aaron brooks energy shapes - university of...
TRANSCRIPT
ii
Program note:
Energy Shapes is a slightly messy conglomeration of influences derived from musical styles and musical ideas that are dear to me. Heavy metal energy, modernist rigor and abstraction, and electronic noise all play a part in its multi‐variant musical argument, which attempts an affective experience that is both directly visceral and intellectually subjective. Its harmonic and rhythmic structures are similarly messy. Each of its two main movements features a microtonal retuning of the open strings that brings overtone series derived frameworks into unpredictable interactions with the guitar’s fretted, equal tempered construction. Rhythms are derived from the superimposition of various tempi, meters, and gestural types, creating a sort of crowded dance floor of disparate, simultaneously moving bodies that pleasantly smash against one another in not‐quite‐unison.
Energy Shapes is copyright © 2014 by Aaron Brooks
The piece uses two microtonal retunings, given below as equal tempered pitches with cents offsets. These tunings combine a basis in just intonation with the guitar's fretted, 12 tone equal tempered construction to produce a variety of harmonic and melodic sounds. The guitarist may use the provided tuning recordings/reaper sampler patch to tune to by ear, or may use a microtonally capable tuner, such as those made by Peterson Tuners. Three types of accidentals (conventional/no accidental, quarter tone accidentals, and arrow down accidentals) are used to approximately represent the resultant sounding pitches. Tablature is provided throughout. The guitarist may wish to use two guitars to speed up the transition between movements.
C-31c
Movement 1's tuning is based on the 7th and 11th harmonic partials above an equal tempered D natural fundamental. Alternate fingerings may occassionaly be possible.
G+51cD G+51c
C-31c D
Tuning and Accidentals
E
Movement 2's tuning is based on a sequence of stacked 7th harmonic partials beginning on an equal tempered E natural fundamental. As each string is tuned to a different cents offset, the given fingerings in the tablature must be followed exactly.
Accidentals always carry through the bar and never transer the octave.
Natural Harmonics are notated at the sounding pitch of their corresponding normally fretted note.
A+7c
D-31c
Ca. 1/4 sharp, 3/4 sharp, 1/4 flat, 3/4 flat.
The given pitch is lowered slightly.
G-24c
C-62c F-55c
iii
The electronic part consists of two types of material. The first is a collection of 10 "sound masses," which should be assigned, one each, to the drawings in the score, with the order left to the performer's discretion, and triggered in real time, allowing for rhythmic flexibility in movements 1‐1 and 2‐2.
The second type of material consists of three spans of fixed media electronics which accompany movements 1‐2 through 1‐4, 2‐1, and 2‐3 through 2‐4.These spans should be triggered where indicated in the score. Optional click tracks have been provided to aid in rhythmic coordination withthis material.
The 10 sound masses, 3 spans of fixed audio, and 12 tuning pitches are triggered from a Reaper sampler patch, and are mapped to a 61‐note MIDI keyboard as follows (click tracks are routed to outputs 3‐4 and should not be audible to the audience). Audio files may be provided should the performer wish to use a different sampler.
An entirely fixed media version of the electronic part, with or without click track, may be provided should the use of a sampler prove logistically prohibitive. In this case, the performer should take care not to finish significantly before or after the electronics in movements 1‐1 and 2‐2.
10 Sound Masses (1‐1 and 2‐2)
1‐2 through 1‐4(begins with a long pause)
2‐1 2‐3 through 2‐4
Electronics and Rhythmic Notation
The rhythmic notation in movements 1‐1 and 2‐2 is designed to allow the performer significant interpretitive freedom within a rhythmically amorphous language. 1‐1 uses proportional notation within bracketed tempo changes to create a gestural character. 2‐2 uses pulsed material withinthese brackets to create a constantly shifting tempo landscape. The performer should not attempt to maintain the same tempo between different bracketswith the same tempo indication. For example, one "moderate" bracket should not necessarily be played at the same tempo as another "moderate" bracket.In certain cases, a gradual shift in tempo is indicated via a dashed line between two tempo indications within the same bracket. Dashed slurs indicate that notes should be played without pauses between, with the end of the slur indicating where the note should be released.
Movement 1 ‐ Keyboard notes for tuning pitches
Movement 2 ‐ Keyboard notes for tuning pitches
iv
Aggressive and abstract
molto espressivo, vibrato and portamento as desiredmf ff
mpff
2
mp f mf ff mp f mp ff
3
mp f mf ff f p f mf p
1-1. Burst, Squiggle, Blot
Electricguitar
G+51cC-31c
D
D
G+51cC-31c
(scordatura)
Distortion onWah on Wah
Heel Fast Toe
WahHeel Toe
Slow
WahHeel
Moderate
Toe Heel
ElectronicsSound masses (assign one sound mass to each drawing, trigger with a MIDI controller)
WahToe
Moderate
pizz.
Heel
ord.
Toe
Heel
Toe
pizz.
Very Fast
ord.
WahHeel
Toe Heel
Very Fast Toe
Heel Toe
Very Slow (Toe)
pizz.
Heel
000000 0
36
25
56
122
07
76
7 518
77
76 6
65
66
12 13 12 13 12 13
08
1012 13
1116
15 15
14 15 14 14151413
104 4 4 4
1613
14 15 14 18 7
76
1
1
4
mf
ff
mf ffmf ff
mp ff mp
5
ff mf
mp fmp ff mf
6
mp f mp
mf p f mf f mp
WahToe
ord.Slowpizz.
(Toe)
Moderate
f
Heel
Heel
ord. Toe Heel
Toe
pizz.
Fast Heel
ord. Toe
Heel
Wah Heel Toe
Heel
pizz. ord. pizz. ord.
Very Fast Toe
pizz.
Heel
ord. Toe
Heel
pizz.
Moderate
CleanWah off
Slow
pizz. ord.
Moderate
pizz. ord. Fast
76
0 0 0 0 0 0 0
1218
1419
1
26 7
0 3
519
13 1514
16 56
6
6 5 75
6
56
6 43
017
10 10 1017 17 0 0
13 1411
1412 7
913
511
7
0101 14
1013
0 68
77
7 85
75
56
30
2
7
mf mp f mf p f mp
ff
8
mf ff mpf
ff
9
f pmf
mp
f fff
Very Slow Moderate
pizz. ord. Fast
Slow
pizz.
Distortion onWah on
pizz.
WahHeel
ord. Toe
Heel
Fast
CleanWah off
Slow
Distortion onWah on
Toe
pizz. ord.
Heel
pizz.
Moderateord.
Toe
CleanWah off
pizz. ord.
pizz.
Distortion onWah on
WahHeel
ord. Very Slow
pizz.
Toe
ord. Very Fast Heel
pizz.
Toe
ord.
pizz.
ord.
pizz.
ord.
Trigger electronic part for 1‐2 through 1‐4 here
5646
50
35 0
90
9
815
814
4064
0 0
011
136
12 12
13 13 13
11
000 6
87
6
0 8 8 8 87
147 7 7
8
6
10
2 2
777777
86
00
05 4
1
0 0 0
1113
18 1918181916 1716161716 0
1311
6
0
21
0 0 0 0 0
212121 21
0
21
3
q = 80 Ritualistic
p mf
7
p mf mp
12
mfp mf mp
1-2. Mechanism
( x 4 )
Clean, let harmonics ring as much as possible
pizz. ord. pizz. ord. pizz.
5:6e 5:6e 5:6e 5:6e( x 4 )
drums
Bending Harmonics5:6e
pizz. ord. pizz. ord. pizz. 5:4e 5:4e 4:5e 4:5e 4:5e3:2q 3:2q
3:5e
4:5e
3:5e
4:5e
7:10e
ord.pizz. ord. pizz. ord. pizz. ord. pizz. ord.
pizz.
5:6e 5:4e3:2q 3:2q 3:2q
5:6e 5:6e 5:6e 5:6e 5:4e
7:8e
5:4e
12 12 1212 12
12 12 12
68
12 12 128
6
7 7
68
13
7 7 712 12
127 8 8
7 7 7 7 1113
12 1212
77 7 7 7
12 1113
11
12 12 12 12 1211
7 7 7 66
1212 12 12
76
8 7 7 712 12
7 7 713
1112 12 12
6
4
16
mf p mf
22
mfmp
p mf
28
mp
p mf
pizz.ord.
pizz. ord. pizz. ord. pizz.
ord.
4:5e 4:5e 5:4e 5:4e 5:4e
3:2q 3:2q 3:2q
7:10e 3:5e
5:6e
pizz. ord.
3:2q 3:2q3:5e
5:6e
5:6e
7:8e 5:4e 5:4e
pizz. ord.
pizz. ord. pizz.ord.
7:8e
5:4e 5:4e
5:4e
5:4e 5:4e
5:6e 5:6e 5:6e
12 127
7 76
7
137 7
1212 12 12
1311
86
77
7 7
6 777777
1212121212
5064
12 12 56
4
1312
12
5 5 55 5
74 0
000
5
57
4 47
12 126
1113
7
6065
5
33
p f mp p fmp f p mf p
38
mf f p ffmp p mf mp
44
p mp p mf
(Downstroke strums) ord. pizz. (Downstroke strums)
ord.
pizz. (Downstroke strums)
ord.
5:6e 5:6e
5:4e
4:5e5:4e 7:10e
4:5e
ord. pizz.
(Downstroke strums)ord. pizz. ord. pizz.
5:4e 5:6e 5:6e
Drums
5:4e
7:8e
5:4e
5:6e
5:6e 5:6e 5:6e
ord. pizz. ord.
Bending Harmonics5:4e
7:8e
5:4e 5:6e 5:6e 5:6e
6065
6065
6065
6065
0665
57
5
7
5 55064
5064
5064
5064
5064
5 5 51 1
0000
0000
0000
0000
0000
777777
777777
777777
777777
125 4
66X557
6X557
6X557
6X557
6X557
6X557
6X557
6X557
6X557
6X557
7 712
7 712
712
7 811
8 65 5
411
12 12 127
58
57
12 12 1212 12 12
12 12 12
68
6
6
49
p mp p mp mf p mf
54
p mf p mf
mp
59
5:4e 5:6e 5:4e
3:2q
3:5e
4:5e 4:5e
7:10e
4:5e
5:4e
7:8e
5:4e
5:4e 5:4e 5:6e
3:2q
3:2q 3:5e 5:6e
7:8e
( x 3 ) ( x 3 )
3:2q
5:4e
5:6e 5:4e 5:6e
12 12 128
6
7 7
68
137 7 7
12 127 7
54
127 8 8
7 7 7 7 1113
12 1212
7
7 7 7 7
612 12 11
1311 12 12 12 12
117 7 6
612 0
000
6656
777777
5063
7
q = 70 Relaxed and Bluesy
p f p f mp
5
ffp mf
mf f p ff
10
mp f p mf f mp mf mp f p mf f
1-3. Drop, Float
Clean, let notes ring/overlap as much as possible
pizz.ord.
3 3
synth bass line
8:7e 8:7e 8:7e 8:7e
pizz.
ord.
8:7e 8:7e
8:7e
8:7e
8:7e
8:7e 8:7e 8:7e 8:7e
8:7e
3
8:7e
3
3
0
00
0 0 5 00
1 00
0X00
0 0 0 00
05
07 5 8 7 5
05
0
0 7 06
65
6
6X656
6X656
6X656
6X656
6 6 6 6777777
777
77
75
60
3
5063
5063
0
01 0
0 5 0 36
05
5 7 56
6
6
36
56
05 4 5
66
5
777777
777777
777777
777777
8
16
p fmp f p mf
f
21
mf ff f mp f
26
mp mf mp mf mp f
3
6:5e 6:5e 6:5e 6:5e
6:5e
6:5e
3 3
6:5e
6:5e
6:5e 6:5e
(changed)
6:5e
6:5e
3 3
6:5e 6:5e 6:5e
00
00 3 0
00
66
5 77
78 6 9 8 6
5000
0 80
1 0
77
7
3 5 30
5 5063
5063
6656
6656
5 76
60
00
5063
0
0 7 50
77
77 5 3
00 3
0 2 07
7777
65 7 5
6 00
3 56
35
6 6656
9
31
ff f p fp
35
f mp f mp f p
39
f mp f mp ff
pizz. ord. pizz.
3 3
3
6:5e 8:7e
6:5e 8:7e
Ord. 6:5e 8:7e
6:5e
3
8:7e
3
38:7e 6:5e
3
6:5e
8:7e
6656
6656
5 7 56 0 6
6 6 6 6
8 5 76 6
9
0 10 00
0
4 1
0 3 0 3 6 5
3 06
0 0 0
0 12 1415
17 140
0 30
6
12 1012
3
5063 15 17
14 17 05
6 4 6 70 3
6
0
012 14
12 14 1215 17
1617
1818 6
56
4 6 96 7
777
77
77
15 1715
17
150
185063
5063
5063
10
Granular Sounds
Switch guitars for movement 2 if using multiple guitars.Tune if using a single guitar with a silent tuning method.
Ca. 1 minute
Tune for movement 2if using a single guitar without a silenttuning method, then trigger 2‐1.
1-4. Interlude #1
11
Synth Pad
q = 84 Mellow
mf p
6
mf p mf
10
mp p mfp
Electric Guitar
2-1. Calming Beam
G-24cD-31c
C-62cF-55c
A+7cE
(scordatura)
Clean, let notes ring/overlap as much as possible within each measure
3
3 53 5 5
Electronics
3
3
53
5
3 5 5
3 5
3 3 5 3
55
000000
0
1515
00
121212121212
777777
09
90 8
708 8
78
07
66
60
0212
21
00
13 150
1512
1212
127
7
910 9
00
87
88 8
0
00666 5 6
06
61
0 2 212
12
14
f mp
17
mf f
20
mp mf p
3 5
3
3 5 5 5
3
5
3 5
5 5 5
3
5 5
5
3
3 3 55
3
000
1515
0
16 150
14 15
012
1212
77
7
77
0099
0
99 8 9
90
89 8
70
85 7
06 4 6
60
62 1 2
12
10 2
00
17 1515
0
1212
12
777777
90
10 90
13
23
mfp
26
mf mpp
29
mf p
35 5 5
5
5 5
3
33
5
3
5 5
5
10 8
07
8
00666
66
20 2
1
015
015
127
99
0
8
08
70
6
60
22
14
Aggressive and abstract
ff molto espressivo, vibrato and portamento as desired mf
2
ff mf
3
ff mp mf ff
Distortion on
2-2. Triangle, Zig Zag, Dash
pizz.
ord. Fast
Moderate
pizz. ord. Fast
Sound masses (assign one sound mass to each drawing, trigger with a MIDI controller)
Very Fast pizz. ord. pizz.
Sloword.
Fast
Fast pizz. ord.
Moderate
pizz. ord. Very Slow
Very Fast
0 0
15 1615 16 14 14 14
9 010 10 10
012
117
8
714 6
8
0 0 0 0
9 100
9 8 105
0 0
8 9 108 9 8 7
90
137 8 7 7 9 7 7
118 8 8
00
106
66
101 2
12 2 2 2
7
14 1614 16
0 0 07 6
010
0 0 0 1
711 12
12
6 86 1
7
813
7 9 80
8 8 8 813
15
4
ff
mf
5
ffmf f mf
6
ff mf ff
Very slow
Very fast
pizz.
ord. fast
Very fast
Moderate
Very slow
fast Very fast Moderate Very fast Slow pizz.
ord.fast pizz. ord.
Moderatepizz.
ord.
Very fast
Fast
Very fast
Very slow Fast
Very fast Moderate
Trigger electronic part for 2‐3 through 2‐4here
8 9 108 9 10
04
00
5 60
67 6 5
75
711
2 10 2 1
2 26
11 11 11 110
1615
15 1419
11 1311 13
11 13
11
12
67
60 0 0 0 0
99 8 10 10
80
90
47
8 78 7
8 7
010
0
67
06 7 0 1 2
1 22
315
016
1516 15
1620
15 15 15 1520 20 20 20 20 20
15
6
712
68
8
7
16
q = 70 Resolute
6
10
Drums and sound mass
2-3. Interlude #2
Electronics
synth bass line and sound mass
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
6:5q
17
q = 60 Plaintive, building
p
5
9
mf p
Electricguitar
2-4. Open
Electronics
drone (timbrel cresc./dim.)
drone (timbrel cresc./dim.)
Drums
synth bass
7:9e 7:9e 7:9e 7:9e
7:9e
7:9e
7:9e 7:9e 7:9e 7:9e
7:9e
7:9e
7:9e 7:9e 7:9e 7:9e
512
05
12
5
012
55
1212
12
00
12
512
00
12
0
1212 12
512
512
00
1212
5
0
55
18