CELL & SILENCE
a sound (duration btw approx 3’’- 8’’ followed by silences with varying durations.
Subtle variations in timbre, dynamics, attack and ending
one or more players (if two players: one starts the other responds (the response having any character but still cell quality)
variation:
the silences may be ‘played’ by one er more players embedding in the reverberation from the cell player
DRONE(S) & LAYERED SUSTAIN
1. long continuous sound (variation in timbre and dynamics (incl subtle cresc-decresc), 'shut on-shut off') 2. small interruptions individual/more
3. sustained sound for varying duration btw approx 5-10 sec. then stop/pause shift to new sound/pitch
BROKEN MACHINE
repeat (individual) pulse/simple rhythm one (or more) sounds/rhythms slightly disrupted by glitch/irregularity and (individual/collective) stops
Development & possible transitions for MACHINES
- subito tutti shift to new machine (evt contrasting) on cue
- fade to silence to new machine (w new tempo and rhythm pattern) or repeat first machine
- reduce (omit single sounds - keep tempo/(inaudible) structure
- deconstruct
VEIL
Strings (or other). Player 1: short gesture (two connected sounds). Player 2 responds w/ short gesture - then pause. (Player 1 & 2 are connected as one gesture)
3rd (or more) player(s) one sound in btw 1+2
SILENCES:
1. tutti silence
2. (shorter) silences in a continuum (individual or tutti)
3. silencing/quieting: very silent continuous sound (on the border of silence) ppppp-p
LAYERED PULSE/PULSE CARPET
Repeated sound/pitch (shorter or broader).Players choose different tempi. There can be irregularities
Variations:
1. Change sound and/or tempo once in a while A: individually B: tutti on cue
2. Individual (slow) crescendo or diminuendo or pause
4. Tutti non-pitch sounds evt change btw/ pitched and non-pitched
5. one (or more) can be free in improv inside the pulse carpet
MODES examples
excerpts from rehearsals and Session concerts. For full instructions text see MODES LIBRARY pdf under MODES
BOWING (tutti)
individual choice of bowing material
slow to very slow bow speed albeit individual.
bowing movements: down-up, circle movement, bouncing ao
Filtered noise or pure noise: very light bow pressure for pure noise (avoid pitch and overtones)
variations:
tutti/individual bouncing (if possible), tutti col legno batt (bouncing w/ the woodside of bow), varying bow pressure
About - Sub Habitat - Modes --- Sessions - Listening - Context and Afterthoughts
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BOWING came out of a playing style, that I use from time to time in small constellations or solo play. Bowing the saxophone bell and/or right side. I used it multiplied a few times in other compositions for ensemble before exploring it with Sub Habitat. BOWING (the way we play it in examples) relates to NOISE, SUSTAIN, SILENCING
slowly moving, transforming mass - back and forth, spatial, depth in the picture. layers bleeding vertically, Static but alive. Vibrating surfaces. Weightlessness, floating in and out of space, displacements, gathering and spreading, repelling, friction and smoothness. Mass and slow micromovements create it's own logic and intention. Shorter sustains can be plateaus/stairs: landing, stopping/slowing down movement and time
stop/slowing down time opens (the inner) space. the inner space connects with another space. Silence is alive too. Energy. A stream. Ma. Silence is both texture(MODE) and form structure.
stream of pulsations, sometimes distinct sometimes soft outlines, tutti distinct and mechanical may occur but only briefly. in motion and static at the same time. sometimes intensely directional sometimes resting in being/breathing. pulsations may be irregular. or can be rapid and frenetic. sustain and layered pulses may be intertwined.
blurred contours, porous surfaces, semi-transparent. something is hidden. distance, spatiality. dream or hallucination. weightlessness, transencce
mechanic or organic entities doing their thing repeatedly - weaved into each other sometimes glitches or micro interventions, broken, slow motion machines exist too
the energy in the silence between the sounds is just as important as the sounds- maybe more important? Isolation but still (invisible/inaudible)relations,sometimes magnetism,the border between sound and silence suggests the quality of the silence(Takemitsu),no obvious feeling of pulse except eventually soft pulsations in a sustained sound
calling out for someone, for something. perhaps only marking the territory, no response? listening to the silences, persistent loneliness but also a spine where sonic events can dance around. Feldman: decay is more important than attack. sound is pulled out of a backdrop of silence, time is space in slowmotion
