diskrete .

kontinuous
Kaj Duncan David

Aarhus 2013

General remarks:
Noise --- Tone

Noise - (Impulse) - Tone

Texture...

This piece is influenced by the idea of a noise-tone continuum (more noise than tone...), and the aesthetics of electronic music in general (digital white noise / sine tone /
frequency and texture aggregates).
There are no extra-musical images or themes associated with the work.
I have explored the following three concrete processes:
1. A 'switch/gate' that cuts abruptly between the two instruments (e.g. the transition from mm. 8 to 9) or opens or closes for a signal (e.g. mm. 56 pz. stopping cello sound)
2. A 'compressor' that in mm. 1-36 gradually brings more and more details forward in the repeated 6 bar 'loop'.
3. A 'sampler' that in mm. 83-105 plays material back at different speeds, thus altering the pitch and filtering the sound slightly.

Technical remarks:
Both violin and cello are amplified with contact microphones placed on the bridge of the instruments. Contact mics colour the signal, adding a certain 'artificialness' to the
sound. The sound from the instruments themselves should almost be covered by the amplification.
The piece explores very subtle noise sounds, and small variations within these sounds.
I am interested in a noise sound that has a slight hint of pitch. Variations within this sound depend on bow pressure (linked to dynamics). There is a range from a very
whispery and light white noise (pp), to almost a scratch tone (f).
Harmonics should be avoided as best possible - although I expect they will arise unavoidably from time to time.
Each performer needs two mutes - these should be chosen so that three distinct sound colours can be produced: no mute, mute 1 and mute 2.

Scordatura:
The violin's 1st string is tuned down a whole tone, as indicated:

Signs:
Left hand:
: press string very lightly giving a noise sound rather than a pitch or harmonic. there is a range from a very whispery and light white noise (pp), to almost a scratch
tone (f). there should sometimes be a faint hint of pitch. (this is not a harmonic)
: normal finger pressure - press string all the way down to the fingerboard
: as high as possible
: damp string(s) - used when the right hand is not bowing the notes held by the left hand (i.e. when the two actions become separated)

Bow:

: above fingerboard. (indicates where the bow is to be drawn. NB. it is always used when the bow is to be drawn in the direction of the strings i.e. along the strings,
rather than across the strings)
: behind bridge. (used to indicate a movement from molto sul pont. over and then behind the bridge - also the reverse).
: arco normale (with the hairs)
: 1/2 col legno (with the wood and the hairs)
: col legno (only wood)

Bow position:
ord : ordinario / st : sul tasto / mst : molto sul tasto / sp : sul pont. / msp : molto sul pont.

Other signs:
: gradual transition from one state to another

: stop bow on string. (always with a slight accent)

pz.

: pizzicato (a single note)

pizz. : pizzicato (a phrase)

: light bouncing accelerando. the precise number of bounces is not important.

: smoothly from arco to a light bounce (spiccato?). the triple staccato indicates a rapid bounce for the indicated duration.

: exponential glissando (slow at the start, getting much quicker towards the end)

diskrete . kontinuous
by Kaj Duncan David (Aarhus, 2013)

q=69

Violin scordatura: 1st string

lowered a whole tone
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duration: ca. 9 mins

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!

& ($ -%
"

$%
"
!

& (# %
"

ppp

ppp

,
*

. *