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aaron cassidy
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« Reply #120 on: 15:45:19, 01-09-2007 » |
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Can you show us what the tablature looks like, Richard?
If you're interested, I shall endeavour to do so once I've got to the point of being sure about it. (I'll have to scan it in because I still use ancient technology for writing music down.) Basically, above the stave showing the resultant pitches (to the nearest eighth-tone), there's a nine-line stave divided into three (left thumb, left fingers, right fingers), on whose lines there might be "closed" or "open" noteheads or a few other possibilities - half-open, for the keys with rings, square noteheads for the trill keys and note names for the right fourth finger keys. The difference between this and just notating fingerings in one of the usual ways is that there's only a notehead (or whatever) where that finger actually moves (except at the beginning of each system, where the full fingering is given), which makes the whole thing look much less cluttered than it would be otherwise, especially when there are lots of notes (and the music is so structured that, in general, the faster it gets, the fewer finger-movements per note are involved); it's also easier to specify how glissandi are to be fingered. Well, nobody needs to see it now, probably. Well cripes. That is, at least by description, almost exactly identical to the oboe/clarinet tablature notation I developed for the piece I'm working on at present. I had only a single-line staff for the LH thumb (w/ noteheads on/above/below that line, rather than three separate lines). My notation has a significantly higher degree of indeterminacy, in a way (having mostly to do w/ all the various 'secondary' keys (trill keys, etc.), which I am (intentionally) notating w/ far less precision than you ... treating them instead as 'areas' of the instrument, rather than as discrete objects), as I'm trying to set up a scenario in which the physical gestural models are as important as the sounds that actually result. |
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Chafing Dish
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« Reply #121 on: 16:11:40, 01-09-2007 » |
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"Can you show us what the tablature looks like, Aaron?"
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« Last Edit: 16:33:46, 01-09-2007 by Chafing Dish »
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aaron cassidy
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« Reply #122 on: 16:32:43, 01-09-2007 » |
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"Can you show us what the tablature looks like, Aaron?"
(I almost wrote, "I'll show you mine if you show me yours, Richard" at the end of my post, but (thankfully) thought better of it.) I have no finished notation to show yet, just pages and pages and pages of scribbling in sketch books. But once I have something more concrete (I -should- be working, but instead I'm trying to figure out how the hell one arranges an international move), I'll send it your way. PS -- yeah, yeah, I'll call you in a minute. I was helping the girlfriend w/ her apartment move yesterday. |
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quartertone
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« Reply #124 on: 22:21:58, 05-10-2007 » |
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Can you show us what the tablature looks like, Richard?
If you're interested, I shall endeavour to do so once I've got to the point of being sure about it. (I'll have to scan it in because I still use ancient technology for writing music down.) Basically, above the stave showing the resultant pitches (to the nearest eighth-tone), there's a nine-line stave divided into three (left thumb, left fingers, right fingers), on whose lines there might be "closed" or "open" noteheads or a few other possibilities - half-open, for the keys with rings, square noteheads for the trill keys and note names for the right fourth finger keys. The difference between this and just notating fingerings in one of the usual ways is that there's only a notehead (or whatever) where that finger actually moves (except at the beginning of each system, where the full fingering is given), which makes the whole thing look much less cluttered than it would be otherwise, especially when there are lots of notes (and the music is so structured that, in general, the faster it gets, the fewer finger-movements per note are involved); it's also easier to specify how glissandi are to be fingered. Well, nobody needs to see it now, probably. Well cripes. That is, at least by description, almost exactly identical to the oboe/clarinet tablature notation I developed for the piece I'm working on at present. It's in fact also rather similar to some sections of the flute + tape piece I wrote in 2000, though I did one or two things differently. There's obviously no way around tablature if you're giving the hands separate rhythms (which is what I did). |
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martle
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« Reply #125 on: 22:28:02, 05-10-2007 » |
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Aaron, I'd second that judging by the experiences of a couple of people I know who've used them. But I guess you've made your choices by now... |
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Green. Always green.
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...trj...
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« Reply #126 on: 09:03:46, 27-03-2008 » |
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Warning: this topic has not been posted in for at least 120 days.
Unless you're sure you want to reply, please consider starting a new topic. Oh yes, I'm sure: Aaron Gervais: Do you crave to shoot like a film star, bro? [ ref] |
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martle
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« Reply #127 on: 09:12:38, 27-03-2008 » |
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Oh my word. For those who can't be bothered to click on ...trj...'s link, here's the context: The subject line of a piece of spam e-mail provided the title and text for Aaron Gervais's Do you crave to shoot like a film star, bro? Oh explained that the shooting refers to a porn star's ejaculation, but Gervais insists the text offers many meanings, which he prefers to leave to the reader. For the word "film," for instance, he chose a diminished seventh chord - "a cliché from silent films" laden with cheesy associations of tension.
Gervais says that his piece is "explosive" in a way that he may not have written if he had been writing for anyone other than Toca Loca. "I knew they could handle it. Aiyun has to change instruments every quarter note in first part of piece. I knew that she wouldn't ask me to make it easier."   |
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Green. Always green.
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time_is_now
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« Reply #128 on: 09:15:54, 27-03-2008 » |
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For anyone who actually does crave to shoot like a p*rn star, apparently the secret is to eat plentiful bananas.
They, erm, increase the volume.
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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...trj...
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« Reply #129 on: 09:20:13, 27-03-2008 » |
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apparently the secret is to eat plentiful bananas.
Oh, so that's what all those emails are selling... |
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« Last Edit: 09:22:30, 27-03-2008 by ...trj... »
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richard barrett
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« Reply #130 on: 09:52:11, 27-03-2008 » |
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I was also attracted by U.K.-based Hywel Davies ... called his piece PUP since (am I alone in this?) that's a word I've generally used to denote a piece of music I consider to be an utter and abject failure (ie. not even worthy to be called a "dog") |
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richard barrett
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« Reply #131 on: 10:07:23, 27-03-2008 » |
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Your intrepid researcher returns from some, er, tasteless regions of cyberspace with some more tips for self-improvement:
What To Eat/Drink:
Plums
Oranges
Lemons
Limes
Cilantro
Spearmint
Grapefruit
Green tea
Beer
Pineapple
Mangoes
Chamomile tea
What To Avoid:
Broccoli
Brussels Sprouts
Spices
Coffee
Chocolate
Cigarettes
Asparagus
Chemically processed liquor
Onions
Garlic
Dairy Products
Red meat
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...trj...
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« Reply #132 on: 10:11:43, 27-03-2008 » |
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Settle down "Watch out for the percussionist throwing sticks for her new dogs," he writes in the program notes  It's quite a goldmine that article - Erik Ross's title Fibodoiccannez Splice is quite something too. |
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richard barrett
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« Reply #133 on: 10:25:47, 27-03-2008 » |
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Settle down It's quite a goldmine that article - Erik Ross's title Fibodoiccannez Splice is quite something too. You couldn't make it up, as they say. While we're on the subject, there's also: Donatoni, Blow for wind quintet Dusapin, Fist for chamber ensemble Harvey, Come for vocal ensemble (which appears to have been, er, withdrawn, although I swear I saw a performance in the 1980s by Singcircle) It's OK, I was on my way out anyway. |
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George Garnett
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« Reply #134 on: 10:43:22, 27-03-2008 » |
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 Now stop all this at once. It's gone quite far enough. And if anyone dares mention Stephen Hartke's Pacific Rim I'm going to come down on them like a ton of bricks.
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« Last Edit: 10:53:43, 27-03-2008 by George Garnett »
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