Dane Yates Viva Voce [2014.

1]




INTRODUCTION

This semester, I have been searching new
musical directions to lead me to this new
aesthesis of inviting noise within
traditional and new music. I now focus
myself around this constant collaboration
between the musically beautiful and the
musically ugly. This semester I have
progressed in scoring for Dance
Choreography as well as my own
independent Noise projects.
This semester I have changed
compositional stylings, have explored
new forms of music, new genres, i now
have a more broad range of music that i
can use to display more emotions, set
more moods and ultimately help me in my
future endeavours.
My pieces this semester reflect upon the
new aesthetic choosings of
mine. "Perceptions II" and "Spectre" are
both graphically notated although still
utilising some aspects of both traditional
and semantic notation. These pieces,
along with "Reflections", "Studie for Voice
Controlled Synthesis and Piano" and
outside collaborations and projects reflect
both upon previous compositional
endeavours as well as new found
techniques of scoring and performance
practices.


Techniques of
Composition.1

Perceptions II [2014]
For Multiple Voices, Chamber Orchestra,
Electronics + Conductor
Screen Score for Projector and/or iPad

Voices
Riley McAllister
John Barrett
Gabbi Fusco
Dane P. Yates
Andre Georges
Michael Bello
Matthew Wilding
Percussion
Dane P. Yates
Guitars
Bowden McAllister
Michael Bello
John Barrett
Matthew B. Wilding
Ukulele
Dane P. Yates
Violins
Gabbi Fusco
Piano
Dane P. Yates
Trumpet
Andre Georges
Electronics
Dane P. Yates
Matthew B. Wilding


Perceptions II is a new endeavour into
collaboration between, acoustic,
electroacoustic, electronic, and noise
music. It combines several types of
notation; traditional, semantic, animated
and scrolling all displayed on a Screen
Score. I do like the advantages of utilising
the screen score for the reason of of using
multiple mediums to notate.

Electronics were performed using VSTs
and Max Processing on the voices and
some instruments. This reflects on my
personal aesthetics for the dimensions of
music and emotion. The first layer or
dimension of emotion is the text itself;
what is written or illustrated it the
performer has emotion that lies within
itself. The second Dimension of emotion is
the way the performer interprets and
delivers the 'Music', the changes between
singing, saying, yelling, whispering or any
other form of deliverment can add so
much more emotion to the text than what
it was originally. The third dimension of
emotion are the effects chains i put on the
track. The layers of reverbs, drones, and
other effects can add so much
desperation and hunger, or can make it
bright and lively, sad, lovely or anything in
between.


Each movement is completely different
from what was heard before, The
movements spans a wide variety of genres
touching on new music; 'pop', jazz, noise,
free form jazz, ambient and voice works.
The process of how this is developed
comes from embryonic roots of drunken
scribbles. I became intoxicated in a way of
accessing the pre-subconscious or non-
sober mind, using alcohol and other
substances as an exercise of automatic
writing. I do not remember the original
scribbles or making them. I then
transcribed these into a PowerPoint
Presentation (sober), some of which
became animated, scrolled and others
remained stationary.

The performances and recordings of the
piece may be some of the best memories i
have from WAAPA thus far. The
performers of my drunken orchestra were
drinking as well as on other substances
ranging from tramadol, dexamphetamine,
Acid (LSD), and Cocaine. The drugs are
used as an extended technique for the
instrument as you are performing under
this new brain and this new way of
thinking and utilisation of the instrument.

Notationally, I cannot describe the
composition of the graphics and/or
writings of the score as i have no
recollection of the making of the
piece. Upon analysis, I can see the
utilisation of spectromorphological
graphics (Blackburn), Score for Conductor
(Applebaum), Dots (Schaeffer), Lines
(Brown), Scrolling Score (Vickery, Hope)
Non Linear patters, (Cage, Hope) and Fully
Graphical works with no context (Cage,
Cardew, Applebaum), electronic notation
(ligeti), Vocal Notation (Penderecki)


Techniques of
Composition.2

Spectre [2014]
For III Violins, No Input Mixer and
Electronics




Scrolling Score for the Decibel ScorePlayer
App
Violins performed by Aaron Wyatt
Electronics controlled and performed by
Dane P. Yates
Recorded @ Soundfield Studios by Stuart
James
Mastered @ Wilding Studios by Matthew
B. Wilding

Spectre is a piece exploring different
timbres and extended techniques of the
violin. The relationship between the violin
and the electronics, as well as the
interaction with the no input mixer, adds
to this collection of new timbres and
textures.

The name Spectre comes from the ghostly
texture of the introductory fuzz from the
no input mixer. The microtonal gestures
of the violin pizzicato also add to the
ominous texture. One by one, the violins
start playing bigger gestures. Other
textures included in the piece include hard
tremolos, quite intimate yet blatant
scratching of the strings, glissandi and
legato movements, plucking and
scratching with a plectrum as well as
clusters; also included in the score are
ambiguous maps of which the players has
several possibilities of melodic shapes and
pitch paths he/she can take.

The no input mixer utilises aleatoric
glitching of the phantom button and
routing buttons as well as fiddling of the
output jack. General interference and
grounding issues are used within the piece
both musically and noisily.

I have used processing and manipulations
of the strings post hoc in Reaper 11 and
Ableton Live 9, in a studio environment as
this would have been hard to coordinate
(as it wasn't my studio.) I used granular
processing on all three violins using
Abletons grain delay.

Upon reflection, I enjoy the relationship
between the violins and the noise swell as
the binding interaction with the granular
delay and the violins. The influence for
this piece came from Ligetis use of cloud
clusters and really intimate sounds and
sudden changes to loud, obnoxious string
textures seen in String Quartet No. 1
Metamorphoses nocturnes and String
Quartet No. 2. Notationally, I have utilised
graphic scoring like John Cage and the
like, as well as the Screen Score and
scrolling score developed by Vickery and
Hope with the ScorePlayer App developed
by Aaron Wyatt. The notations in my
score follow from spectromorphological
shapes explored by Manuela
Blackburn. Electronic Scoring for No input
mixer have been utilised following
conversations with Lindsay Vickery as well
as previous works by Sam Gillies. Timbral
changes for the violin are indicated by
colour changes and thickness. Different
textures are also indicated by different
graphics developed in Word and MSPaint.
The glitching and processing of these
images is also taken from Vickerys Nature
Forms [2014].


Sound Art

Reflections [2014]
Event for Two Rooms

Rooms are never empty. The walls of any
given space that surround as keep the
conversations and memories for a life
time. Once you arrive back at a room,
your brain is immediately filled with the
nostalgia of what you have once
experienced within the space.

Reflections is an audio visual installation
that realises the memories of the walls
around us. The installation is comprised of
two rooms; the first is a visual installation
in which the audience engages with an
interactive video presentation. After
watching the presentation they precede
into the second room; the listening space.
The walls then speak back what they have
previously heard and observed. The
secrets that remain a memory live
constantly within the walls that surround
us.

Influence for this piece came from works
from John Duncan.

Max / MSP
Studie for Voice Controlled
Synthesis and Piano [2014]
For two pianos, Voice and
Electronics

This piece - or study - to me, was a great
way in which to utilize my already existing
knowledge of electroacoustic works and
how I like to manifest my ideas both
within the traditional composition of the
music as well as the interaction with the
electronics.

The piece, during the compositional
process, proved to be a great exercise in
both mine and Andre's music, utilizing the
abilities of both of us and our
compositional brains. After initial
discussion between each other about the
concept, the writing, and the patch itself,
as well as conversation and help from Stu,
we sat down to realize what we really
wanted the outcome to be, which is what
"A Programmers Lament" sounds like.
After the continuous rescheduling of the
Max performances, it gave me and Andre
more and more chances to perfect this
sound.

In the end of this, we are left with the
desperate yet beautiful piece, it is noisy
and demands attention but it is the littlest
of detail in which what makes it beautiful,
the minute changes within the synthesis
and filters. We have used reverb and
delay, as well as sweeping EQ filters being
controlled by the voice (after pitch
analysis) as well as clipping and distortion
of the piano to gain this desired and
desperate texture. Underlying this we
hear a very melancholic harmony in the
minor of F# played on the unprocessed
piano. The combination and interaction
between the both is where the true
beauty lies within this piece. it is both the
musically beautiful and the musically ugly
in which create this (personally) perfect
texture which represents the balance of
human struggles and triumphs in where
beauty lies. In post-production, I have
used simple limiters in which to
manipulate dynamics in a Reaper Session
as well as store the output of the Max
session and the raw data of the second
un-processed piano.






Projects

A Magical Gift [Short Film Score]
Directed by Jesse Damon Laurie
Original Score by Dane P. Yates

Journeys [Dance Piece]
Choreography by Dominik Mall
Music Composed by Dane P. Yates

Home // Limited [EP] 40
Released 17 June 2014
Text by Michael Scallan
Vocals and instruments by Dane P. Yates
Additional instruments played by Gabbi
Fusco
Composed by Dane P. Yates
Produced at Goblin Cave Studios
1. The Nostalgia Trap
2. Speak
3. Perceptions I
4. Silence
5. Suburban Leaves

Performances
Feb 11 -
Breakers Bar and Cafe, Geraldton.
Rasasvada Launch Party,
Solo Electroacoustic Performance.

March 14 -
Breakers Bar and Cafe, Geraldton.
Premiere of Perceptions I
Solo laptop and keyboard performance.

Sound Spectrum 2014.1 -
Spectrum Project Space
Premiere of Perceptions III [For Violin,
Piano and Electronics.]
Violin performed by Gabbi Fusco
Piano performed by Dane P. Yates
Electronics performed by Matthew B.
Wilding

June 17 -
Artifactory, Osborne Park
Noizemaschin!! #36
Premiere of
"I sense we never recover from that shock
and are drawn back to soft whispers and
heartbeats forever after"
Solo Laptop and Feedback Set