Possibly the most exciting undertaking of my year, and yet to be fully completed it this work entitled Movement I. for Traverso and Electronics.
The piece came out of what started as slightly lighthearted conversations about writing apiece for baroque flute with Isabella Eagles who shares a passion for baroque and other early music. It quickly, however, became more than that and we began to discuss what this could be in a recital and whether the piece should become a reality. Over the semester we have met up for coffee and discussed the possibilities and the intentions of the piece and come to a decision on the current version of the notation.
The notation is built upon the Fuillet-Beauchamp baroque dance notation which traditionally prescribes movements to a dancer with great precision. The original version of the score was very close in look and function to this notation but in order to create an effective structure for the guided improvisation, many changes have been made which lead us to the current look we have now. The piece is constructed of building blocks, a number of short pieces which, in time will have their own electronics and meaning behind them. As it currently stands, we are experimenting with techniques and what to incorporate into the piece in order to be able to create an effective relationship between the performer and the electronics.
A large part of my creative practice in centered around improvisation and this piece is designed to exactly encapsulate that while also carrying the idea of breaking free from shame in creating music that we so often feel when trying to perform to the book, something which during the baroque period was also not the norm. As the core if Izzy’s recital, this has been a driving force of the piece.
The notation now includes markings of suggested extended techniques for the baroque flute including multiphonics which I have been working with Izzy to determine which are possible in which fingering, stop/ram tongue which is a common technique to be employed on the flute as well as flutter tongue, another common technique which gives great texture to the sound.
The electronics were created using mix of live recorded sounds using all 'natural' or environmental sounds from collections of leaves to woodblocks and more. In order to try and not overly prescribe the actions of the performer, these were recorded live and in such a way that they do not have to dictate what the performer does. It is designed as support and atmosphere for the improviser rather than as another foreground instrument. Those sounds which were not found were the created birdsong which are made through the processing of whistling and placed into a sampler to be played and altered. These were used as ambient noise to support the birdsong like voice of the flute's improvisation.
This piece has been hugely exciting to work on in a collaborative environment and I look forward to working throughout the year and seeing the final result appear in a recital come the end of the year.
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