Lippe SaxScore

7/25/2019 Lippe SaxScore

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Music for Alto Saxophone & Computer

by Cort Lippe

1997

for Stephen Duke

1997 Cort LippeAll International Rights Reserved


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Performance Notes

There are four classes of multiphonics in section III. The performer should chooseappropriate multiphonic fingerings based on the class of multiphonic and the indicatedpitch. The indicated pitch should be either the most prominent pitch or a v ery prominent

pitch in the multiphonic. The following descriptions of the multiphonic classes aresubjective:

1.) mult-pure should not be dissonant sounding 2.) mult-pure-dense should be dissonant sounding 3.) mult-dense should be very dissonant and somewhat rough sounding. 4.) mult-raspy should be as dissonant and rough sounding as possible.

The note in the score to continuously vary amplitude and spectral envelope of themultiphonics indicates that the sound of the multiphonics should not remain stable forany length of time. This variation can be achieved mainly through a combination ofbreath and lip pressure which constantly changes . To achieve rich variations of timbre,breath and lip pressure should not change synchronously . The speed with which thevariations in the multiphonics timbres take place should be loosely based on thedurations of the notes (longer durations mean slower variations). In addition, the speed ofvariation should not be regular.

Errata

1) On page 2, measure 140 should be a 3/8 measure (and measure 141 is a 4/8 measure).

2) On page 10, measure 904 is a 4/8 measure that is missing an eighth-note rest at the end ofthe measure.

Ossia

On page 13, measures 1181 to 1183 have a very difficult passage. The four very high noteswith four ledger lines above the staff (notated g, a-flat, g, a-flat) can be played an octavelower to facilitate playing this passage at tempo.

On page 11, measure 1122 shows 6 bars of rest. These 6 bars are there mainly for the pageturn. If the page turn is not needed, the 6 bars of rest can be omitted entirely. If the page turnis needed, the 6 bars of rest can instead be moved to between measures 1018 and 1019 if theperformer prefers.


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Cort Lippe

Program Notes

Music for Alto Saxophone and Computer (1997) was commissioned by the Americansaxophonist Stephen Duke, and premiered by him at the 25th Annual Experimental Music Festivalin Bourges, France in June of 1997. The electronic part was created at the Hiller Computer MusicStudios of the University at Buffalo, New York, using the IRCAM Signal ProcessingWorkstation (a real-time digital signal processor) and the program Max which was developed byMiller Puckette and whose technical support made this piece possible.

The piece is in one movement and makes use of regular/irregular rhythmic and pitch relationships.Metaphorically, I have tried to exploit our rather complicated and intertwined conceptions of humans and machines. We spend a great deal of time trying to discipline ourselves to perform likemachines: our ideal of technical perfection is something akin to our idea of a perfectly workingmachine. Yet, we also have another entirely negative viewpoint towards anything human which is

too machine-like. Furthermore, we seem to have a complicated love/hate relationship withmachines in general, which is exacerbated by the accelerating replacement of humans by machinesin more and more tasks. I am not interested in using the computer to replace musicians, or acousticinstruments. The computer seems best suited to creating new, yet unheard sounds and musicalrelationships through the exploitation of compositional algorithms in real-time. Finally, it seemsthat in the future, as our machines continue to become more complicated and sophisticated, we willonly become more confused about their roles in our lives unless we make an effort to keep ourhuman relationships as non-mechanistic as possible.

Technically the computer tracks parameters of the saxophone, such as pitch, amplitude, spectrum,density, rests, articulation, tempi, etc., and uses this information to trigger specific electronicevents, and to continuously control all the computer sound output by directly controlling the digitalsynthesis algorithms. Thus the performer is expected to interact with the computer, triggeringand continuously shaping all of the computer output. Some of the sounds in the electronic partcome directly from the composed saxophone part, so that, certain aspects of the musical and soundmaterial of the instrumental and electronic parts are one and the same. Sound material other than thesaxophone is also manipulated via time-stretching and granular sampling. FFT-based crosssynthesis and analysis/resynthesis using an oscillator bank, as well as other more standard signalprocessing such as harmonizing, frequency shifting, phasing, spatialization, etc. are all employed.The instrument/machine relationship moves constantly on a continuum between the poles of anextended solo and a duo. Musically, the computer part is, at times, not separate from thesaxophone part, but serves rather to amplify the saxophone in many dimensions and directions;while at the other extreme of the continuum, the computer part has its own independent voice.Duration: 14 minutes.


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1

360 1Section I

sempre un poco staccato et senza vibrato

dynamics simile

7

13

19

26 2

41

47

58 3

65

71 4

Music for Alto Saxophone and Computer

AltoSaxophone

by Cort Lippe1997


5/18

82

88

94 5

104

110 6

121

127 7

135

141 8

150

-2-


6/18

158 9

168

176 10

184 11

192

199 12

205 13

21214

218 1516

226 17

-3-


7/18

23218 19

237

20

24421 22

251

23

257

24 25

262

26

267

273

281

-4-


8/18

293

27

303

28

318

1ction II

3272

3339

352

4

362

370

5

382

6

-5-


9/18

392

7

401

8

411

9

42210 11

43112

441

450

13

460

14

469

15

478

-6-


10/18

488

496

501

507

513

521

531

541

550 16

561

dynamics simile-7-


11/18

573

584 17

597

dynamics simile

611

sim.

625

sim. sim.

636

18

sim.

648

659

sim.

[continuously vary pitch and timbre slowly]

670 19 [continuously vary pitch and timbre slowly]

sim.

-8-


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Mult-pure683

Section III 1

[continuously vary amplitude and spectral envelopes of all multiphonics]2 3

Mult-pure6964 5

Mult-pure708

6 7

Mult-pure7218

Mult-pure-dense7379

751 Mult-pure-dense

10

768 Mult-pure-dense

11

787 Mult-pure-dense

12

807

-9-


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822 Mult-pure-dense

13

840 Mult-pure-dense

14

860

874 15 Mult-pure-dense

16

88917

90218

Mult-pure-dense

19

915

accel. poco a poco20Mult-dense

928

94321 22

Mult-dense

956

sempre accel. poco a poco

23

-10-


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Mult-dense96824

Mult-dense

981

25 sempre accel. poco a poco

Mult-dense991

2627

1004 Mult-dense

28 29Mult-dense

30sempre accel. poco a poco

1015

3132

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1028 Mult-dense

3334 Mult-dense

1039 Mult-dense

35Mult-dense

Mult-dense1048480

36

Mult-denseMult-dense

1058 Mult-raspy Mult-raspy Mult-raspy

dynamics simile

1068 Mult-raspy Mult-raspy

1077 Mult-raspy Mult-raspy Mult-raspy

1086 Mult-raspy Mult-raspy

Mult-raspy1095 Mult-raspy

Mult-raspy1103

Mult-raspy Mult-raspy Mult-raspy

dynamics simile

1112 Mult-raspyMult-raspy Mult-raspy Mult-raspy

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Mult-raspy1121

dynamics simile

Mult-raspy Mult-raspy

Mult-raspy1130 Mult-raspy Mult-raspy Mult-raspy

114037

1148

1157

1166

1175

1183

1193

120138

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1209

1218

decresc. poco a poco

1227

poco a poco meno legato1236

1243

1252

1261 39

1271sempre un poco staccato

128040

1285

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129041

1295

1301

42

1310

132943

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