An improvisation for ensemble and oscillators, exploring the motion of sounds within sounds and beat patterns. Performed by Agnes Szelag (cello), Theresa Wong (cello), MaryClare Brzytwa (flute), Emily Packard (violin), Ben Bracken (guitar), Noah Phillips (guitar), Liz Meredith (viola) and Max/MSP.

listen

For any number of instruments, computer (with an input for each instrument), max patch (set with input for each instrument).

1. Each must have transducer entering computer suitable for detecting pitch and amplitude.
2. Ability to modulate pitch microtonally and intensity (amplitude) on a micro scale.
3. Instruments capable of just intonation are preferred, but tempered or other creative tunings will add interesting effects.

Goals

Explore the motion-vibrations of sounds within sounds.

Play as often as not.   Listen to and mimic the beating patterns of the sounds surrounding you.   Find which oscillator responds to you, and play with it.

Guides

Play long tones of a single pitch. Modulate in intensity and pitch on a micro scale, chosen from the pattern-guides shown below.

One player begins, whose first note becomes the first "basis" pitch. The other players listens then respond with a pitch of one of the following relationships:

 

Continue exchanging pitches of these relationships to the first basis pitch, sometimes overlapping with others, other times within a conversational texture.  

One performer signals to the others (e.g. nods or stands up) the intention to reset the basis note to the next note played.   Continue with the exchange using only new pitches derived from the relationship to the new basis.

After resetting by consensus two times, each player may reset her own basis pitch without telling the other performers two more times before deciding to stop playing.

If possible (i.e. the basis is an open string and you are a string player), utilize natural harmonics and the possibility of double-stopping or rocking between octaves to create beatings.

Pattern Guides

Loop the patterns.   Either apply one per note event, chain together, or allow the loops to drift into one another.  

Patterns are to be applied to any one or combination of:

pitch	range of 1/4 tone (some 1/2 tones ok)
intensity	vary the bow pressure within a bow stroke or breath, creating small distinctions while maintaining overall continuity
harmonics or octaves	shifting between non-harmonics and the fundamental or fingered pitch, as well as octaves