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Cognitive Consonance

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Cognitive Consonance CHRISTOPHER TRAPANI COGNITIVE CONSONANCE Two studies for two plucked-string soloists, ensemble, and electronics (2010) Cognitive Consonance (2010) I. Disorientation (qanûn solo) Interlude II. Westering (hexaphonic electric guitar solo) —————— Duration: ca. 23 minutes Score in C Instrumentation: Qanûn Solo Hexaphonic Electric Guitar Solo Alto Flute / Flute (only in II. Westering) Clarinet in B flat / Bass Clarinet in B flat (only in II. Westering) Mandolin / Just Intonation Autoharp in G Harp Guitar (nylon strings, only in I. Disorientation) Percussion (1 player): Crotales, Glockenspiel, Vibraphone, Marimba, Zarb, Bendir, Snare Drum, 2 suspended Cymbals, 5 tuned gongs (G#2, B2, D3, F3, C#4) Violin Cello Contrabass (with low C string or 5th string retuned to C) —————— Cognitive Consonance was written in conjunction with the Cursus 2 at IRCAM, and premiered during the Agora festival on 9 June 2010 at the CENTQUATRE in Paris, with Julien Jalâl Eddine Weiss on qanûn, Christelle Séry on hexaphonic electric guitar, and the Ensemble L’Itinéraire conducted by Mark Foster. The electronics were realized at IRCAM by the composer, under the guidance of Eric Daubresse. Performance Notes: 1. Disorientation was written specifically for the qanûn player Julien Weiss, using his system of intonation — with 15 microtonal possibilities between C flat and C sharp — and notation, with the accidentals outlined in figure 1. 2. The hexaphonic electric guitar is a custom instrument, fitted with a hexaphonic pickup (such as the Roland GK-3) capable of sending out a separate signal for each string. These six signals must be sent to the patch, so a converting device such as the RMC fanout box may also be needed. 3. The scordatura required of the ensemble for Disorientation is detailed in figure 2. 4. The just intonation autoharp used in Westering is an adapted version of the Appalachian folk instrument, retuned and fitted with new chord shapes. It is easily played by any guitarist or mandolinist. Its tuning and chord shapes are described in figure 3. The instrument is available from the composer. 5. Microtonal accidentals are used throughout the piece. For the strings and winds, these generally denote tempered quarter-tones, though the players are sometimes asked to tune to a pitch already sounded by the soloist or electronics. Microtones a quarter-tone or greater on fretted instruments are notated using the fretted pitch with an up or down arrow attached to its accidental as a reminder. This same accidental is used for the open string and octave harmonic of the cello’s retuned A string during the first half of Disorientation. Diamond-head harmonics for retuned strings however are notated at the fingered position, without any microtonal alteration. Dotted lines in the score between staves indicate a microtonal unison 6. A glissando is an incremental change in pitch that lasts the duration of the note to which it is attached, whereas a portamento denotes a quick slide just before the final pitch. 7. For strings, an x on the note stem denotes a duller color, obtained by using a harmonic-style touch at the end of an open string, deadening the upper partials and creating a “palm-muting” effect. 8. The guitar part in Disorientation is intended for a classical nylon-string guitar; It can however be played by the same player who performs the solo part of Westering, as long as two separate guitars are used. 9. The electronics are controlled by a Max/MSP patch, whose events are triggered by the guitarist using a MIDI foot pedal. The patch is available from the composer. 10. The players should be seated as outlined in Figure 4. Technical Note: The live electronics in Cognitive Consonance require a Macintosh computer equipped with Max/MSP (and certain supplementary patches, such as IRCAM’s Spat 4.0, sogs~, and SuperVP objects) with a minimum 2.93 MHz processor and 8 MB of RAM. The audio output is in eight channels, intended for eight equidistant speakers configured in a ring around the audience. The ensemble should be amplified in the front left and right speakers, while a ninth central speaker positioned on stage simulates a local amplification for the soloists. A video monitor can be positioned onstage to display event numbers for the guitarist or conductor. Further details are available from the composer. FIGURE 1: QANÛN ACCIDENTALS devised by Julien Weiss MANDAL NUMBER - 7 - 6 - 5 - 4 - 3 - 2 - 1 0 1 2 3 4 5 6 7 ! ! ! "' "' ! "' ' "" ' $ ' #' #' #! ' #! ' ' %' $% ' %! ' %' difference in cents ! # !!! from central pitch -114 -92 -78 -65 -53 -38 -22 0 +22 +38 +53 +65 +78 +92 +114 MIDI 5880 5902 5918 5933 5945 5958 5972 5994 6016 6032 6047 6059 6072 6086 6108 CENTS FIGURE 2: SCORDATURA in ENSEMBLE to be retuned and verified before the piece begins VIOLIN CELLO CONTRABASS ' & ' & ' ' ' # ' ! ' ' & ' difference ' ' ' from A= 440 -4 -2 0 +2 -6 -4 -2 -66 -6 0 -2 -4 MIDI 5496 6198 6900 7602 3594 4296 4998 5634 2394 3300 3798 4296 CENTS MANDOLIN GUITAR * HARP ** ' ' & ! ' ! ' ' #' & ' ' ' ' difference ' ' % from A= 440 -4 -52 0 +2 -20 +62 -2 -4 -18 +2 (-6' +26 MIDI 5496 6148 6900 7602 3980 4562 4998 5496 5882 6402 2394 2626 CENTS * To tune the guitar: first, tune in just 4ths around = 440. Then: ** Only the two lowest strings of the harp should be retuned. 1.) Tune the 4th partial of the B string to the 5th partial of the G string The rest of the instrument should be tuned to A = 440. 2.) Tune the 3rd partial of the E string to the retuned B string 3.) Tune the 5th partial of the A string to the 7th partial of the retuned E string FIGURE 3: TUNING and CHORDS for JUST INTONATION AUTOHARP in G to be retuned and verified before the piece begins ORIGINAL PITCHES # ! # # $# # # $# # # # # " # # $# # $# # $# # RETUNED# PITCHES # $# # $# # # $# # ! # # # # $# " # $# # # # # $# # !# $# # # MIDI # # $# CENTS 3984 4300 4820 5002 5184 5318 5388 5500 5704 5800 5886 6020 6090 6202 6286 6384 6466 6588 6700 6722 6904 7000 7086 7220 * * * * * difference -116 0 +20 +2 -16 +18 -12 0 +4 0 -14 +20 -10 +2 -14 -16 -34 -12 0 -78 +4 0 -14 +20 in cents includes all G3 F9 G11 E1 G21 high strings # $# # $# # $# # # # # ## # # $# # $# # # $## !"## ## "## " # $## ! ## ## ! ## # $# # $# # # # # # # # # $# ## !# $# ! # # # # # " " # # # # MIDI # CENTS 7252 7402 7486 7540 7666 7788 7900 8004 8104 8198 8286 8370 difference -48 +2 -14 -60 -34 -12 0 +4 +4 -2 -14 -30 in cents * Asterisks denote pitches which do not appear in the final chord shapes for the piece, and thus need not be precisely tuned. " Liaison Ethernet 5 1 K O O B R E W O P FIGURE 4:SEATINGDIAGRAM [courtesy ofClémentMarie] S U B R Composer's Note: Cognitive Consonance: A state of internal harmony arising from the reconciliation between two initially contradictory ideas. Here, a single piece divided into two parts, linked by an electronic interlude. Two plucked-string soloists from two disparate worlds. Two different sets of tools for composing with electronics, and two different approaches to the practicality of writing non-tempered ensemble music. Or, a two-word manifesto, for a music as "cognitive"—capable of provoking thought and reflection, engaging the faculties of association and memory—as it is "consonant"—a notion that the piece aims to explore, expand, and redefine, the common thread between its superficially disjunct episodes. The title of the first section, Disorientation, should be understood in a second, more etymological sense: a turning away from the orient, the disassociation of the qanûn from its Middle Eastern context. The spotlight here is on the custom-made instrument and microtonal tuning system devised by Julien Weiss, which specifies fifteen non-equidistant intervals per string (between a given flat and sharp). The pitch is altered by raising or lowering small levers under the string (mandals), often in the middle of playing, or even while executing a phrase with the other hand. Based on a Pythagorian rather than tempered framework, Julien's instrument is capable of closely approximating several just intervals with reliable precision. With a scordatura for the strings onstage—a mixture of plucked and bowed—and retuned samples in the electronics, the goal is to explore the combinatorial possibilities offered by the qanûn while maintaining the same precise control of pitch in the ensemble writing. The electronics mirror the soloist with several shades of plucked strings, created with IRCAM's physical modeling software Modalys, which synthesizes each pitch according to the physical parameters of three separate strings given a slight variation in pitch—as would be the case on a real qanûn. The final eight-channel sound files are created via an OpenMusic interface, where pitch, synthesis, and spatialization (using the OMPrisma library) are controlled in a single integrated process. Disorientation is divided into three sections, with the following subtitles: 1.) Inici (Falling): Starting from a high E (later understood as the 81st partial), a prolonged descent over about five minutes, during which the partials of a low C (from the 17th, a C sharp, to the 5th, a natural third) will serve as the local tonics of 'makams' constructed from higher partials. The descending curve ends with a mass of resonant strings, a harmonic spectrum perturbed by 'commas' derived from whole- number frequency ratios. 2.) Meyan (Midpoint): An exploration of the division of the perfect fifth (or twelfth), with pitches derived from inverted ratios moving inwards from each of the two poles. 3.) Croissant (Crescent): An episode written with an approximation of the Bohlen-Peirce scale and its odd-ratio intervals (5/3, 9/7, 9/5, etc.) triggers a progressive accumulation of string sounds, then tactile models in Modalys—sweeping motions over a plane of tuned strings, modeled on Harry Partch's harmonic canons.
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