Phases of Matter, in Space was composed as a collobaration between myself and Sarathy Korwar. The composition consists of an improvisational structure looseley based on a 'graphic score' that I created. It was written specifically for Sarathy, and incorporates tabla, live electronic processing in Max/MSP, and pre-recorded electronics. Our collaboration was part of the British Council's Year of Creative Collaboration, and was performed at the Arts Center at NYU Abu Dhabi, in December 2017.

Below, you can see the graphic score that the performer instructions were developed from, and the instructions themselves.

GRAPHIC SCORE



PERFORMANCE NOTES

This piece consists of 3 sections.

Section 1:

In this section, the performer alternates between introducing a timbre from a predefined list of "sounds". This list will depend on their instrument and be determined by composer and performer. In the case of our performance, with tabla, I have developed the program with the following timbres in mind:



In section 1 you alternate by introducing a sound, then improvising a simple, skeletal rhythm—"rhythmic object"—on that sound. This rhythm should be spacious, and simplistic. Moments of emptiness and silence are crucial in this section. Density, and ornamentation, and fills should generally be avoided, but are welcome occasionally.

When the rhythmic object is played, it will be accompanied by triggered FM synthesis sounds. When the "timbres" are introduced, these synths will have longer envelopes. During the rhythmic object, their envelopes will be short and percussive.

At the end of a rhythmic object, we stop and introduce the next timbre. The order that these timbres will be introduced is:

  1. [rim]
  2. [ta]
  3. [ge, ge+mod]
  4. [muted]
  5. [ebow]


The performer's attacks trigger samples of their instrument to play from a sound bank. This corresponds to the timbres they have played already. So for example, once the performer introduces the hi-resonant timbre, I advance the collection of sampled-sounds so that when attacks trigger the sound bank, they can make use of any timbres that have been previously introduced, but not those that are yet to be played.

During this process of timbre/rhythm object alteration, the reverb will expand. When the performer begins to hear FM synths that are being triggered, without relation to their playing, this signals the start of the transition to Section 2. Manually triggered (at the laptop) FM tones of increasing rate will build to a dense and long body of sound, and a larger reverb will be established. Drop out at this point. Let this ring and fade but not completely. Before the tones fade entirely, begin Section 2.

Section 2:

The performer should now improvise more densely using the rhythmic material they created with the rhythmic objects in Section 1. Care should be given to specifically recreate and re-combine the rhythmic forms that were conjured in Section 1. Generally, stay in an mf dynamic area.

In this section the performer will trigger changes in the Ring modulation. They should trigger a change in RM when, as they perceive, they are changing from one rhythmic idea to another. The RM change, more immediately perceptible to the listener, should frame the way the performer is re-interacting with the rhythmic material. Refrain from triggering RM changes unless you are consciously aware of the fact that you are about to change/cut/recombine rhythmic material from Section 1.

The end of Section 2 is signaled by the reappearance of the FM synths.

Section 3:

Section 3 fades from Section 2, marked by the return of the FM synth. The FM Synths are again triggered by the performers attacks, but now their frequencies are related to the FM. The performer may use the original pedal to trigger change in RM and FM frequencies simultaneously, or use only pedal 2 to trigger change in FM frequency only, maintaining the same RM.

The performer should begin section 3 with a sparse prelude, recalling the emptiness with which the piece began to allow the new RM tones to be embraced. From there, the performer should now improvise fully and more freely, paying less attention to specific rhythms from before, but keeping them in mind. Access a registry of long-term rhythmic forms if possible. If not, improvise freely. Play with heavy ornamentation, rapid changes in rhythms, unstable rhythms. You are influencing the generated rhythms. They are however not in your control. Let them inform your playing, as you inform them.

A visual cue from laptop musician will indicate final reverb swell. At this point, play chaotically, briefly. Stop playing when you feel you have reached dynamic and rhythmic saturation, not more than a few seconds of chaos, please. End as loud as possible, fff.

You may accompany the reverb as it fades out, lightly and sparsely or simple wait for the reverb to die.