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James O’Callaghan
ECM+ Génération2018 Workshop Composer’s Notebook
Close / Close
for solo cello, ensemble, and electronics
Sketches and propositions
James O’Callaghan� ECM+ Génération2018 Workshop Composer’s Notebook
Table of contents
�i
A. Introduction (English) Introduction (français)
iiiii
B. Questions for the ensemble: instrument-specific techniques
iv
C. Ensemble recordings: Impulse sounds and Impulse orchestrations
v
D. Reading of sketches: Field recording transcriptions
vi
F. Cello soloist transducer experiments and recordings vii
James O’Callaghan� ECM+ Génération2018 Workshop Composer’s Notebook
A - Introduction (l’introduction français suit sur page iii)
Writing a work for a tour puts into perspective an essential and fascinating problematic of written music: abstract musical principles are distilled into specific individual sound-events created in specific spaces by specific musicians. Rather than write music that neutralizes these circumstances, I would like to endeavour to ‘tune’ a work to the particularities of the various concert spaces where the work will be realized, and the specific instruments and instrumentalists that will realize it. In creating a new work for solo cello, ensemble, and electronics, titled Close / Close, I want to examine the relationship between the specific and the general, the individual and the environmental. The work’s title emblematizes the problematic relationship between the abstract and the particular with the homographic word pairing ‘close’ and ‘close’ - pronounceable with a ‘hard’ or ‘soft’ ’s’, the two words are written the same but could mean either the adjective ‘close’ (near to) or the verb ‘close’ (to shut or bring to an end). Of course, as a written title, the meaning is ambiguous: a given reader could understand the two words in any order or even read it as one word repeated. Through the two possible meanings, the work hopes to examine the tension between these related ideas: first, the intimacy of the solo instrument and the sensation of being familiar with one’s environment (as I and many of the musicians are with the locations of the tour - perhaps encountering different conceptions of ‘home’ along the way). Second, the idea of ‘enclosure’ (the cello and the concert hall as enclosed spaces) and claustrophobia.
Through the process of creating the work, I have begun researching the concert halls where it will be played, gathering recordings and impulse responses from those spaces to use as source materials to generate musical material that will respond acoustically in a specific way to the halls. During this workshop I will test some of my ‘orchestrations’ of the acoustic spaces I have so far recorded, including those inside and outside of the concert halls. I will also ask the musicians about the particularities of their instruments to inform my writing and generate pitch material designed to maximize the idea of resonance and especially sympathetic resonance between instruments and spaces. Finally, I will conduct some experiments with the cello soloist Chloé Dominguez to consider different strategies toward treating the instrument as a ‘space’ itself.
�ii
James O’Callaghan� ECM+ Génération2018 Workshop Composer’s Notebook
A - Introduction
Écrire une œuvre pour une tournée met en valeur une problématique essentielle et fascinante de la musique écrite: les principes musicaux abstraits sont distillés dans des événements sonores individuels et spécifiques créés dans des espaces spécifiques, par des musiciens spécifiques. Plutôt que d’écrire une musique qui neutralise ces circonstances, je voudrais essayer d’ajuster l’œuvre aux particularités des différents espaces de concert où la pièce sera jouée, de même qu’aux instruments et instrumentistes spécifiques qui vont la réaliser.
En créant cette nouvelle œuvre pour violoncelle seul, ensemble et électronique, je veux examiner la relation entre le spécifique et le général, l'individuel et l'environnement. Intitulée Close / Close, l'œuvre symbolise la relation problématique entre l'abstrait et le particulier mise en relief dans le titre par l’utilisation de ces deux mots anglais homographiques. En effet, prononcés avec un «s» «dur» ou «doux», les deux mots s’écrivent de la même manière, mais peuvent signifier soit l'adjectif «close» (proche) ou le verbe «close» (fermer, ou terminer). Bien sûr, en tant que titre écrit, le sens est ambigu: un lecteur peut lire les deux mots dans n'importe quel ordre ou même les lire comme un seul mot répété. Grâce aux deux significations possibles, l'œuvre espère examiner la tension entre ces idées liées: d'abord, l'intimité de l'instrument soliste et la sensation d'être familier.ère avec son environnement (beaucoup de musiciens de l’ECM+ et moi-même connaissons bien les lieux de la tournée - peut-être rencontrent-ils.elles des conceptions différentes de cette impression de «chez soi», en cours de route). Deuxièmement, l'idée de «fermeture» (i.e. le violoncelle et la salle de concert, en tant qu'espace clos) et la claustrophobie.
En amorçant le processus de création de l’oeuvre, j'ai commencé à rechercher les salles de concert où la pièce sera jouée, recueillant des enregistrements de ces espaces faces aux impulsions sonores, afin de générer du matériel musical qui répondra acoustiquement aux salles, de manière spécifique. Au cours de cet atelier, je testerai certaines de mes «orchestrations» des espaces acoustiques que j'ai enregistrés jusqu'à présent, tant à l'intérieur de ces salles de concert, qu’à l’extérieur de celles-ci. Je demanderai également aux musicien.nes de me faire connaitre les particularités inhabituelles ou remarquables de leur instrument pour guider mon écriture et générer du matériel musical (ex.les hauteurs) afin de maximiser l'idée de la résonance et surtout la résonance sympathique entre instruments et espaces. Finalement, je ferai quelques expériences avec la soliste Chloé Dominguez pour envisager différentes stratégies visant à traiter le violoncelle en tant qu’un «espace», lui-même.
�iii
James O’Callaghan� ECM+ Génération2018 Workshop Composer’s Notebook
B - Questions for the ensemble: Instrument-specific techniques
(10 minutes)
I am interested in the sounds each of the ensemble’s instruments can make that are unique to that instrument (or are at least not standardized for the instrument). I know of some things like this exists for string instruments and would like to hear first:
1. the pitches of the strings below the bridge - record each of the string instruments playing each string arco, then pizzicato a- violin I b- violin II c- viola d- cello 2. wolf tones- do any of the string instruments have audible ‘wolf tones’? (esp. cello - often around Eb-F#2?)
3. Do other instruments have similar peculiarities? I’d like to hear them! a- percussion b- woodwinds (flute, clarinet, bassoon, horn) (piano not included — because the piano will be different at each concert hall!)
�iv
James O’Callaghan� ECM+ Génération2018 Workshop Composer’s Notebook
C - Ensemble recordings:Impulse sounds and impulse orchestrations
(15 minutes)
1- Recording of individual impulse sounds (10 minutes) I would like to record the sounds of individual instruments making ‘impulses’ (very short, noise-based sounds) for my orchestrational research and for potential use in the electronic part of the piece. I would like to record each instrument separately. a. Winds/Brass:- all: breath impulses with and without mouthpieces, high/low sounds - flute + a.fl: tongue ram (with minimal pitch) - clarinet + b.cl: slap tongue (with minimal pitch) b. Percussion: - slap stick- stick on the rim of snare - sticks together- various woodblocks c. Strings:- muted-string bartok pizz (different strings/muting points) - hit body of instrument (different positions) 2- Recording of Impulse orchestrations (5 minutes) Ensemble: read through the three short ‘orchestrations’ of hall impulses I have made (see score p.1): a. Rolston Recital Hall (Banff) b. Eckhardt-Gramatté Hall (Calgary)c. The Annex (Vancouver) For each a- b- c orchestration: - Play source sound and manipulations for analysis - Read through orchestration at least twice
�v
James O’Callaghan� ECM+ Génération2018 Workshop Composer’s Notebook
D - Reading of sketches:Field recording transcriptions
(30 minutes)
In addition to creating material that responds to the specific concert halls where the work will be performed, I am also interested in the larger environment in which they are situated. To that end, some of the writing in the work will be based on transcriptions of field recordings I have made nearby the halls. As a ‘proof of concept’ I have made two sketches based on field recordings from Banff and Vancouver. In the work, the electronic part will synchronize manipulated versions of these recordings creating a continuous blurry transformation between the source environmental sounds and the instrumental imitations.
1. Banff (Hoodoo trail, wind and creaking trees, crows, twigs and branches, frozen stream) (p. 2 to 4 in score) a. play source sound file (ca. 1 min.) b. read through c. comments and questions d. read through again
2. Vancouver (The Annex, Seymour st., traffic) (p. 5 to 8 in score) a. play source sound file (ca. 1 min.) b. read through c. comments and questions d. read through again
�vi
James O’Callaghan� ECM+ Génération2018 Workshop Composer’s Notebook
F - Cello soloist transducer experiments + recordings (15 minutes)
I’m considering adding a performative electronic part with a portable transducer for the cello soloist Chloé Dominguez. I’d like to experiment with a few techniques today.
1- performative application of transducer-head playing impulses and sine tones Apply the transducer-head to various parts of the body of the instrument and the strings (the transducer is connected to a portable recording device pre-loaded with these sounds) 2- feedback generated by resonant space of cello Apply the transducer-head to the cello while positioning the microphones of the portable recording device nearer and farther away from the f-holes (transducer connected to playback of recording device with record-monitoring turned on
VOICEI’d like to also record some vocal material from Chloé to potentially create material that will play-back her voice through her cello via the transducer: 3- sung notes Sing the notes of the cello’s below-bridge strings : a- with vibrato b- without vibrato4- recite text * a. Recite the following text urgently and quickly : “J’habite ici, je suis né ici, j’ai grandi ici, j’ai jamais été ici, je connais cet endroit, cet endroit me semble étrange, c’est ma première fois ici, je viens ici souvent, je ne sais pas où je suis, je sais d’où je viens, je ne sais pas où je vais, je viens de savoir où je vais, je vais savoir d’où je viens” b. Say calmly and deliberately :
“Close, Close” (like an up and down-bow…)
* Note from the composer : This text material will only appear in manipulated form, if used in the piece
�vii
James O’Callaghan
Close / CloseSketches
for solo cello and ensemble (2018)
Score
Close / Close (Sketches) James O’Callaghan
for Chloé Dominguez and l’Ensemble contemporain de Montréal
INSTRUMENTATION Flute, doubling piccolo and alto flute in G Clarinet in Bb Bassoon Horn in F Percussion: Slap Stick Various woodblocks (at least 5) Snare drum Bamboo Chimes Suspended Cymbal (dark) Bass Drum Mallets: Rute, Sticks, Soft mallets, Superball mallet, Wire brushes Piano with hard yarn mallet (for striking strings) and cloth (for muting strings - optional) Solo Cello 2 Violins Viola
DURATION: ca. 3 minutes
PERFORMANCE NOTES
The score is written at concert pitch. Natural and artificial harmonics in the strings are notated as fingered.
The indication 'ord' (ordinario) resets techniques and bowing positions to defaults.
Noise-based techniques are written on a single-line staff. Note height is only used as a rough illustration of brightness of sound - pitches can be fingered on the instruments to facilitate this at the musician’s discretion. Some techniques will naturally have some pitch, but should be performed in a way that emphasises the noise.
Dynamics of noise-based techniques are relative and indicate an approximation of the desired result, and not necessarily the amount of energy required to produce them. Dynamics are written in parenthesis where the resultant sound will be either much softer or louder than ordinario playing.
Terminations of sounds:
Notes are tied to bracketed noteheads to emphasise sustaining continuity of sound to the end of the note duration.
An open tie indicates letting the sound ring until it dies completely. It is equivalent to 'l.v.' (lasciare vibrare).
The damp symbol, when written over a rest indicates the opposite – all ringing must be muted at the end of the note. When over a note, the damp symbol indicates a hand-muting of the instrument while playing. When connected to an arrow, continue muting, sempre.
Glissandi:Two different notations of glissandi indicate whether the first pitch is sustained or if the bend in pitch begins immediately. 1. Sustain first pitch and begin gliss at point indicated (after headless note stem, at start of line). Continue gliss until end of final note, unless the final note has a tenuto marking, in which case the final pitch should
be emphasised for the duration of the note. 2. Begin gliss immediately and continue evenly from the beginning of the first note to the end of the second.
Boxed material: Material in boxes is to be repeated or improvised on ad lib. following the arrow, until the next rest. Text descriptions accompany specific boxed material in score, specifying additional details.
HORNGroan into horn: vocalise into horn with egressive vocal fry (always approximate pitch)
Kiss: suck air inward through the aperture causing a vibration at the lips which will be amplified by the horn (always approximate pitch)
PIANO Mute strings: dampen indicated strings to minimise vibration while striking the matching keys - may be achieved with the flesh of the palm or with a thick cloth laid over the specified strings. STRINGSMST = molto sul tasto MSP = molto sul ponticello clb = col legno battuto clt = col legno tratto
�ii
INDEX OF SYMBOLS d , + Quarter tone flat, quarter-tone sharp
Dashed slur: sustained continuation of re-articulated sounds
� Crescendo to and from silence
Molto crescendo: sudden increase in dynamic at end
Feathered beams: accel. or decel. freely number of notes ad lib.
Crossed beam: rapid rhythm ad lib.
Irregular, sparse articulation ad lib.
Continue playing or improvising indicated material Gradually change from one specified way of playing to another
Use palm of hand on body of the instrument to produce percussive sound
Use fingernails on body of instrument
Woodwinds X-stem: key-click (sometimes combined with breath) Breath sound (no pitch) combination of air / pitch
Strings Bartok pizzicato Bow over bridge (noise-based sound, no pitch)
Fingerboard clefs: bow on fingerboard - note height corresponds to position (high = molto tasto, low = molto ponticello, reverse for cello)
Play on the body of the instrument - note height corresponds to position on instrument
heavy bow pressure, dense sound
extreme bow pressure (‘scratch tone’)
vertical bowing
�iii
�iv
°
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Copyright © 2018
Piccolo
Clarinet in Bb
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Score in C
Rolston Recital Hall, Banff
James O'CallaghanClose / Close
For Chloé Dominguez and l'Ensemble contemporain de Montréal
Sketches
Eckhardt-Gramatté Hall, Calgary
The Annex, Vancouver
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