OSVALDO GLIECA

Changing Perspectives
for any instrumentation up to four players

MMXIII Osvaldo Glieca osvaldo.glieca@ymail.com

Performance Directions
Changing Perspectives is a work between one to four musical instruments. Ideally, the instruments should be of a contrasting timbre, in order that each melodic line is clearly discernible. The work is in a minimum of two movements, but may be cast in three or four depending upon the enthusiasm of the players. Players can either sit opposite each other, or at 90 degrees to one another, but not side by side, the intention being that each player reads from a different side of the score that consists of two different elements; a frame which attempts to portray the illusion of threedimensional space, and a number of circles that contain the musical information. The circles are best thought of as solid spheres suspended within the frame of the score and as being distanced and related to one another spatially by three dimensions. All the information needed by the performers is contained within pattern of spheres. Pitch, loudness, duration, and even timbre, can be deduced by interpreting their relationship to one another horizontally, vertically, and by their depth within the score space. For example, the position of a sphere on the vertical axis relative to the player is used to determine the pitch of the note to be played. Similarly, depth within the score space is used to deduce loudness; spheres in the distance indicate soft sounds and those closer to the performer, louder sounds. Calculating the duration of a note is a little more complex. Players progress from one sphere to another, in any direction and to any location, at a fixed rate tempo. The duration of a given note is determined by the time it takes to travel from one sphere (the note currently being played) to the next. Depending upon the capabilities of the instruments chosen, the horizontal axis can be used to determine changes in timbre. The duration of the work can be of any length, but around three minutes would be considered an absolute minimum. At the end of each movement the page is rotated through 90 degrees so that the players are presented with a different perspective of the material on which to base their intuitive interpretation. Players can perform in any convenient tempo, but each movement ought to be given contrasting tempo indications. Please note these are guidelines only, players are free to change any of the above directions if they desire.

Osvaldo Glieca
London, 19/01/2010