Alvarez, J. (1993). Compositional strategies in music for solo instruments and electroacoustic
sounds. (Unpublished Doctoral thesis, City University London)
City Research Online
Original citation: Alvarez, J. (1993). Compositional strategies in music for solo instruments and
electroacoustic sounds. (Unpublished Doctoral thesis, City University London)
Permanent City Research Online URL: http://openaccess.city.ac.uk/7744/
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L
-LI
Compositional Strategies in Music for solo
instruments and electroacoustic sounds
Javier Alvarez
Thesis submitted for the degreeof Ph. D
Part II
City University, London
Music Department
May, 1993.
Table of Contents
Scores of submitted works
1. Papalotl (1986-7)
for piano and electroacoustic sounds
2. On Going on (1987)
for baritone sax and and electroacoustic sounds
3. Acuerdos par Diferencia (1989)
for harp and electroacoustic sounds
4. AsI el Acero (1988)
for tenor steel pan and electroacoustic sounds
5. Mannam (1992)
for kayagum and electroacoustic sounds
varez
London 1987
Papalotl (1987)
• Technical configuration and layout
for piano and electroacoustic sounds
Performance notes
Duration : 1314"
'-About the score
The electroacoustic part in the score is intended as a reference for
synchronisation purposes.The click track carries throughout the length of the
music according to metre changes and bar subdivisions. it is recommended
that theerformer learns his/her part by memory. This approach will give the
pianist the chance to play in a more creative way, pacing naturally and
"swinging within the boundaries of the electroacoustic part. This may also
make the use of the click track redundant, to the advantage of a cleaner and
simpler presentation.
Piano amplification and diffusion.
The piano should be amplified with (preferably ) three condenser mics to
cover its entire rester evenly. The amplified signal should come out of the
speakers nearer to the piano or the front speakers. The electroacoustic
sounds may come out of all speakers available. The balance between piano
and eieclroacoustic material should be matched properly to avcld
predominance of one over the other, and should be done by a musician
operating the mix. It may be useful. dep'ending on the characteristics of the
hail, to add a small amount of reverberation to the piano in order to help the
balance between instrument and electroacoustic material.
'Electroacoustic material - specifications
Stereo. Available on the following digital tape formats:
a) PCM encoded onto Betamax, VHS and U-Matic to PAL or NSTC
standards. Click track on audio tracks.
b) ADAT-music on tracks 1 and 2. Click track on track 8
c) DAT without click track.
PAPALOTL
a pilar naturalmente.
JAVIER ALVAREZ
1987
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b
On going on was commissioned by Stephen Cottrell with funds provided by the Eastern Arts Association in 1987.
London 1987
On going on
for baritone saxophone and electroacoustic sounds
Performance Notes
an Akar S900 Midi Digital Sampler and
two Yamaha SPX9O Signal Processors, one processing the sounds from the Tone
Generators and from the sampler. The second is used to process the sound of the
saxophone or wind controller.
Note that a second Akai S900 and a TX81Z are required If playing with a Midi wind
controller.
• Saxophone
This work was onginally conceived for a baritone saxophonist playing the hve part.
However, in view of current developments it is possible to do a realization of the work
using a Midi Wind Controller (YarnahaWX7for example) to play the baritone sax part.
Please ref or to the information below.
If using a baritone saxophone, it must Indude the low A extension. The amplification
of the instiument is best achieved using two high quality (condenser, preferably)
microphones which coverthe lower and the upper end of the instrument respectively.
These should be panned at approximately 30 deees equidistant from the centre of
the stereo field. The sound of the instrument should come out of the two front
loudspeakers.
When using a wind controller, this wl be set up to play a sampled sound available on
floppy disk for an AkaiS900 sampler, in paralell to a performance on a YamahaTX8lZ
The stereo outputs of the sampler and syntheziser must be treated ii the same
marwer as when using the- baritone sax microphones, that is panning should be
loftMght at3O degress and coming out of the two front speakers.
• Using a computer
• Configuration 1 (computer with saxophonelwind controller)
[P
Sax
saxophone mics or lines from controller
-v
L....audi
FTX81l__
5900
+
TX814
rriid
SPX9O
This work can be performed using either the computer controlled system described
below or ii cases where this is not possible or available, a prerecorded version of the
computer portion maybe used. (see urrderTape below).
• Equipment required with computer controll system:
an Apple Macintosh Computer with suitable Mici Interface controlling:
a Yamaha TX81Z FMTone Generator;
a Yamaha TXB1 4 FM Tone Generator;
SPX9O
5900
TX81Z
• Tape
• Software
The prerecorded tape isavailableon the following formats:
a. DiskA contains the music file asa Performer V.22 (1987) file and the TX814
Voice and Performance Data (Opcode Midi Librarian)
Disk B contains sound samples for the Akai S900. (these include those
sounds used by the wind controller -refer to titles on disks)
-Digital: Betamax, U-Maticor VHS (Pal/Seecam or NSTC)PCMencoded in Stereo
a) the syncronization of the opening of the piece will have to be done manually (for
example, by starting the tape 10 seconds before program ) so the saxophonist can start
exactly with the music on tape. Ths must be rehearsed to a high degree of
accuracy. The tape should be diF1MOJ on all loudspeakers avaibble, and;
b. All other data is included in the score (TX81Z Voice and Performance Data and
SPX9O Settings).
b) the SPX9O processing the saxophone should be operated manually according to
the score.
• TX81Z Voice and Performance Data
• Configuration 2 (tape with sax/wind controller)
Sax
Except for voice data listed here (OnGOn 1 & 2) all the other voices present in the
Performance charts below are preset voices of the TX 811
a) Voices
saxophone microphones or lines from \X7
________
1) Voice Name: OnGOn 1 (for PEOn Going On 3)
AlgorIthm: 3
Feectack: 0
Frequency: 2.25 .50 2.99 3.00
Osc. Wave Wi W5 We W7
Detune: +3 0 3 0
Out Level 92 92 83 81
__________________________
Pitch
7
AmplItude 3
(onfolT)
3on on on on
Key velocity 0 0 0 0
AR
1531 27 13
19 20 17 31
DiR
Dli
15 8 12 13
6 0 0 0
D2R
6 3 7 1
RR
EGShIII off 48 off 12
Irlangle
Wave
1
Speed
0
Delay
PModDepth 0
AModDeplh 21
off
Sync
SCAUI4G
0 0
Level
1
0 36 44 34
Sensflivlty
b) Performances
Function
Mode
Poly
Portamento tIme 0
FC AmplItude 0
BC PItch
50
BC EG Bias
0
P Bend Range 7
FCVOI
99
MWPitch 50
BC Amplitude 0
MIddle C
C3
Portamento FT
FCPitch
0
MWAmpfltude 0
PC Pitch Bias 0
Reveib rate 3
2) Voice Name: OnGOn 2 (for PF On Going On 4)
Algorithm: 4
Feetack: 7
Frequency: .50 2.00 6.28 C24OHzJF255Hz
Osc. Wave Wi Wi W2 W8
Detune:
+3 -3 +3 -3
Out Level 99 82 96 75
$.nsIIiv*y
____________________
PItch
0
AmplItude
3
oft oft off off
tonoft)
Key velocIty 4 1 1 0
EQ
AR
1015154
DiR
15 20 3 7
D1L
6 11 6 13
D2R
17 0 0 0
1513 515
AR
EGShIft off of! off off
Wave
slhold
Speed
6
Delay
13
P Mod Depth 1
AModDepth 3
Sync
on
CAUNG
Rate
Level
0
0 0 1
0 36 0 34
Function
Mode Poly
Portamento time 0
FC Amplitude 0
BC PItch
50
0
BC EG Bias
P Bend Range 12
FCV0I
99
MWPItch
0
BCAmplltude 0
MIddle C
C3
Portamento PT
FCPitch
0
MWAmplltude 0
PC Pitch BIas 0
Reverb rate 3
Performance Name: On Going On 1 (P. Cng TbI: PGM 66= PFO1)
Instrument
Assign Mode
Maxnotes
Voice No.
Receivechan
Limit /L
UmitM
Detune
Note shift
Volume
Out Assign
LFO Select
Microtune
Effect select
1
1
23 4
5
Alternate
1
1
1
A15 D27
c31 Dz
4 4
4
4
C2 C2
C2 C2
G8 G8
GB GB
0
+1
-2
0
0
o
96
90
94
97
III
Ill
II
II
vib
1
2
off
off
off
oft
Delay
6
7
B
C04
4
C2
G8
+2
0
D25
4
C2
GB
-3
0
90
III
vib
oft
D23
4
C2
G8
+3
5
91
Ill
D30
4
C2
GB
0
0
89
off
oft
2
off
Performance Name: On Going On 2 (P. Cng TbI: PGM 67 = PFO2)
Instrument
Assign Mode
Maxnotes
Voice No.
Receivechan
Limit /L
Limitfl-1
Detuno
Note shift
Vohime
Out Assign
IFO Select
Microtune
Effect select
1
23
2
2
c31 D23
4 4
C2 C2
GB GB
0
0
0
99 97
Ill
2
oft
oft
4
Normal
2
2
A15 D27
4
4
C2 C2
GB GB
+1
-2
o
o
90
Ill
vib
off
Chord
94
II
1
cit
Performance Name: On Going On 3 (P. Cng Tbl: PGM 60= PFO3)
Instrument
1
Assign Mode
Maxnotes
1
VoiceNo.(OnGi1) 122
Receivechan
4
UmtL
C2
Limit/H
(38
Detune
4
Noteshift
-12
Volume
99
Out Assign
II
LFO Select
1
Microtune
off
Effect select
23
4
Normal
1
1
122
122
122
4
4
4
C2 C2 C2
G8 G8 (38
+2
-4
-2
0
o
0
97
94
93
II
1
1
off
off
off
OFF
5
6
7
8
1
1
1
1
122122 122122
4
4
4
4
C2 C2 C2 C2
(38 08 G8 G8
-6
-5
+5
^6
+12 0
0
0
99
94
92
99
II
I
II
I
1
1
1
1
off
off
off
off
Performance Name: On Going On 4 (P. Cng TbI: PGM 63 = PFO4)
Instrument
2
3
4
1
Assign Mode
Normal
Maxnotes
2
2
2
2
Voice No.(OnGOn2) 123
23
123
123
Receivechan
4
4
4
4
Umit/L
C2
C2
g4
02
Umit/H
68 08 08 GB
Detune
-7
0
0
Noteshift
+12 0
^3
0
Volume
99
99
98
99
Out Assign
II
II
I
I
LFOSeIect
1
vib
2
1
Microtune
off
off
off
off
Effect select
Delay
^3
c) General utility data on TX81Z
Midi receive channel = 4
P. Change = on
Cont change =G4
A. Touch-BC = on
P. Bend = on
Note on/off =aII
Exclusive = on
Combine = on
Delay Time = 0.1 5s
Effect 1
(Delay) Pitch Shift = 7
Feedback =7
Effect level = 99
Effect 3
(chord)
C3 (C3/A#3)
C#3 (C#3/A3)
D3 (F3/C5)
D3 (D#31F3/C#4/C5)
(G2/C3/E3)
E3
F3 (F3/A3ID#41A#3)
F#3 (A#2/C#31D#31F#3)
G3 (B21D3/G3)
G#3 (C3/D#31F3/G#3)
A3 (G#2/F3/A3)
A#3 (A#31F41A#5/E3)
B3 (D3/F3/G3/B3)
SPX9O Programs
The SPX9O at the mixer is used to process the baritone saxophone's
sound. The score prescribes 12 SPX9O programs (marked as programs
#51 to 62). These can be stored in those br alternate memory locations
as long as they are consecutive, so as to to facilitate the immediate recall
and switching between them.
1. Reverb (51 In score)
RT=1 .5 to 2.0 sacs (depending on hall)
Hl=1.0
D=25-4Oms (depending on hail)
H PF=Thru
LPF=Thru
2. Reverse gate (52 In score)
Type=Reverse
Size=3.7
Liveliness=10
Delay=324.0 ms
LPF=Thru
3. Flange (53 In score)
Mod freq=0. 1Hz
Mod depth=90%
Mod Delay=5.Oms.
FB. Gain=89 to 90%
4. Pitch Shift A (54 in score)
L Pitch =0
Fine=+25
Delay=202.Oms
FG=35%
Key=Off (or C3)
5.Gate reverb (55 in score)
Type=Random
Size=1 .1
Live Iiness=6
Delay=151 .5ms
LPF=Thru
6. Delay L-R (56 in score)
LD=540ms. OLFG=15
RD=324ms. OLFG=20
High=xl .0
7. Stereo Echo (57 in score)
LD=405ms OLFG=60
RD=648ms OLFG=58
High=xl .0
8. Early Reflection (58 in score)
Type=Random
Size=1 .5
Liveliness=1 0
Delay=25ms.
LPF=Thru
9.Delay L-R (59 in score)
LD=402ms OLFG=60
RD=270ms OLFG=20
Hogh=xl .0
10.Pitch Shift C (60 in the score)
Pitch Ieft=-12
Fine Ieft=O
Delay lett=1 35ms
Pitch right=-12
Fine right=-25
Delay right=200ms
11.Stereo Echo (61 in score)
LD=270ms OLFG=60
RD=2Olms OLFG=58
High=xl .0
12. Reverb (62 in score)
RT=20. Osecs
Hk1.0
D=1 OOms
H PF=Thru
LPF=Thru
CII goffig 0,1
jay/er A lvarez
/ 98?
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1
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Javier Alvarez
AcueI d9 S
dr D eencia
for harp and electroacoustic sounds
This work was commissioned for Hugh Webb by the Park Lane Group with funds provided by
the Greater London Arts Association
London 1989
Acuerdos por diferencia (1989)
I.
• Technical configuration and layout
for harp and electroacoustic sounds
Performance notes
___ 1.
Iii
Duration :11 '29"
headphones
-&or light box
click
About the score
The eleciroacoustic part in the score is intended as a reference for
synchronisation purposes. The click track, although not specifically inccated
in the score, carries throughout the length of the music according to metre
changes and bar subdvisions. It is recommended that theperformer learns
his/her part by memory. This approach will give the harpist the chance to
play with the electroacoustic mate I in a creative way, pacing naturally and
"swinging within the boundaries of the electroacoustic part. This may also
make the use of the dick track redundant, to the advantage of a cleaner and
simpler presentation.
Harp amplification and diffusion.
The harp should be amplified with (preferably ) three condenser mics to
cover its entire register evenly. The amplified signal should come out of the
speakers nearer to the harp or the front speakers. The electroacoustic
sounds may come out of all speakers available. The balance between harp
and electroacoustic material should be matched properly to avoid
predominance of one over the other, and should be done by a musician
operating the mix. It may be useful, depending on the characteristics of the
hall, to add a small amount of reverberation to the harp in order to help the
balance between the two.
• Electroacoustic material - specifications
Stereo. Available on the following digital tape formats:
a) PCM encoded onto Betamax, VHS and U-Matic to PAL or NSTC
standards. Click track on audio tracks.
b) ADAT-music on tracks 1 and 2. Click track on track 8
c) DAT without click track.
Acuerdos por Diferencia
J=92
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Javier Alvarez
1989
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Javier Alvarez
AsI el Acero
for tenor steel pan and electroacoustic sounds
This work was commissioned by Simon Limbrick with funds provided by the Henricshen Foundation
London 1988
Asielacero (1988)
for tenor steel pan and electroacoustic sounds
Performance notes
• Duration g'ir
Asi el Acero can be performed in any of the following ways:
1. Version for steel&um and a computer control system where the
computer controls a Yamaha TX81 Z , an Akai S900 Digital Sampler
and and SPX9O via a Mk interface.
2. Version for steeIcum and pre-recorded electroacoustic part as
indicated in the diaamme below.
• Steel pan amplification and diffusion.
The steel pan should be amplified v,ith two high quality condenser
mia'ophones placed above the drum in order to cover its entire
register evenly. The amplified signal should come out of the speakers
nearer to the steel pan or the front speakers. The electroacoustic
sounds can come out of all speakers available. The balance between
steel pan and electroacoustic material should be matched properly to
avoid predominance of one over the other, and should be done by a
musician operating the mix.lt may be useful, depending on the
characteristics of the hail, to add a small amount of reverberation to
the steel &um or the electroacustic material in order to help the
overall balance between the two.
About the score
The score is a study guide for rehearsing the piece. Only the steel
pan part is indicated. The score should not be used in
performance: the player must learn the work by memory
and know the electroacoustic part well enough to be able
listen and play with it. In both performance instances however, it
may be helpful to relay the click trackto the performer via
headphones or a lightbox. The dick track is either generated by the
computer as in version 1 or exists as separate audio track when
played with tape as in version 2.
The tenor steelpan
The steel pan used in Asi el Acero is a Fourths and FMslead or
tenor pan. Sticking patterns in the piece have been thought in
relation to this construction scheme. See diagam below. However, it
may be possible to use other kind of thim such as the "Invaders" or
Ping pong" types but acustments concerning the sticking are left to
the player.
DbY lB
Technical configuration and layout
• Electroacoustic material - specifications
Stereo. Available on the foDowing digital tape formats:
ea ci p ho n e s
a) PCM encoded onto Betamax, VHS and U-Matic to the
PAL, Seecam or NSTC standards. Click track on audio
tracks.
b) ADAT-music on tracks 1 and 2. Click track on track 8
c) DAT (without click track).
osI el ocero
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Javier Alvarez
Mannam
for kayagum and electroacoustic sounds
Mannam was commissioned by the Group de Musique Experimentate de Bourges in 1990.
London 1992
Mannam (1992)
• Technical configuration and layout
for kayagum and electroacoustic sounds
headphones
or light box
Performance notes
U
Duration : 1450"
click
About the score
The electroacoustic part indicated in the score is intended as a reference for
synchronisation purposes.The click track (not indicated ) carries throughout
the length of the music according to metre changes and bar subdivisions. It
is recommended that theperformer learns his/her part by memory. This
approach will give the player the chance to play in a more creative way,
pacing naturally and swinging" within the boundaries of the electroacoustic
part. This may also make the use of the dick track redundant, to the
advantage of a cleaner and simpler presentation.
Kayagum amplification and diffusion.
The kayagum should be amplified with two PZM (or condenser contact
microphones) plus a condenser air microphone above the instrument to
cover its entire radiation and register evenly. The amplified signal should
come out of the speakers nearer to the kayagum or the front speakers. The
electroacoustic sounds may come out of all speakers available. The balance
between kayagum and electroacoustic material should be matched properly
to avoid predominance of one over the other, and should be done by a
musician operating the mix. It may be useful, depending on the
characteristics of the hall, to add a small amount of reverberation to the
kayagum in order to help the balance between instrument and
electroacoustic material.
• Electroacoustic material - specifications
Stereo. Available on the following digital tape formats:
a) PCM encoded onto Betamax, VHS and U-Matic to PAL or NSTC
standards. Click track on audio tracks.
b) ADAT-muslc on tracks 1 and 2. Click track on track 8
C) DAT
without click track.
Mannam
for kayagum and electroacoustic sounds on tape
Javier Alvarez
1992
J=74
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