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LeeBarry / BrokenCelloLeeBarry

 

LeeBarry
page last updated Sun, 26 Apr 2009, 10:35am PDT

 

 

Description
A piece for solo cello for performance with a recording of itself, playing in 1-2 devices set on continuous random play. The piece may also be performed by 2-4 players, with or without the recording(s).

 

 

Keywords:   cello, experimental, loops
Duration:   infinite minutes
# of Performers:   1-4

 

 

Materials / Instrumentation / Performers
iPods or CD Players, Video Projectors and Screens opt

 

 

Files
Broken Cello - Lee Barry.pdf

 

 

Score / Notes
Instructions

 

1. Record each phrase and save into separate sound files (WAV). (Play each phrase smoothly and leave 1-2 seconds in the front and back of the files. Feel free to extend each track with silence. Added silence to each phrase will increase the probability of more space in the music)

 

2. File naming: phrase#_last_first.wav (20_jones_david.wav)

 

3. Transfer files to CD or other media or device. (It is optional to include the loop phrases in the randomization. Loop phrases will not be in sync in the shuffle order and will result in a cacophony of rhythms. It is recommended that only the single notes and phrases be included in the random shuffle of tracks.

 

4. Connect outputs of devices into a mixing board and set on continuous shuffle, or in normal
sequence a few seconds apart, i.e. start one, then start the other)

 

5. In performance, play phrases in any order against the tracks playing in random order in the
background. A typical configuration is to shuffle the single-notes and phrases and play the loops against the background.

 

Other Ideas:

 

1. Connect the outputs of each system to a mixing board and record the output.
(Effects and other processing can also be added.)

 

2. Make a set of discs with 3-5 sounds on it and random loop them, recording
the output. (Instant film music, with lots of variations!) These discs can also
be used in live performances using portable players and controlled at the
mixing board.

 

3. Apply treatments and effects, transfer to media, then incorporate the new
sounds back to the mix.

 

4. Use with visuals: Multiple projectors on one screen, dissolving into
each other. Another approach would be to use contextual information, for
example, pastoral scenes placed against war scenes. (This would be an
ironic juxtaposition with soft music.)

 

5. Use for soundtracks in multimedia and films, as they create endless variation based upon a well-defined set of diegetic and non-diegetic sounds.

 

 

 

Recent Performances
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Comments
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