f '

ppp p

n ' pp' ' f ' ' p'

ppp p n

n

' pp' ' f '

inaudible

66 random raking motions on mutedstrings (something like this)

+ spat figures

SNAREwith one hand, back and forth

wire brush

arco sul tastocon sord.

ord. sul pont.

transverse bowing

(measured)

arco sul tastocon sord.

(measured)

transverse bowing

arco sul tastocon sord. I. II.

transverse bowing (measured)

48



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

10

ppp

mp ppn pp n

n

p p pp

' f ' np

p

n mp p

67

high

low

mid

JUST INTONATION AUTOHARP in G

G3* notated with chord button, strumrhythm, and approximate position

pitchless, mute stringswith left hand

ma ben sentito

pizz.


pizz.

col legno battutoricochet pizz.

pitchless, mute strings

with left hand

ma ben sentito

pizz.col legno battuto

ricochet pizz.col legno battuto

ricochet

pitchless, mute strings withleft hand high on fingerboard

col lengo battuto, punta d'arco

ma ben sentito

I. ricochetricochet

49



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

B14

ppp mp

mp

pppp mp

6869

gliss.

record non-transposed to delay buffer (1 echo) transpose with pattr

strum pattern sim.

molto sul tastoI.

arco

50



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

16

ppp

pppp

pp p pppp

p

p ppp

n p

70

71

delaybuffer - transposed layer [remove A string]

record off tranpose delay fade out low string with pattr

VIBRAPHONE

soft mallets l. v.

(pizz.)

pizz. arcosul tasto

pizz.

51



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

C19

mp p mf mp p ppp

p mp mf

mp pp

p

f

f p

f

p

f

mp pp

ppp mf

mf n mf p

ppp

72

7374 75

record on play delay2record off

+ second time

F9 G11

l. v.

bundlesticks (wood) l. v.

II. arco sul tasto

pizz.

arcoII.

52



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

D24

p mp mf p

p pp

fp ppp f

mp

p mf-pmf p mf-p

pp n ppp mp

mp ppp mp pp n

mp n

7677 78

79

record off

l. v.

MARIMBA soft yarn mallets

sul pont.sul tasto

senza vib.

arco sul pont. poco vib. gliss.

53



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

f

E F30

mp f

mf

p mf

mf

fp ppp

mp p pp mp p

n ppp p n mp pp

f mpf

n p ppp

mp pp

ppp mf n mp pp

ALTO FLUTE in G

80 81 gliss.82

83

84

3

2

l. v.

record gran onbuffer2 on

delay (or gran) onrecord off record delay on, trigger echoes

E1

près de la table l. v.

scrape

l. v.

l. v.

senza vib.ord.

sul pont. col legno battuto

pizz.

arco

IV.

gliss.

senza vib.

col legno battuto IV.

col legno battuto

54



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

n f mp n

G37

mp n mp p n

mp mf mf f

p

fp ppp ppp p ppp p

pp p ppp

ppp p mf pp mf ppp

pp f ppn f pp

n mp n

CLARINET in B

85 86 87 88 89

43

2

1 90

record delay on regular at first, then diffuse

record off retrigger B C motion (new env)

retrigger buffer play, retuned

B - C motion, retuning

retrigger buffer play, retuned

diffuse patterns now

près de la tablel. v.

bundlesticks (wood)

senza vib.arco ord.

poco vib. senza vib. poco vib.

arco

gliss.

gliss.

arcosul pont.

55



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

pp fp n

I

52

pp ppp

sfz f pp p p mf p

pp

sfz f

sffz ppp mp ppp mp

p ppp mf pp p n

p ppmf

pp p pppp ppp

ppp pp

breathy

95

6

gliss.

3vib. 2

96 97 98tap srings lightly with open palm

99

Spat reset transpose rec off retunerecord gran, play through

grains appear (dac) record off add pitches

G21slow gliss.

bundlesticks (wood)

VIBRAPHONE bundlesticks (plastic)

col legno battuto

gliss. arco sul tastosenza vib. slow gliss.

II.col legno battuto

gliss.

arcosul tasto

III. senza vib. slow gliss.l. v.

ord.I.

col legno battutopunta d'arco

57



Fl.

Cl.

Guitar (sounding)

Elec.

Autoharp

Hp.

Perc.

Vln.

Vc.

Cb.

f pp f ppp

L66

n mf p mp pp mp pp

n

p mf mp mf p p

mf mpp

pmf p pp

n p f p

ppp n

103

104

1

sostentuto, molto vib.

2

1 105 106 (slower strum)

record off

distortion, record on, other strings off

remove attacks, SVP trans to DAC? stretched version in SVPlaySVPlay rampdown

record off clean, remove A

to Spat butterfly motiondouble up E string

sul pont. molto vib. gliss. ord.

arco sul tasto

59



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

n p f

n

O

89

mf p mp n

mf

mf pmp f ppp p pp p

f mf

sfz mp pp f

ppp mf ppp fp ppp n mp fp

p f mp pp p f ppp pp

mf ppp p n f-mp ppp fp

115 put down slide

1163

1172 118 119

4

1

record off

retrigger stacc chord,retuned and farther away

record D delay 1

polyrhythms with single delay buffer, doubling notelower envelopes than attack, halo effect

record off, delay1 to Spat 1 & 2record F and G delay 2, to Spat 3 & 4

IV. IV.near bridge

l. v.

près de la table

SOLO

MARIMBA

hard yarn mallets

sul pont.con vib.

molto sul pont. sul pont.

arco sul pont. col legno

battuto ricochetarco ord.

gliss.

ricochetarco ord. gliss.

62



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

P99

f mp p pp

ppp p ppp n p pp pp p n

ppp p mf pp mpmf p

p f p ppp pp f mp f mf

ppp mf pp mf

f ppp ppp f ppp pp

pppn mp

120 121

122

record off +stretch

guitar to Spat 5 & 6

record all to granretune

gliss. l. v.

l. v.

SOLO

pizz. l. v.arco ord.

III. III. IV. molto sul pont.

sul tasto

63



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

n ff p f p f p f p ff p f n p

Poco più mosso

= 72Q106

ppp f p ff p f p f n ppp f p f p f p fp n

f

sfz p f mf mp f

mp

ff

f p

n

f

n f mf n f p f

BASS CLARINET in B

123 with pick

5 43 2 1

124

retuned, different tremolo ratesdistortion w/o attacks to delay buffers->spat

gran buffers to dac w long offset, cascade record off

l. v.

gliss.

pizz.arco con vib.

64



69



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

p f p pp f p f ppf fff

141

p mf n ppp mp n f ff

f

mp f

pp mf ppp

mf pp pp mf

pp

p mf fp ff

p mf f ff

p fp f fp ff

alternate fingerings,tone color change breathy ord.

136

137

harmony expands to meet melody

+ retuned dist swirl - with gliss interpolation with matrixclean trm sound -> dist.

senza vib.

(ord.) sul pont.

senza vib.

(ord.)

sul pont.

sul pont.

69



72



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

p ff f mf f

X166

f mf sffz f

mf f mf

f

fp sfz f f p

sfz f

p

sfz mf

mf

fp fp f p pp

fp fp

fp

f p f

p pp p

mf ff mf f p sfz mp

(put down slide)

148 149 inaudible

low strings resonate freely to Spat E -66, A 0, D -80

III. IV.

(pedal buzz) with palm

PITCHED GONGS soft mallet

col legno tratto

gliss.col legno

tratto

sul pont.arco

pizz. vib.

72

73



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

p f p f

Più vivo

= 92Y173

p sffz mf sffz mf sffz

f

f

p

sfz mf

f mf

p ppp

p f pp p n pp f

f p

ppp p f pp mp n pp f f

p

sfz p f

mp f

breathy

turn outgliss.

ord. breathy

tongue-sla p

tongue-slap

tongue-slap

150 inaudible

151

5

3

low strings resonate freely to Spat E + 33, A + 100, D - 100

stacc dist hits to gran, swirl

with palm

sul pont.arco gliss. col legno tratto

sul pont.arco IV. molto vib.

sul pont.

arco

gliss.col legno

tratto sul pont.arco

arco ord.

73



75



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

fff

186

fff

f

ff fff

ff fff

mp f fff

154 molto staccato

port.

port. port.

gliss.

76



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

Meno mosso

= 56AA BB190

n pn mp n

n p n p

n mf n

n mf n

n mf n n p n

155156

with fingersSOLO

poco rubato, con vib.

157

gliss.

158gliss.

159gliss. 160 poco vib.

161molto sostenuto,

pedal steel guitar effect

with slide

play retuned chops from gran gliss down

gran to spat, distant spinto SVPplay gliss, ramptime

triggers sfile, with delay

sfile retuned vibesisolated attacks record to SVPlay,

bowed, notor off

VIBRAPHONE

con Ped.

l. v.l. v.

con sord.

77



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

CC204

p

n pn mp

n mp

n mp n pp f p f p n

n mp n pp f p f p n

n mp n pp f p f p

162163 164

poco vib.

165

166sostenuto 167 168

without slideinaudible

strum with flesh of fingers 169

retuned vibes sfiles

gliss. sfile vib.

ramp in tremolo sfile vibes gliss. + motor

l. v. bowed, motor at 1.5 Hz l. v.motor at 2.5 Hz l. v.

con sord.

sim.

con sord. sim.

con vib. sim.

78



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

ppp mf

DD213

n mf p mp n

f

ppp p ppp pp mp p

pp p ppp

n p n

ppp p n

ppp p

ppp p n ppp p n pp p pp n

pp mf

détimbré

with slide 170171

con vib.172

without slide173 174

inaudible175

plus gran envs, trem ramp vibes + gran sfileretune granremove string record to SVP, echoes to Spat

gran in, retuned

attacks on ?bowed vibes sfile, plus 2nd layer gran attaacks-removed, sent to delay buffer and Spat1

sfiles retuned vibes, Mlys strumming

IV. II.

II.sul tasto punta d'arco

sul tasto port.

punta d'arcosul tasto

(punta d'arco)

79



Fl.

Cl.

Guitar (sounding)

Elec.

Mand.

Hp.

Perc.

Vln.

Vc.

Cb.

n pp f p mf pp

EE223

ppp mp n ppp mp

p ppmp

p pp

ppp ppp mp ppp ppp

mp pp p pp mp

mf pn p

n

n p f p f p mf

ppp f n pp

p pp n

176 177 178

3

1

port. 1791

2 6

+trem, sent to dela y 2 buffer playback minus low E string

trem to dacrecord distorted version to SVPlay

trem to Spat, trem+ dist no attacks to SVPlay see about buffer append mode!

I.

l. v.SUS. CYMBALS reversed mallets

I. sul pont.

I. ord. punta d'arco

sul tasto

Trapani CogCon Complete Score

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Transcript of Trapani CogCon Complete Score