Percussion and Max - A Collection of Short Works For Solo Percussi

University of Iowa
Iowa Research Online
Theses and Dissertations
Spring 2015
Percussion and Max: a collection of short works for solo

percussion and live electronics
Andrew Thierauf
University of Iowa
Follow this and additional works at: https://ir.uiowa.edu/etd
Part of the Music Commons
Copyright 2015 Andrew Thierauf
This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/1774
Recommended Citation
Thierauf, Andrew. "Percussion and Max: a collection of short works for solo percussion and live
electronics." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2015.
https://doi.org/10.17077/etd.e0e8pdtm
Follow this and additional works at: https://ir.uiowa.edu/etd

Part of the Music Commons
PERCUSSION AND MAX: A COLLECTION OF SHORT WORKS FOR SOLO
PERCUSSION AND LIVE ELECTRONICS
by
Andrew Thierauf
An essay submitted in partial fulfillment of

the requirements for the Doctor of Musical
Arts degree
in the Graduate College of
The University of Iowa
May 2015
Essay Supervisor: Professor Daniel Moore

Copyright by
ANDREW THIERAUF
2015
All Rights Reserved
Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
D.M.A. ESSAY
This is to certify that the D.M.A. essay of
Andrew Thierauf
has been approved by the Examining Committee

for the essay requirement for the Doctor of Musical Arts degree
at the May 2015 graduation.
Essay Committee:
Daniel Moore, Essay Supervisor
David Gompper
Lawrence Fritts
Jennifer Iverson
William LaRue Jones

To my parents, who have no idea what I am doing but trust me nonetheless
ii
ACKNOWLEDGMENTS
I would like to thank all those who have helped, and are helping me on my journey. I
would like to thank those on my committee for their time, support, and wisdom. I have learned a
great deal from each through academic courses, rehearsals, and performances that will stay with
me for a long time. I would like to especially thank Dan Moore for allowing me the freedom to
choose my own path and helping me along the way. I have had some fantastic experiences at the
University of Iowa and I am truly grateful for the opportunities afforded me here.
I have had the pleasure to be taught by some fantastic individuals who have given so
much encouragement. I am so fortunate to have had Bob Browning and Chris Zerges as music
teachers in high school; their musicianship, passion, and humor will stay with me forever. I am
grateful to have studied with such a genuine musician and person as Rusty Burge.
To be sure, I would be nowhere without the unending love and support from my parents.
From beginning band concerts in fifth grade to graduate recitals and beyond, they sat through
many performances and I could not be happier to have them in the audience. They are truly
amazing people who inspire me everyday.
iii
PUBLIC ABSTRACT
The combination of solo percussion with live electronics is one of the newest genres of
music today. An outgrowth of the instrument and fixed media genre, live electronic music
combines a musician on stage performing with a computer or other technology performing real-
time processes. This document is a collection of five works scored for percussion and the
computer program Max intended for the collegiate level. In addition, there are explanations and
schematics of the patches to help the performer learn how to use Max. This document could
serve as supplemental material for an undergraduate percussion curriculum to help students gain
experience performing with live electronics.
Most students in university music departments are not exposed to technology unless they
seek it out themselves. This may cause many student instrumentalists to be hesitant to play works
with technology. However, as performing with electronics becomes more common, music
students without this experience are at a disadvantage. Basic knowledge of audio equipment,
having experience using a microphone, sound recording, and other technical know-how is
essential to becoming a successful performer in a contemporary setting. Being able to perform
with electronics creates new opportunities for repertoire, collaboration, and performance.
Many universities are starting new programs dedicated to interdisciplinary studies such as
digital humanities. These collaborative efforts bring together musicians, dancers, writers, visual
artists, computer scientists, and others to create new work. Music students who have some
background in performing and working with electronics could be a part of these collaborative
efforts and help produce compelling, original work.
iv
TABLE OF CONTENTS
Chapter 1: Introduction ................................................................................................................... 1

Background Information ........................................................................................................................... 1
Purpose ..................................................................................................................................................... 2
Description of Project and Limitations ..................................................................................................... 2
Related Literature ..................................................................................................................................... 3
Justification ............................................................................................................................................... 5
Chapter 2: A Brief History of Percussion and Electronics ............................................................. 7
Chapter 3: Getting Started ............................................................................................................ 16
An Introduction to Max .......................................................................................................................... 19
Chapter 4: Original Compositions for Solo Percussion and Max ................................................. 26
Introduction to the Works ....................................................................................................................... 26
Tambourine Dream – for Tambourine and Fixed Media........................................................................ 27
Sirens – for Timpani and Max ................................................................................................................ 31
Wooden Blossoms – for Marimba and Max ........................................................................................... 34
The Seafarer – for Snare Drum and Max................................................................................................ 38
The Universe Expanded – for Vibraphone and Max .............................................................................. 42
Chapter 5: Conclusion and Further Research ............................................................................... 47
Bibliography ................................................................................................................................. 51
Appendix A: Recommended Placement ....................................................................................... 52
Appendix B: An Introduction to the Descriptions of the Max Patches ........................................ 54
Appendix C: Tambourine Dream Max Patch Description ............................................................ 55
Appendix D: Sirens Max Patch Description ................................................................................. 59
Appendix E: Wooden Blossoms Max Patch Description ............................................................. 65
Appendix F: The Seafarer Max Patch Description ....................................................................... 74
Appendix G: The Universe Expanded Max Patch Description .................................................... 85
Appendix H: Scores .................................................................................................................... 101
v
LIST OF FIGURES
Figure 1 – Configuring the Foot Switch Max Patch ..................................................................... 18

Figure 2 – Different Appearances of Max, MSP, and Jitter ......................................................... 20
Figure 3 – Object and Argument .................................................................................................. 20
Figure 4 – Triggering Messages in Order ..................................................................................... 22
Figure 5 – Float Numbers vs. Integers Max Patch........................................................................ 23
Figure 6 – Max Window ............................................................................................................... 24
Figure 7 – Audio Status Window.................................................................................................. 25
Figure 8 – Tambourine Dream Max Patch ................................................................................... 30
Figure 9 – Sirens Max Patch ......................................................................................................... 33
Figure 10 – Wooden Blossoms Max Patch ................................................................................... 37
Figure 11 – The Seafarer Max Patch ............................................................................................ 41
Figure 12 – The Universe Expanded Max Patch .......................................................................... 46
Figure A1 – Recommended Configuration ................................................................................... 52
Figure C1 – Tambourine Dream Max Patch ................................................................................. 55
Figure C2 – Tambourine Dream Max Patch Detail ...................................................................... 56
Figure D1 – Sirens Max Patch ...................................................................................................... 59
Figure D2 – Sirens Max Patch Detail ........................................................................................... 60
Figure D3 – Sirens Max Patch Detail ........................................................................................... 62
Figure D4 – Soundfiles Subpatcher .............................................................................................. 63
Figure D5 – Soundfiles Subpatch Detail ...................................................................................... 64
Figure E1 – Wooden Blossoms Max Patch .................................................................................. 65
Figure E2 – Pedal Subpatcher ....................................................................................................... 65
Figure E3 – Tempo Subpatch ....................................................................................................... 66
Figure E4 – Events Subpatch ........................................................................................................ 67
Figure E5 – One Subpatcher ......................................................................................................... 68
Figure E6 – One Subpatch Detail ................................................................................................. 69
Figure E7 – Delayblooms Subpatch ............................................................................................. 70
Figure E8 – Two Subpatch ........................................................................................................... 71
Figure E9 – Two Subpatch Detail ................................................................................................. 72
Figure E10 – Three Subpatch ....................................................................................................... 73
Figure F1 – The Seafarer Max Patch ............................................................................................ 74
Figure F2 – Event Trigger Subpatch ............................................................................................. 74
Figure F3 – Events Subpatch ........................................................................................................ 75
Figure F4 – Events Subpatch Detail ............................................................................................. 75
Figure F7 – Pitch Change Subpatch.............................................................................................. 77
Figure F9 – Echo Very High and Very Low Subpatch ................................................................. 78
Figure F10 – Events Subpatch Detail ........................................................................................... 79
vi
Figure F13 – Room Filter Subpatch.............................................................................................. 81
Figure F15 – Loops Ascending Subpatch ..................................................................................... 82
Figure F16 – Loop Subpatch......................................................................................................... 83
Figure F17 – Filter Subpatch ........................................................................................................ 84
Figure G1 – The Expanding Universe Max Patch ........................................................................ 85
Figure G2 – Expanding Universe Max Patch Detail .................................................................... 86
Figure G3 – Events Subpatch ....................................................................................................... 87
Figure G4 – Event Control Subpatch ............................................................................................ 87
Figure G5 – Looperase Subpatch .................................................................................................. 88
Figure G6 – Expanding Subpatch ................................................................................................. 88
Figure G7 – Expanding Subpatch Detail ...................................................................................... 89
Figure G10 – The Expanding Universe Detail ............................................................................. 91
Figure G11 – Pitch Set Subpatch .................................................................................................. 92
Figure G12 – Expanding Subpatch Detail .................................................................................... 93
Figure G13 – Filter Subpatch with Band Pass Filter .................................................................... 94
Figure G14 – Filter Subpatch with Oscillator ............................................................................... 95
Figure G15 – Events Subpatch Detail ........................................................................................... 96
Figure G16 – Tapseg Subpatch ..................................................................................................... 96
Figure G17 – Playloop1 Subpatch ................................................................................................ 97
Figure G18 – Segment Subpatch .................................................................................................. 98
Figure G19 – Expansion Stages Subpatch .................................................................................... 99
Figure G20 – Loop Expansion Stage 1 ......................................................................................... 99
Figure G21 – Expand Audo File2 Subpatch ............................................................................... 100
vii
Chapter 1: Introduction
Background Information
The combination of solo percussion with live electronics dates back to 1939 with
Imaginary Landscape No. 1 by John Cage.1 Since then there have been many pieces composed
for electronics and percussion but it is still a relatively new genre. As the field of computer
science advances, the technology used to create and perform music also develops. Faster
processors, smaller computers, and more integration between performer and computer make
performing with electronics easier for the performer and possibly more compelling for the
audience. Though solo percussion and electro-acoustic music have co-existed for several
decades, they have only recently become so common as to be programmed on student recitals. In
2001, the Percussive Arts Society International Convention Focus Day presented a session titled
“Wired for Percussion,” that featured works using electronics. Then in 2013 and in 2014, PASIC
included an extra daylong session dedicated to electronic music including numerous
performances, demonstrations, and clinics. At the time of this writing, there are relatively few
performers who can be found regularly using interactive technology. However, the computer
programs composers use to create these works are becoming more reliable and easier to use in
performance.
Most composition departments at major universities have an electronic music studio and
most utilize programs such as Max,2 yet the study of electronics are often omitted from the
curricula of instrumental studios in these same schools. Though not the only software available,
Max is arguably one of the most popular programs used by composers for live electronic music.
1
Peter Manning, Electronic and Computer Music, 4th ed. (New York: Oxford University
Press, 2013), 41.
2
Max, also known as Max/MSP and Jitter, is distributed by the company Cycling ’74.
1
This unique computer software allows composers to create a patch or graphic interface that a
performer can then use in conjunction with other devices such as a microphone and foot pedals
or other triggers. Using Max or other programs in a live performance gives more expressive
control to the performer than fixed media works, which have a set duration. The idea, though, is
not to abandon fixed media practices but rather empower the performer’s musicality and
interpretation.
Classically trained musicians are often hesitant to play live electronic music for a variety
of reasons – established large body of repertoire, negative attitude toward electronic music,
aesthetics, lack of experience or accessibility to name only a few. However, percussionists are
often more inclined to perform with electronics due to the similarity in sounds, the relatively
small repertoire that exists for percussion, and experience in experimental music, i.e. works of
Cage, Varese, etc. If composers can use Max effectively to create works that are musical,
expressive, engaging, and perhaps most importantly glitch free, then other musicians might
choose to perform them.
Purpose
The purpose of this document is to help percussionists unfamiliar with technology
perform works for percussion and live electronics through a hands-on, progressive approach.
Students may then be emboldened to perform other repertoire in the genre and create their own
works with Max.
Description of Project and Limitations
This project consists of five original works for percussion and Max based on specific
techniques found in the current repertoire, starting with simple techniques such as using a pedal
2
to start a sound file, then moving towards more complex interactions with the computer. This
document describes the necessary equipment and explains how to use it in each work. Each
composition is scored for a different instrument: tambourine, timpani, marimba, snare drum, and
vibraphone respectively. In addition, each patch is described in detail with schematics and
illustrations to explain how the program works.
This collection of works only addresses the program Max and its use with percussion
instruments. The compositions are at an undergraduate collegiate level. It is not within the scope
of this document to include in depth discussions of the hardware needed to perform the works
such as microphones, speakers, and digital audio converters, however brief descriptions are
included. All patches in this document were created using Max 6. At the time of writing, Max 6
Runtime was the current version hence all examples use Max 6 graphics. Max 6 and later
versions of Max are able to run the patches in this document, however Max 5 or earlier may not.
Related Literature
A search of World Cat revealed that there are no etude books currently available that
cover performing works for percussion and Max. Several articles in Percussive Notes mention
Max and percussion but only one is specifically dedicated to the topic. The Percussive Arts
Society Technology Committee is currently collecting scores for percussion and electronics to be
entered into a searchable catalog. There was also a call for scores from the University of
Wisconsin-Whitewater that included works written for percussion and Max in 2005.3 Though
only a handful of solos for Max and percussion turn up in a search of World Cat there are
numerous unpublished works listed on programs from past percussion conventions and past
electronic music conventions. As an example there were five works scored for electronics and
3
“Call for Scores,” Percussion News July 2005: 12.
3
percussion during the 2007Society for Electro-Acoustic Music in the United States conference4
and seven in the 2009 conference.5
J. B. Smith, percussion professor at Arizona State University, wrote an article for
Percussive Notes specifically mentioning Max. In the article he discusses the flexibility of the
program, being useful in pedagogy, developing new works, and performing works for outdated
technology.6 He begins by explaining how the program uses a graphic interface to create patches
that can do various processes including sound file playback, audio recording, and real-time audio
processing. One use he gives of Max is to preserve older electronic pieces whose equipment
needs have become obsolete or cumbersome, such as pieces with tape recorders that require an
extra audio engineer. Dr. Smith describes how he set up a Max patch to work with Daniel
Levitan’s Can’t See the Forest…music (1971) scored for speaker, wine glass, and multi-track
recorder. Another use is to make works that use looping foot pedals and other pedal effects, like
Nigel Westlake’s Fabian Theory, more easily played by eliminating the outboard gear and using
only Max. This article has many compelling arguments for the use of Max both in performance
and pedagogy, however it is limited to a short article.
There are several shorter articles, from 2001 to the present, that mention the use of Max
with percussion, most discussing concerts incorporating live electronics. Other articles are about
specific performers who use Max in their concerts, specifically Fernando Rocha from Brazil and
Joby Bergess from England both of whom have given clinics and performances at past PASICs.
4
“2007 SEAMUS Program,” http://www.music.iastate.edu/seamus/main.html
5
“2009 SEAMUS Program,” http://seamus.sweetwater.com/wp-
content/uploads/seamus_2009_program.pdf
6
J. B. Smith, “Max/MSP: A Software Tool for Percussionists,” Percussive Notes 46 no 6
(2008): 64-69.
4
These articles mention briefly how the performers interact with the program but omit in-depth
discussions or examples.
The information and literature written about percussion and Max suggests an interest in
the topic, though mostly in small, specialized circles. A pedagogical, hands-on approach is
needed for percussion teachers and students to gain a thorough understanding of the program and
how to perform with it. As more performers learn to use Max (and similar programs), the genre
of live electronics and percussion will continue to develop.
Justification
In a collegiate percussion curriculum, etude and method books are commonly used to aid
students in developing proficiency on marimba, snare drum, and timpani – the three most
common percussion instruments. As of yet there are no method or etude books that incorporate
live electronics. Method books are often written as either pedagogical etudes for teachers to use
in lessons or as supplemental materials that students can work on outside of lessons. Today there
are etude books that have become standard materials for undergraduate percussion curricula such
as Anthony Cirone’s Portraits in Rhythm for snare drum, the etudes of Clair Omar Musser for
marimba, and Michael Udow and Chris Watts’s Contemporary Percussionist for multiple
percussion, to name only a few. These etudes facilitate the student gaining technical proficiency
when working with a teacher.
Supplemental pedagogical materials that the student can study independently from his or
her professor are becoming increasingly important as the scope of percussion is continuously
expanding. There are a vast number of disparate percussion instruments from all over the world
making it nearly impossible for a particular teacher to be an expert in all areas. Supplemental
materials can aid professors unfamiliar with certain techniques, instruments, or styles they deem
5
important for students to know. Method of Movement, published in 1979 by marimba virtuoso
Leigh Howard Stevens, is one example of supplemental pedagogical material. The book explains
how Stevens holds four mallets and includes detailed pictures and explanations of how the hands
should function. Professors who use a different grip would not necessarily need to be proficient
using this technique but could still discuss musicality and expression.
Similarly, this document is intended to be a supplemental method book explaining how to
perform with Max. Works for percussion and Max are becoming more common especially on
collegiate recitals. Pieces such as Prime Ordinals by Jim Casella, Mare Tranquillitatis by Mark
Berry, both available through TapSpace publications, as well as Music for Snare Drum and
Computer, Music for HiHat and Computer, and Music for Cajon and Computer all by Cort Lippe
are becoming popular. Max can also be used to perform tape pieces as demonstrated in the first
piece, Tambourine Dream. The goal of this document is to provide a sequential pedagogical
approach that will aid students who are interested in performing with electronics develop a basic
understanding of the program. With this understanding and experience they could then continue
to perform more repertoire for percussion and live electronics or perhaps compose original
works.
6
Chapter 2: A Brief History of Percussion and Electronics
A brief discussion about the development of electronics and percussion will serve to
contextualize the works in this document. This chapter is not meant to be a complete history of
electronic music but will summarize the path of electroacoustic music and highlight moments of
intersection with percussion. There are several authors who have written much more detailed
historical accounts of electroacoustic music such as Joel Chadabe, Peter Manning, and Thom
Holmes.
Electronic music and percussion have followed similar lines of development. Although
percussion is one of the oldest instrument groups, composers only recently began writing for solo
and chamber percussion groups. The first compositions for the modern percussion ensemble, that
is, an ensemble that uses Western notation, were written around 1930. In the same way, the
repertoire of electronic music has only recently begun to develop. In a paper presented by
Fernando Rocha at a percussion conference at the University of California San Diego, he
suggested that electronic music and percussion offer composers new timbre options – the “all-
sound” world of Varèse and the Futurists.7 The development of both percussion and electronic
music are subject to hardware advancements; electronic music with regard to technological
changes, and percussion with regard to instrument development. But it is also often the
imagination of composers, like Edgard Varèse, that spurs advancements. In 1936, Varèse wrote:
Moreover, the new musical apparatus I envisage, able to emit sounds of any number of
frequencies, will extend the limits of the lowest and highest registers, hence new organizations of
the vertical resultants; chords their arrangements, their spacings – that is, their oxygenation … The
7
Fernando Rocha and D. Andrew Stewart, “Collaborative Projects for Percussion and
Electronics,” (paper presented at Roots and Rhizomes: Seventy-Five Years of Percussion Music,
San Diego, California, February 21-24, 2007)
7
never-before-thought-of use of the inferior resultants and of the differential and additional sounds
may also be expected. An entirely new magic of sound!8
Electronic music, or as some refer to it, electroacoustic or acousmatic music, began at the
turn of the twentieth century with Thaddeus Cahill’s Telharmonium, patented in 1896.9 This
massive device used telephone cables to transmit sounds from the machine to the audience.
Though most of the repertoire performed were light classics, other composers saw the beginning
of a new era in which new tunings could arise allowing an infinite number of tones to the octave.
In his book, Sketch of a New Aesthetic of Music, Ferrucio Busoni lauds the Telharmonium and
wonders about music of the future – new timbres, tunings, and methods of listening. He also
mentions that it will take a new audience to appreciate these advancements.10
The first documented examples of live percussion with electronics come from John Cage
and his Imaginary Landscapes. The first Landscape (1939) is scored for cymbal, piano,
amplified coil, and variable speed records along with two audio technicians who control the mix.
The audience would be in another room where the dancers of Merce Cunningham’s company
would perform to the transmitted sounds.11 Cage’s later Landscapes incorporated the
percussionists as on-stage performers. Credo in US (1942) is another example of percussion with
live electronics – scored for electric buzzer and record player. Cage instructs the performers to
choose a record, in this case a 33 1/3 RPM LP record, of a great symphonic work such as
8
Edgard Varèse, “new Instruments and New Music,” The Liberation of Sound ed. Chou
Wen-chung Perspectives of New Music, v. 1 (Fall-Winter 1966), 11-19.
9
Thom Holmes, Electronic and Experimental Music: Technology, Music, and Culture.
th
4 ed. (New York: Routledge, 2012) 45.
10
Paul Sanden, Liveness in Modern Music (New York: Routledge, 2013) 93.
11
Ibid. 95.
8
Antonin Dvořák’s New World Symphony and have it play during the performance indicating in
the score when to change the volume.
The first electronic music studios were founded in Paris and Cologne. Pierre Schaeffer,
an electronic engineer at Radiodiffusion Télévision Française, was a pioneer in electronic music
and founder of the Groupe de Recherches Musicales (GRM) in 1948.12 He would record the
sounds of trains, boats, and ambient noises of cities then manipulate the tape in different ways –
changing playback speed, reversing sounds, and cutting off the attacks of notes. This genre of
electronic music became known as musique concrète.13 Soon after in Cologne, Herbert Eimert,
Dr. Werner Meyer-Eppler, Robert Beyer, and Fritz Enkel started an electronic music studio in
1951 under the auspices of the West German National Radio dedicated to producing
elektronische Musik – music produced exclusively by electronic oscillators and recorded onto
magnetic tape.14 The process often involved several sine-wave oscillators sounding at the same
time to create complex sounds, known as additive synthesis.15 In the first few years, the engineer/
composers of each studio worked using different means: those in Paris used sampled audio as
compositional material while the Cologne studio opted to use sounds they created often in a
serial manner.16 Though the two studios were founded on opposing philosophies of electronic,
the composers soon began using both techniques in their works. For example, Stockhausen uses
prerecorded sounds of a boy’s voice, musique concrète, along with additive synthesis,
12
Thom Holmes, Electronic and Experimental Music, 87.
13
Peter Manning, Electronic and Computer Music, 20.
14
Ibid. 40.
15
Ibid. 37.
16
Nick Collins and Julio d’Escrivan, eds. Cambridge Companion to Electronic Music.
(Cambridge: Cambridge University Press, 2007) 26.
9
elektronische Musik in the work Gesang der Jünglinge (1955-56). Other important studios
developed in Italy and America. Most notable was the Columbia-Princeton Electronic Music
Center formed by Vladimir Ussachevsky, Otto Leuning, Roger Sessions, and Milton Babbitt,
which was the home of the RCA Mark II synthesizer.17
Shortly after the founding of these studios, in 1952, one of the first tape and instrument
works was premiered, Musica su due Dimensioni. It was composed by Bruno Maderna and
scored for flute, percussion, and tape.18 Soon after this premier, composers began writing more
tape pieces with instruments. In 1954, Edgard Varèse wrote, Déserts, perhaps the first work for
orchestra and tape.19 One of the most revered tape pieces even today is Stockhausen’s Kontakte
(1960), scored for piano, percussion, and a four-channel tape created using sound generators,
modifiers, and other analog devices.
Composers were also experimenting with tape recorders in performance. One of the first
compositions was Mauricio Kagel’s Transicion II (1959). This work is written for a piano and
percussionist playing the inside of the piano with the aid of two technicians using tape recorders.
One tape recorder would record sounds as they occurred during the performance and then play
the tape back later in the work. The other tape would have prerecorded sounds consisting of
material that would be played by the live performers later in the piece. This technique brings
together past, present, and future.20 Stockhausen also used tape recorders in Mikrophonie I
17
Peter Manning, Electronic and Computer Music, 95.
18
Otto Leuning, “Origins,” The Development and Practice of Electronic Music, eds. Jon
Appleton and Ronald Perera (New Jersey: Prentice-Hall Inc., 1975), 13.
19
Leuning, “Origins,” 18-19.
20
David Ernst, The Evolution of Electronic Music (New York: Schirmer Books, 1977)
153.
10
(1964) in which percussionists play a tam tam with multiple implements in various beating areas
to create a wealth of different timbres. The tape recorders then amplify and electronically filter
those sounds.21
During the 1960s several improvisatory, electronic music ensembles formed in Europe
and America. In Cologne, Stockhausen had assembled several performers to play his music. In
Rome there were two competing ensembles, the Gruppo di Improvisaziono Nuova Consananza
and Musica Electronica Viva (MEV) – the latter made up of American expatriates including
Frederick Rzewski. Cornelius Cardew set up the Scratch Orchestra in England and Robert
Ashley and Gordon Mumma founded the Sonic Arts Union in America. These ensembles wrote
their own music and experimented with various kinds of theatrics and sound production. Many
of these ensembles incorporated electronic as well as acoustic instruments. The improvisers in
MEV often attached contact microphones to found objects to expand their timbrel palette.
Though the members of the MEV, Scratch Orchestra, and the Sonic Arts Union were often
conservatory-trained musicians, they began democratizing music by allowing and encouraging
audience participation in concerts.22 In December of 1967, the University of California Davis
and Mills College produced the first Festival of Live Electronic Music.23 Also during the 1960s,
percussion virtuoso, Max Neuhaus, recorded several works incorporating electronics such as,
Earl Brown’s four systems, Bussotti’s Couer pour Batteur, and Cage’s Fontana Mix-Feed.
21
Gordon Mumma, “Live-electronic Music,” The Development and Practice of
Electronic Music, eds. Appleton and Perera (New Jersey: Prentice-Hall Inc., 1975), 299.
22
Robert Adlington, ed. Sound Commitments, (New York: Oxford University Press,
2009), 110.
23
Gordon Mumma, “Live-electronic Music,” 299-300.
11
During the 1960s and 70s, voltage-controlled synthesizers that used transistors allowed
composers and performers to more quickly and accurately create music through sine wave
oscillators. The invention of transistors decreased the size of components and voltage-controllers
allowed for precise manipulation of sound.24 These new synthesizers were more compact and
portable than previous electronic devices increasing their potential to be used in performance.
Robert Moog, one of the first and most well known audio engineers, developed the Moog
Synthesizer in 1966.25 John Chowning, working at Stanford, conducted research using
frequency modulation to mimic musical instruments.26 This opened up a new avenue for
musicians and it soon found its way into popular music. In 1983, Yamaha began manufacturing
the DX series of synthesizers that were portable and used MIDI controls.27 MIDI, or Musical
Instrument Digital Interface, was developed in 1982 by a coalition of several companies
interested in codifying a communications protocol for musical electronic devices, such as
synthesizers.28 The MIDI language allows computers, controllers, interfaces, and synthesizers to
communicate regardless of the manufacturer of each component. The Yamaha synthesizers were
just the beginning of what have come to be known as MIDI controllers. Common percussion
MIDI controllers include the MalletKat and DrumKat by Alternate Mode and the XyloSynth by
Wernick. As synthesizers were developing in the 1970s, Max Mathews, working at Bell
24
Thom Holmes, Electronic and Experimental Music, 161-162.
25
Manning, Electronic and Computer Music, 102.
26
Ibid. 195.
27
Ibid. 281.
28
Ibid. 267.
12
Laboratories in New Jersey, was developing computer-assisted synthesis.29 This was the
beginning of computer music and paved the way for programs such as Pro Tools, Ableton, and
Max/MSP.
Composers continued to write many tape pieces and works with tape recorders during
the 1970s and 80s. Mario Davidovsky’s Synchronisms No. 5 (1974) has become an important
work for percussion ensemble and tape. James Tenney wrote deus ex machine in 1982 for tam
tam and tape delay system, somewhat similar to Stockhausen’s Mikrophonie I. In 1984, Javier
Alvarez wrote one of the seminal works for percussion and tape, Temazcal. Scored only for
maracas, the tape part moves from various manipulated bell like sounds and other electronic
sounds to a folk melody at the end. The percussionist has some freedom with several ad lib parts
but there are also moments that must by synchronized with the tape. Another work for tape
recorder is Space Model (1992) by Marta Ptaszynska, which requires multi-track recording and
playback abilities.
During the last quarter of the 20th century Max Mathews, along with many other
engineers at Bell Labs, continued to develop computer based music synthesis. Starting with the
MUSICn series, consisting of MUSIC1, MUSIC2, and continuing through MUSIC 11, Mathews
used IBM computers to create music electronically.30 He eventually developed GROOVE which
used knobs and buttons to control the music synthesis as opposed to using a programming
language.31 Others also developed their own computer music programs such as Music Mouse by
29
Ibid. 187.
30
Nick Collins and Julio d’Escrivan eds., Cambridge Companion to Electronic Music,
58.
31
Peter Manning, Electronic and Computer Music, 207-208.
13
Laurie Spiegel and the programs M and Jam Factory by Joel Chadabe.32 IRCAM, in France,
continued research in computer music and in 1988 developed the 4X, a computer peripheral that
could process an audio signal in real-time. This was not feasible on earlier computers because
they did not have enough processing power.33 Miller Puckette, also working at IRCAM,
developed a program later named Max (named for Max Mathews) as a language to control the
4X. After much research and experimenting, the company Cycling ’74 came out with Max/MSP
in 1999 and has since added Jitter, a video-editing program. Other software that was created and
is being developing concurrently with Max includes Pure Data, Supercollider, ChucK, and
Csound.
Although live interactive music is relatively new, there are already works for percussion
and Max that have become common repertoire, such as 6 Japanese Gardens by Kaija Saariaho,
Music for Hi Hat and Computer and Music for Snare Drum and Computer both by Cort Lippe,
and Prime Ordinal by Jim Casella.
Though still in its infancy when compared to other genres, electronic music has taken
over especially in popular music. Electronic instruments are as common as acoustic instruments,
hence the need for composers to call for “acoustic” guitar or “electric” bass to be clear what
instrument is intended. Though the music being produced in popular music is much different
than that of Stockhausen, the technology and techniques musicians and sound engineers use
today are results of early electronic music experiments. In fact one could argue that almost, if not
all, popular music is electronic music due to the production, distribution, and consumption of
popular music via electronic means. There is, however, a clear distinction between music in
32
Nick Collins and Julio d’Escrivan, eds. Cambridge Companion to Electronic Music,
92-93.
33
Peter Manning, Electronic Computer Music, 232.
14
Academia and popular music – the former pushing electronic music to the fringe and the latter
using electronic music to entertain. For music students today, it is imperative to have a basic
understanding of electronics and music technology regardless of their intended careers.
15
Chapter 3: Getting Started
This chapter will explain what the performer will need in terms of hardware and
software. In order to perform the works in this document the performer needs a laptop with Max
Runtime available for free from Cycling ’74 to run the patches written for these works34, a digital
audio interface, powered speakers, a microphone, a foot pedal, and all assorted cables. An in-
depth discussion of these items is not within the scope of this document, however a brief
explanation of the devices is included as well as a recommended set up in Appendix A.
The laptop should be able to run Max Runtime. The requirements can be found at the
Cycling ‘74 website, though almost all newer computers, manufactured within the past five
years, are well equipped to run the program. To perform the works in this document the
performer needs only to download Max Runtime.35 In order to alter existing patches or create
new ones, the full version of Max is required. Another option is to use the open source program
Pure Data, also created by Miller Puckette, to create new works. It is almost identical to Max
with the exception that objects have different names. Max will be discussed in more detail later
in this document.
A digital audio interface connects the microphone and speakers to the computer.36 It
transforms the audio signal into a digital signal using an analog to digital converter (ADC) and
vice versa by means of a digital to analog converter (DAC). Often the audio interface connects to
the computer via USB or FireWire. The interface needs at least two inputs and two outputs to
perform all of the compositions in this document.
34
The Max patches are online at http://www.andythierauf.com/max-patches.html
35
https://cycling74.com/downloads/runtime/
36
Recommended brands: MOTU and M-Audio
16
In lieu of using an audio interface, an XLR-USB converter or USB microphone could be
used to connect a microphone directly to the computer.37 The audio from the earphone jack on
the computer would then need to be routed through a mixer and into speakers. However, this
method may limit the number of microphones that can be used, and the audio quality depends on
the sound card in the computer.
All of the works in this project require two speakers to produce a stereo sound field.
There are several types of speakers that fall into some combination of powered or unpowered,
and active or passive. Though powered, active speakers are recommended, any kind of speaker
system will work. Budget, venue, and other factors may determine the specific amplification
requirements.
The first two works presented in this document do not use microphones. The third work,
Wooden Blossoms, uses two while the last two compositions require just one microphone. Like
speakers, there are many different types of microphones, and most will work.38 When using a
microphone, make sure it is placed above the instrument and pointed towards the middle of the
playing area.
A USB foot switch is suggested to trigger events in these patches.39 While there are many
different kinds of switches or pedals that will work, the Max patches need to be configured
properly. Open the Max patch, “Configuring the Foot Switch” shown in Figure 1, and follow the
instructions. Generally most human interface device (HID) foot switches act like a keyboard
37
For example: Blue Icicle converter
38
A common and reliable instrument microphone is the Shure SM-57
39
For example: Delcom HID Products. Other HIDs are available through electronics
stores, often marketed to gamers or as handicap accessibility
17
outputting an ASCII40 number such as 32 for “enter” or 97 for the letter “b” on the keypad. Other
HIDs send MIDI information, outputting 127 when activated and 0 when deactivated.41 For the
patches in this document, if the HID outputs ASCII numbers then it should not output 32
“spacebar” or 127 “delete/backspace” as those keys already have assigned functions. The
“Configuring the Foot Switch” patch accepts both ASCII numbers and MIDI information.
Figure 1 – Configuring the Foot Switch Max Patch
40
ASCII, or American Standard Code for Information Interchange, is the numerical
representation of keyboard characters.
18
An Introduction to Max
Max is an object based programming environment that allows the user to create patches,
or programs, that control audio and visual processes. “Patches” get their name from the patch
cords composers and engineers used (and still use) in synthesizers to connect components in
order to achieve certain sounds and effects. Unlike other computer music programs like Csound
and ChucK, there is no programming language per se, but instead uses an intuitive graphic user
interface to create patches. A performer does not need to know how Max works but only how to
interact with the computer, such as how and when to hit a certain trigger. The following chapters
describe how to use a Max patch, explain many common objects, and provide examples of works
for percussion and Max.
Before delving into Max, a few basic functions and terms must be explained. The name
“Max” is short for Max/MSP and Jitter – three programs in one. “Max” controls discrete
messages and MIDI, “MSP,” controls audio signal in the program, and “Jitter” controls video
signal. Although the three elements run within the same program, they each have unique traits
illustrated in Figure 2. Max objects only connect to other objects and messages via gray colored
patch cords. MSP objects send audio signal via yellow patch cords and have a “~” after their
name, e.g. DAC~. Jitter objects send video signal via green patch cords and start with “jit.” e.g.
jit.qt.movie.
19
Figure 2 – Different Appearances of Max, MSP, and Jitter
“Objects,” found in Max, create connections that result in sound generation, sound
manipulation, computations setting parameters for algorithms, and other procedures.
“Arguments,” found after the name of an object, control the functional parameters. For example,
in Figure 3 the cycle~ object produces a sine wave and the argument controls the frequency in
Hz, here 440 Hz.
Figure 3 – Object and Argument
There are hundreds of objects in Max and programmers are constantly creating new objects to do
new processes. The best way to figure out what an object does is to open its “helpfile patch” that
explains what it does and how to use it. When writing patches, composers often copy the
contents of the helpfile patch and paste it directly into a new patch. For composers, Max also has
many tutorials; however this document will serve as a tutorial for performers who may not want
to learn how to write patches but simply perform with Max. In addition to help files and tutorials,
20
there are forums on the Cycling ’74 website dedicated to helping new and experienced Max
users troubleshoot issues.42 Many questions have answers in the forum archives and experienced
programmers are quick to answer new questions. The forums also offer a space to share ideas
and upcoming projects with fellow Max users.
Messages appear in grey ovals and carry information that can change or be changed by an
object. A common message in Max is the “bang” message. A bang is much like a dot in
geometry - it happens at an exact time and has no length. Often a bang causes other things to
happen. For example, if a sound file is playing and a stop message is “banged,” then the audio
file will stop playing. Making sure all of the bangs happen in the correct order, also known as
“scheduling” in Max, is an important aspect of the program. Figure 4 illustrates how scheduling
works to play an audio file using an sfplay~ object. In this scenario, the audio file, named
audiofile.aif, needs to be played at half speed. The button at the top sends a bang to the trigger
object abbreviated “t” followed by the argument “b” three times. The “b” stands for bang and
each “b” is correlated with an outlet – the left “b” with left outlet, the middle “b” with the middle
outlet and the right “b” with the right outlet. When the trigger object receives a bang it then
sends a bang out of each of its outlets in order from right to left almost simultaneously. Novice
users may become frustrated when a patch does not work because the operations are happening
in the wrong order. Here, the order is important because the speed at which the file is played and
the audio file name need to be specified before the sfplay~ object can do anything. The trigger
object in Figure 4 sends out bangs from right to left, first hitting the message “0.5” setting the
speed, then “open audiofile.aif” selecting the audio file, and finally “1” activating sfplay~.
42
https://cycling74.com/forums/
21
Figure 4 – Triggering Messages in Order
In Max, punctuation and other syntax is critical – small details may cause drastically
different outcomes. One of the most important differentiations to make is between an integer
(abbreviated int) and a float number as demonstrated in Figure 5. An integer is a whole number
without a decimal point whereas a float number is a number with a decimal point. Though
seemingly insignificant at times it can mean the difference between a smooth decrescendo and an
abrupt cut off. Opening the patch “Float Numbers vs. Integers” will demonstrate the differences.
Clicking on the messages under “Using float numbers” create a smooth crescendo and
diminuendo, while the messages under “Using integers” cause immediate starts and stops of the
sound.
22
Figure 5 – Float Numbers vs. Integers Max Patch
Comments are also useful in Max in order to remember or explain what is happening in a
patch. Comments do not affect objects or messages and can be placed anywhere to explain what
a certain object is doing, explain what numbers mean, or as a reminder for future uses. In Figure
5 there are comments above each message explaining what they will initiate. Adding notes with
text is very helpful, since Max patches can become complex and even the most advanced
programmers may forget how a patch functions after spending some time away from it.
Almost everything in Max is customizable including font size, background color, object
size, and position. In order to make changes to a patch it must be unlocked by clicking on the
small lock icon in the bottom left corner of the screen. However, it is best to have the patch
locked when performing. Patches cannot be unlocked using the Runtime version, only with the
full version of Max.
It is important to keep the objects organized and keep the flow of information clear from
the top down. In some cases this becomes impossible but in general, knowing how the patch is
designed to flow can make troubleshooting easier later. It is also essential to keep in mind that
these patches will be used in a live performance situation and making reliable patches that have
23
fail-safes is critical. If something is not working, then the Max Window (Figure 6), found under
the Window menu, may show the error in red.
Figure 6 – Max Window
In order for Max to communicate with the audio interface the correct audio driver must
be selected. The Options menu includes the Audio Status where the Audio driver, input, and
output can be changed (Figure 7). As a default, it is set to Core Audio with built in Microphone
and built in output corresponding to the microphone and speakers in the computer. To use an
audio interface, select the correct device in those categories. Each audio interface is different, but
it should be listed in either the driver menu or the input or output device menus. Everything else
in the Audio Status should be ready to use.
24
Figure 7 – Audio Status Window
The following original compositions and patches expand on these basic concepts,
introducing more objects that process sound in myriad ways. Though the patches become
progressively complex, the interaction between the performer and computer remains relatively
simple in that the only trigger in use is a foot switch. However, as the processes become more
complex and algorithmic, the performer gains more expressive freedom, able to choose tempi,
play out of time, and at times improvise. The performance instructions should be followed
closely in order to avoid technical issues. Familiarity with the hardware builds confidence.
Electronic works should be practiced similarly to a duet, learning one’s own part first then
putting it together with the second player, in this case the computer.
25
Chapter 4: Original Compositions for Solo Percussion and Max
Introduction to the Works
This chapter contains five compositions scored for solo percussion and Max covering
several different instruments and real-time music processing techniques. The first piece is for
tambourine and fixed media, and demonstrates fundamental elements of Max. The second work,
Sirens, for timpani, incorporates a foot switch to begin and end sound files allowing the
performer more expressive possibilities. The third work, for marimba, utilizes microphones for
live sound processing including digital delay. The Seafarer, for snare drum, also manipulates
sound in real time such as changing the pitch and timbre of the recorded audio signal. The final
work, The Universe Expanded, is a guided improvisation for vibraphone that incorporates
looping and manipulated playback.
A brief introduction, program note, performance directions, and a troubleshooting aid
accompany each work. The introduction and program notes give background information about
the piece while the performance directions and troubleshooting explain how to use the Max
patch. Detailed explanations and schematics of the Max patches are included in appendices to
help students who want to learn more and build their own patches; however, they are not
necessary to performing these works. The scores are in Appendix H.
26
Tambourine Dream – for Tambourine and Fixed Media
Tambourine Dream serves as a fundamental Max patch on which the subsequent works
in this collection build. Tambourine Dream could also be performed without Max since it uses
fixed media but it introduces some basic functions of the program. This also familiarizes the
performer with the scenario of playing with electronic sounds, a duet between the instrument and
computer. Since this patch can play any sound file on a computer, it could be used to perform
any standard fixed media and percussion repertoire, such as Temazcal by Javier Alvarez,43
Garage Drummer by James Campbell,44 and EDGE (corrugated box) by Bruce Hamilton.45
Program Note
Tambourine Dream explores the secret life of the be-jingled frame drum. Though the
tambourine and its ancestors have a long, fascinating history they are now relegated to the back
of the orchestra with little hope of being seen. Although some composers have chanced to
explore the musicality and virtuosity of the tambourine, by and large it remains underappreciated
at best. Percussion students scoff at the thought of practicing the tambourine when such grand
and instruments as the marimba and snare drum must be mastered – not to mention the hallowed
timpani. The tambourine, it seems, is fated to the hands of the second, third, or even fourth chair
percussionist, far beneath the proclivities of the principal player. For a moment though, the
43
Javier Alvarez, Temazcal – for tape and amplified maracas (Black Dog Editions:
London, 1984).
44
James Campbell, Garage Drummer – multiple percussion solo with soundscape
(HoneyRock: Everett, PA, 2005).
45
Bruce Hamilton, EDGE (Corrugated Box) – for multiple percussion solo with tape
(Non Sequitur Music Publishing: Bellingham, WA, 1991).
27
tambourine will show adept versatility and beautiful nuance in a through-composed stream of
consciousness.
Key Ideas and Performance Directions
- Turning the DAC~ on and off, allowing the patch to send sound to the speakers
- Selecting and playing an audio file from the computer
- Adjusting the volume using sliders in the Max patch
To perform this piece, first turn on the DAC~ by hitting the spacebar – notice an “x”
appears in the toggle above the DAC~. Next, click the “open” message above the sfplay~ object.
This will bring up a window to choose an audio file on the computer. Choose the audio file
named, “Tambourine Dream.aif,” to be loaded into the sfplay~ object.
The rightmost slider object, or gain~ object is the master volume control. When the patch
is opened it is automatically set to 127, equivalent to 0 dB. 0 dB does not mean “no sound” and
could be quite loud depending on the speakers. If the volume needs to be softer or louder, use the
master volume slider to adjust the level. The number box below the slider shows the current
volume level and can be duplicated if typed into the box above the slider. For example, if during
a sound check the volume is too loud, move the slider down to the desired level, perhaps 100.
Before the performance, after opening the patch and loading the sound file, type “100” into the
number box directly above the master volume control slider to set the same level as from the
sound check. To begin the audio file, press the play button on the playbar. The meters located
below the sfplay~ object should be indicating the audio signal level via colored bars.
28
Troubleshooting
The Max Window (Figure 6) will report any issues that may occur. Text highlighted in red
indicates an error. A possible error that could occur in this patch would be that an audio file was
not loaded before pressing play. In that case, click the “open” message and select the appropriate
sound file. The Max Window is helpful as long as the problem lies within the Max patch, but
there are other possible technical issues that will not cause an error report.
One common problem is a lack of sound coming from the speakers. Make sure the
speakers have power and are on. The meters below the sfplay~ object will indicate if a signal is
passing through. If there is no signal then there may not be a sound file loaded or the DAC may
be off. Make sure the DAC is on and an audio file is loaded. If the meters indicate a signal is
passing through but no sound is heard there are two places to check. First make sure the gain~
objects are turned up and make sure the volume on the computer or mixer is also at an
appropriate level. The second place to check is the Audio Status window (Figure 7). To check
the audio status double click on the DAC~ object. This shows where the sound is being routed. If
using an audio interface, it should be selected in the driver menu or possibly the input and output
menus. It is important that the appropriate inputs and outputs are selected. If there is still an issue
with sound, try closing Max and reopening the patch.
29
Figure 8 – Tambourine Dream Max Patch
30
Sirens – for Timpani and Max
In this work, the performer uses a foot switch to start and stop sound files at various points
in the score, a similar technique is found in 6 Japanese Gardens by Kaija Saariaho.46 Unlike
traditional tape pieces that are fixed, using a foot pedal allows the performer to progress through
the work at their own pace. There are two ways the patch plays audio files in this piece: looping,
which creates ambient sounds through looped repetition of the electronics, and non-looping, in
which the performer plays along with the electronics, as in a fixed media work.
Program Note
Sirens is scored for timpani and the computer program Max. The performer controls the
computer via a foot switch that triggers sound files. Unlike fixed media works, this piece gives
the performer control over pacing and interpretation. There are moments when the performer is
rhythmically independent of the recorded audio files and other times when the two are
rhythmically aligned. The title alludes to both the modern concept of a storm warning and the
ancient mythological beings who lured sailors to their death through mysterious songs. Both
carry a sense of beauty and anxiety; the serenity of the calm before the storm undermined by the
knowledge of what is to come.
- Using a foot switch to start and stop sound files
To perform this work, first, type in the trigger number as discussed earlier in the
document or open the Max patch, “Configuring the Foot Switch” and follow the instructions.
46
Kaija Saariaho, Six Japanese Gardens – for percussion and electronics (Chester
Music: London, 1995).
31
Pressing the switch advances the Current Event number box forward triggering the next sound
file and/or stopping the previous sound file. The pedal remains inactive for a half-second after it
is pressed to prevent accidental triggering.
Next, drag the folder named “Sirens,” which contains the audio files, over the box
marked “Drag Folder Here.” It is located towards the upper right corner of the patch. An “X”
should appear in the box next to the words “Audio File Status” indicating that the files were
loaded.
Finally, set the master volume control to the appropriate level if necessary then press the
space bar to turn the DAC on. If the Current Event number box is not at “0,” press Backspace (or
Delete on Apple computers) to reset the counter. The patch is now ready.
The score specifies when to press the foot switch with large circled numbers corresponding
to the Current Event Counter on the screen. The computer should be in eyesight to make sure the
event numbers correlate. Some of the triggered sound files are ambient while others are
rhythmic. To practice the rhythmic sections, enter the corresponding number into the “start on
event” box then the next trigger will start that particular sound file.
Troubleshooting
First check the Max Window to see if there are any error messages. This will show if the
sound files were not loaded prior to starting the piece. If there is an issue try reloading the sound
files by dragging the “Sirens” folder back into the patch. It is important that none of the files
within the folder are renamed.
If the foot switch is not advancing the Current Event counter, check that the correct trigger
number has been entered. To determine what trigger number the foot switch is sending, open the
32
“Configuring the Foot Switch” patch and follow the instructions.
Make sure the DAC is on and audio files are loaded. If the meters do indicate a signal is
passing through but no sound is heard there are two places to check. First make sure the gain~
objects are turned up and make sure the volume on the computer or mixer is also at an
appropriate level. The second place to check is the Audio Status window (Figure 7). To check
the audio status double click on the DAC~ object. This shows where the sound is being routed. If
using an audio interface, it should be selected in the driver menu or possibly the input and output
menus. It is important that the appropriate inputs and outputs are selected. If there is still an issue
with sound, try closing Max and reopening the patch.
Figure 9 – Sirens Max Patch
33
Wooden Blossoms – for Marimba and Max
In this composition, the Max patch uses digital delay with feedback creating textural
backgrounds from the acoustic marimba sound inputs. Similar to the previous work this patch
also uses event-triggering techniques. Digital delay is a process of continual recording and
playback at a specified interval. Feedback is often added to the process to produce an echo effect
by routing the delayed sound back into the digital delay. The feedback level determines the rate
at which the subsequent iterations will decrease in amplitude or volume. For example, a feedback
level of 10% produces iterations that are each one tenth the amplitude of the previous – a
relatively short echo. On the other hand, a feedback level of 100% continues the iteration
indefinitely with no decrease in amplitude – useful for looping. It is important to keep in mind
that an amplitude greater than 1 causes the sound to increase in volume eventually causing
distortion. There are a number of works that utilize a digital delay, such as Nigel Westlake’s
Fabian Theory, for marimba, three toms, and delay pedal.47 Though scored for delay pedal,
performers also use computer programs like Ableton Live or Max to create the digital delay and
feedback.
Program Note
Wooden Blossoms, scored for marimba and Max, follows the journey of the hero archetype.
Our hero is a group of four notes that undergo a number of transformations beginning as a
consonant, diatonic pitch set and gradually shifting to a dissonant collection. As the pitch set
changes it also becomes engulfed in the electronic sound being captive to the rhythmic echo. The
47
Nigel Westlake, Fabian Theory – for solo percussion (amplified marimba/ 3 tom toms)
and digital delay (Rimshot Music: Australia, 1987 rev. 2003).
34
notes finally begin emerging, with more exuberance than before, breaking free from the
electronic sound as a new pitch set.
- Using Max to create digital delay and feedback
- Changing tempo settings for rehearsal purposes and expressive interpretation
- Recording live sound with Max using microphones
For this work, two microphones are needed – the first placed above the marimba pointing
towards the lower end and the second pointing towards the higher end. The ADC~ object or
analog-to-digital converter, located in the top left corner of the patch, routes the microphone
inputs into the Max patch. To check that the microphones are going into the correct inputs, turn
on the DAC~ and play the lowest note of the marimba. The left meter in the upper left corner of
the patch should be showing audio signal more loudly than the right. Now play the highest notes
and the right meter should indicate a stronger audio signal than the left. If the opposite happens
then switch the microphone inputs in the audio interface.
The meters under the ADC~ object will show how loud the incoming signal is via
colored bars. Adjust the gain sliders so the loudest attacks reach the suggested level – a louder
sound may cause clipping and distortion. It may also be necessary to adjust the gain of the
individual microphones on the audio interface. Consult the user manual for information on how
to adjust microphone levels.
Digital delay inherently creates a rhythm determined by the delay time. In order to
facilitate practicing and to give the performer more freedom of expression, the tempi can be
changed in the main patching window under the words “Tempo I” and “Tempo II.” These are
35
also marked in the score to identify where the tempo changes.
Once the levels for the microphones and the tempi have been set, the patch is ready. Like
the previous works in this document the spacebar turns on the DAC and backspace or delete key
resets the patch. The score is marked with large circled numbers to indicate when to press the
foot switch.
The beginning of the work, up to m. 45, does not need to be precisely in rhythm with the
digital delay but should be close to the chosen Tempo I. Starting in measure 45, the low notes
echo in the rhythm of quarter notes at the chosen Tempo II. The “pesante” sections should all be
in time with the bass note echo. Meaures 64, 76-77, 86-87, and 95 are rhythmically free and
should last between 8 to 15 seconds. These sections are recorded and subsequently layered on
top of each other. At m. 104 the delay effect should be clearly audible and the following
measures, up to m. 114, should be played in rhythm. From m. 114 to the end, the acoustic
marimba part does not need to be aligned with the digital delay, yet should be in a similar tempo
as the beginning, or slightly faster.
Another challenge of performing with digital delay is the need to play slightly ahead of the
beat due to the delay, or latency, inherent in audio interfaces. The speakers should be placed in
front of the microphones, facing away from the performer to avoid feedback. The performer
should use earphones to hear the electronic sound.
Troubleshooting
First check the Max Window for any errors. Make sure the DAC is on before checking the
volume levels. The meters next to the gain~ objects will indicate if there is an audio signal
coming from the ADC~ or going to the DAC~. If there is no audio signal shown in the meters by
36
the ADC~, check if the audio interface is receiving any signal from the microphones. If there is
no signal coming into the audio interface consult the user manual for trouble shooting advice. If
the interface is indicating an audio signal from the microphones but not the Max patch then
check the Audio Status window. Make sure the audio interface is selected in the driver menu or
in the input and output menus. If the foot switch is not working, make sure the trigger key is on
the correct number. To get the trigger key number, open the patch titled Configuring the Foot
Switch and follow the instructions.
Figure 10 – Wooden Blossoms Max Patch
37
The Seafarer – for Snare Drum and Max
The Seafarer uses filters and digital delay with feedback to manipulate the pitch and
timbre of the acoustic sound. There are many different types of filters but this work uses mostly
bandpass filters. A bandpass filter changes the timbre of a sound by allowing only specified
frequencies, or a band, to pass through, isolating and removing various harmonics. Bandpass
filters have two parameters that affect the sound – the center frequency and the Q, or curve. The
center frequency is the most prominent frequency allowed to pass through. The curve or Q
determines the width of the frequency band around the center frequency. A very narrow Q can
isolate one frequency (the center frequency) whereas a wide Q allows many frequencies through,
only altering the timbre of the sound slightly. The patch utilizes both fixed and constantly
changing center frequencies and Qs.
Pitch is manipulated by constantly changing the delay time, a phenomenon better known as
the Doppler effect. If the delay time decreases, the pitch ascends and vice versa. A chorus pedal,
a common effect used on electric guitars, uses this same principal. Often a chorus effect is used
to give a “shimmery” sound by adding several different iterations of the sound each being
slightly different in pitch. This work uses a chorus effect but with much larger pitch variations
than commonly found in popular music.
Algorithms in the patch control the processes that change the pitch and timbre of the sound.
The algorithms take inputs and transform them into outputs using a specified mathematical
expression. For example, one algorithm determines the center frequency for a bandpass filter by
adding 100 to a given random input and the Q by dividing an input by 1000 then adding 0.2 to
the resultant. Random number generators provide inputs within a predetermined range for the
algorithms creating unique realizations for each performance. The computer then has a guided
38
improvisation whereas the live performer has a specified score.
Another technique used toward the end of the piece requires live feedback from the
speakers to the microphone. This technique, taken directly from Alvin Lucier’s work I am sitting
in a room, causes the performing space to become a resonant filter. Other filters within the patch
take out high frequencies that could become over powering.
The performer uses a foot switch to trigger events though it may not be evident that a new
event has started immediately. Due to the random processes, the performer should listen to the
computer part while playing to be as expressive as possible. Composer Cort Lippe has a number
of works for percussion instruments and Max in a similar configuration such as Music for Snare
Drum and Computer, and Music for Hi-Hat and Computer.48
Program Note
The snare drum is often the first instrument a percussionist learns to play, whether as a
single entity or as part of a drum set. Though an important part of ensembles, the snare drum is
not often seen as a solo instrument. As some composers have discovered, the beauty of the snare
drum lies in the many nuanced sounds of the head, rim, and even the sticks. In The Seafarer, the
computer expands the pitch and timbre of the acoustic drum sound through processes of filtering
and digital delay. The sound processing algorithms are somewhat random allowing the performer
to take liberties with the score – exploring the sounds as they happen.
- Performing with algorithmic processing with unpredictable qualities
48
The scores and patches are available on his website:
http://www.music.buffalo.edu/faculty/lippe/compositions#nav
39
Only one microphone is needed, placed anywhere above the drum and pointed towards
the center of the head. The acoustic part and electronic part do not rhythmically align and so in-
ear monitors are not necessary. After the microphone level has been set, the patch is ready. The
score indicates when to press the pedal but pacing is left to the performer. Random number
generators control most of the processes and therefore each realization is similar yet unique.
Circled numbers in the score indicate when to press the foot switch. Any empty measure
indicates that the performer may take time to allow the processed sounds to fade away slightly
before beginning again. The times will vary due to the randomness of the algorithms. The ending
“room filter” event should be sound checked so as not to be too loud yet still allowing the
microphone to pick up sound from the speakers. If the “room filter” event does become
overpowering, the next event quickly lowers the amplitude to zero.
Troubleshooting
coming from the ADC~ or going to the DAC~. If there is no audio signal shown in the meter by
the ADC~, check if the audio interface is receiving any signal from the microphone. If there is
there is an indication of a signal on the interface but not on the Max patch, then check the Audio
Status window. Make sure the audio interface is selected in the driver menu or in the input and
output menus. If the foot switch is not working, make sure the trigger key is on the correct
number. To get the trigger key number, open the patch titled Configuring the Foot Switch and
follow the instructions.
40
Figure 11 – The Seafarer Max Patch
41
The Universe Expanded – for Vibraphone and Max
This composition is a guided improvisation, that is, the performer is given certain
parameters from which he or she will extemporize. For example, at the beginning the computer
displays note names that the performer may play in any order, octave, and rhythm. The formal
structure of the work is also predetermined as ABA.
The A sections consist of undulating sound clouds generated by sine and triangle wave
oscillators as well as sound files passing through very narrow bandpass filters. The center
frequencies of the filters and the frequencies of the oscillators are slightly out of tune with
tempered pitches. The computer displays the pitch names of the tones within the sound clouds
and the performer improvises using those notes. To create the sounds the computer randomly
chooses four pitches, an octave for each, and a slight deviation in frequency all based on an
algorithm. Pitch options for the computer expand as the work progresses, beginning only with
“B” and ending with all twelve pitches. The acoustic sound and electronic sound produce beating
patterns due to the slight differences in frequency.
In the B section, the performer records small rhythmic cells that are then looped. The
loops are stretched and compressed changing the length and pitch creating a rich tapestry of
chaotic sounds. The performer continues to improvise until deciding to end the looping section
and begin the final A section – a retrograde process of the beginning in which the pitch options
for the computer change from all twelve pitches to only “B.”
The vibraphone is ideal since it has the ability to sustain a relatively pure tone and to be
staccato, both qualities necessary for an effective performance. However, due to the
improvisatory nature of the work, it could be performed by any instrument or combination of
instruments.
42
Program Note
The title is an homage to Laurie Spiegel, one of the many women who made significant
contributions to computer music. The work uses oscillators and filters to create waves of sound
that crash over the vibraphone. The pitches of the acoustic vibraphone blend and interact with the
electronic tones; slight differences in frequencies create various beating patterns. The energy
increases as the performer records short segments that repeat with small variations. The speed of
the segments is then varied expanding the frequency range of the electronic sounds. The score is
a guided improvisation giving the performer freedom of interpretation. Though scored for
vibraphone, any instrument could perform this work.
- Performing a guided improvisation with parameters given by the computer.
- Recording into a buffer to create loops
- Changing speeds of recorded samples to change pitch and length
Before playing, drag the audio file titled “The Universe Expanded.aif” onto the dropfile
object in the top left of the main patching window. Then set the level of the microphone(s) if
needed.
At the beginning of the work, the computer plays swells of four pitches while displaying
the note names on the screen. The performer then improvises on those notes, beginning sparsely
with long sustaining tones and moving towards more energetic gestures. As time progresses the
computer adds different pitches, starting with the note B and ending with the aggregate. The
performer should improvise in a way that leaves space for the vibraphone and electronic sounds
43
to interact.
Once the computer has reached all twelve pitches (two minutes into the piece) an X will
appear in the toggle box under the words Loop Ready. At this point the performer starts
recording samples to be looped. Keeping the vibraphone pedal up is recommended to produce
clear rhythmic patterns.
Recording loops can be difficult as the slightest variance in time can cause an unwanted
rhythm. For the first recorded sample, try playing the first sample several times then record the
fifth or sixth iteration. To do this, press the foot switch in the rest on beat 5 then again on beat 5
of the following measure. To record the subsequent samples, press the foot switch any time
during a rest before the gesture. The loop time is already set so it will stop recording and begin
playback automatically. The red LED in the patch illuminates when recording. To stop a loop
and re-record, the performer can press any key (other than space bar or the triggering key) to stop
playback then press the footswitch again to record. When recording loops two through seven
slightly anticipate the beat to compensate for any lag caused by the audio interface. Earphones
are suggested to aid the performer in syncing the loops.
In the main patching window next to the recording light there is a loop counter to aid the
performer. There will be seven loops total. Once the performer has recorded seven loops the X in
the toggle box will disappear. The author has composed a series of segments for the loops,
however the performer may compose unique cells. Once all of the loops have been recorded and
are playing the performer has the option to improvise over the recordings or continue directly to
the next event: expanding the loops.
Expanding the loops consists of three processes that occur in twenty second intervals.
The first process increases the amount of dynamic variation and the duration of each loop,
44
causing them to move out of phase. To increase duration, a random amount of silence is added to
the end of each loop as to not alter the pitch. The next process adds a duplicate iteration of each
loop at a slower speed thus lowering the pitch and lengthening the loop proportionally. The final
process adds a third iteration of each loop at a faster speed. During this time the performer may
improvise in an increasingly animated and energetic style.
The next event, triggered at the discretion of the performer, causes the loops to stop every
five seconds in reverse order. Once all of the loops have ended, the sound clouds from the
computer (which have been occurring the whole time) also shift from being comprised of the
aggregate to only B. The performer again improvises on the notes shown on the computer screen
until the sound fades away entirely.
There are a few quirks in this patch that may not be intuitively obvious. The “Loop
Number” will not coincide with the “Current Event” number. The Current Event number
coincides with the circled numbers on the score whereas the “Loop Number” refers to which
loop is about to be recorded. Once event 10, “stop loops,” has been triggered, the Current Event
Number and the Loop Number will count down as the loops are stopped and the work comes to
an end.
Troubleshooting
coming from the ADC~ or going to the DAC~. If there is no audio signal shown in the meter by
the ADC~, check if the audio interface is receiving any signal from the microphone. If there is
45
there is signal showing on the interface but not on the Max patch, then check the Audio Status
window. Make sure the audio interface is selected in the driver menu or in the input and output
menus. If the foot switch is not working, make sure the trigger key is on the correct number. To
get the trigger key number, open the patch titled Configuring the Foot Switch and follow the
instructions.
Figure 12 – The Universe Expanded Max Patch
46
Chapter 5: Conclusion and Further Research
The primary goal of this document is to help percussionists perform works for percussion
and live electronics by providing a hands-on, progressive pedagogy that will then allow them to
perform other repertoire in the genre. At the same time, the secondary goal, is to demonstrate
how Max patches can be built and used with live performers. The appendices contain detailed
schematics and descriptions of the patches for each work, explaining what processes are taking
place and how they are achieved.
The patches in this document are examples of how to use Max with live percussion,
however they only scratch the surface of what Max can do. The techniques used do not overly
task the computer’s CPU granting a higher probability that they will run on a variety of
computers. One technique not used is that of Fast Fourier Transform, or FFT, which can perform
a spectral analysis of a sound, picking apart the individual frequencies and their amplitudes.
FFTs tend to be taxing on the CPU of a computer but that is becoming less of a concern as the
processing speed and power of laptop hard drives continually improves. FFTs offer the ability to
change many different aspects of a sound such as pitch without changing the duration. If the
computer has a sufficient amount of RAM, then Max can also run video through Jitter that can
affect or be affected by sound. Tutorials, Cycling ’74 forums, and experimentation are effective
methods to continue learning about Max.
Works for Max, especially these, are often unique realizations each time they are
performed or even rehearsed, yet they retain the same identity. They have a controlled chaos –
the computer generating material randomly upon each performance, but within a certain set of
rules that guarantees that the end result will be similar to previous iterations. This compositional
technique is similar to statistical form, which was developed by those in the Darmstadt School,
47
namely Stockhausen, Ligeti, and Boulez.49 While each composer in the Darmstadt School had a
slightly different implementation of statistical form, the basic principle is that large shapes or
gestures were composed but the fine details were left to chance. The shapes might define density,
pitch, volume, or any number of different musical aspects. One reason composers began using
statistical form was due to the imprecise, manually-controlled technology in the Cologne studio.
For example, Stockhausen would write a general contour for a sine wave oscillator and an
assistant would try to follow the contour in real time as the oscillator was being recorded.50 For
these composers, statistical form was born in part through necessity, yet became influential in
how they continued to compose both electronic and acoustic music.51
The works in this document are intended to be an introduction to performing with Max
and other real-time sound manipulation programs, limited to a basic set up. There are works that
use more complex systems utilizing various sensors and triggering devices. Using other
electronic sensors, such as light or sound sensors, with products like Arduino, an open-source
electronics platform, allow the performer to focus on the music rather than the triggering. These
products can connect light, motion, touch, and other sensors to the computer that Max or other
programs can then access. Wireless devices such as smartphones and tablets can connect
multiple performers and the audience in a real-time musical environment, revolutionizing
performance art. Computer programs can do almost anything in a relatively quick and easy way
though the creativity and ingenuity of composers and performers in deploying the technologies
remain essential.
49
Jennifer Iverson, “Statistical Form Amongst the Darmstadt School,” Music Analysis
33/iii 2014: 376.
50
Ibid. 345.
51
Ibid. 376-377.
48
Computer music programs such as GarageBand and Audacity allow anyone to make
electronic sound, though composers and producers must still strive for quality and creativity.
Digital Audio Workstations such as Pro Tools and Logic and programing environments like Max
and Pure Data are instruments in themselves and must be practiced in order to produce music at a
high artistic level. Original ideas and creativity come from the mind, while technology allows
those ideas to come to life.
Many electronic works from the mid- to late-twentieth century are rarely or ever
performed due to outdated technology and in fact the works in this document may have the same
demise. To counteract obsolescence, composers can include schematics and explanations of how
the technology should work in order to replicate the processes using whatever technological
method is in vogue. In the score for Kontakte, Stockhausen described what devices he used and
how he used them to make the electronic tape part e.g. a low frequency oscillator, continuously
variable belt speed magnetic tape player, four-track tape player, impulse generator, and
sinusoidal-rectangle oscillator to name a few.52 One would be hard pressed to find those devices
in proper working order today; however, programs like Max can replicate those devices. Pulitzer
prize winning composer Roger Reynolds has written many works using live electronics but
instead of using a specific program, he explains how the sound should be processed in a
technical score. The performer or audio engineer then uses their own preferred computer
program to create the prescribed effects. Explaining how the electronics operate may help live
electronic compositions outlast current technology.
Using electronics in performance opens up the door to working with other disciplines as
well. Not only can a musician interact with other performing artists but also visual artists, film
52
Karlheinz Stockhausen, Kontakte, (London: London Universal Edition, 1966), 1-4.
49
makers and even computer scientists and electrical engineers. At IRCAM, composers have been
collaborating with computer scientists for years with remarkable success. Universities could use
that model to create collaborative situations that intermingle many disciplines – music, dance,
theatre, visual arts, literary arts, and computer science – thus helping create new works and
exposing students to working in other disciplines. Cross-pollination of the arts stimulates
innovative ideas, augmenting the knowledge and artistry of those involved. Collaborative
projects have the potential to enrich the performing arts department, the university, and
community.
Electronic works are well suited for visual components since the synthesized sound
emanating from the speakers has no corporeal presence. Max and other programs include video
editing tools to create multi-media works in which video and audio can be interrelated. Motion
capture technology allows a dancer or other live performer to interface directly with a computer,
controlling parameters of various algorithmic processes. Likewise, using motion sensors such as
accelerometers and light sensors also allow technology to be seamlessly integrated into
performance. As more complex processes are developed, there must still be an overarching
thought process in order that the final work be a fleshed out composition and not a run on
sentence of novel technology. A recommended text in the aesthetics of electronic media is
Listening Through The Noise by Joanna Demers. In order for this genre to flourish more so than
it already has, performers must be willing and able to perform with live electronics and
composers must be able to write thoughtful, meaningful works with reliable electronics.
Likewise, the audience must also be willing to listen to new compositions and continually
develop ears for electronic music in the 21st century.
50
Bibliography
Addlington, Robert, ed. Sound Commitments. New York: Oxford University Press, 2009.
Appleton, Jon and Ronald Perera, eds. The Development and Practice of Electronic Music. New
Jersey: Prentice-Hall Inc., 1975.
Benkeser, Peggy. “New Music/ Research Day: Wired for Percussion.” Percussive Notes 39 no. 5
(2001)
Collins, Nick and Julio d’Escrivan, eds. Cambridge Companion to Electronic Music. Cambridge:
Cambridge University Press, 2007.
Deal, Scott. “Percussion on the Internet Teaching and Performing in Cyberspace.” Percussive
Notes 32 no. 2 (2005).
Ernst, David. The Evolution of Electronic Music. New York: Schirmer Books, 1977.
Garcia, Jacob Adam. “The Advent of Artificial Accompaniment.” Percussive Notes 51 no. 2
(2013).
Gartner, Kurt. “Fernando Rocha: Performing with computer-based electronics.” Percussive

Notes 45 no. 5 (2007).
_______. “PowerPlant: Joby Burgess.” Percussive Notes 48 no. 5 (2010).
Holmes, Thom. Electronic and Experimental Music: Technology, Music, and Culture. 4th ed.
New York: Routledge, 2012.
Iverson, Jennifer. “Statistical Form Amongst the Darmstadt School,” Music Analysis 33 no. iii
(2014).
Manning, Peter. Electronic and Computer Music. 4 ed. New York: Oxford University Press,
th
2013.
Rocha, Fernando and D. Andrew Stewart. “Collaborative Projects for Percussion and
Electronics.” (paper presented at Roots and Rhizomes: Seventy-Five Years of Percussion
Music, San Diego, California, February 21-24, 2007).
Sanden, Paul. Liveness in Modern Music. New York: Routledge, 2013.
Smith, J.B. “Cymbal Solutions.” Percussive Notes 47 no. 3 (2009).
_______.“Max/MSP: A Software Tool for Percussionists.” Percussive Notes 46 no. 6 (2008).
Stockhausen, Karlheinz. Kontakte. London: London Universal Edition, 1966.
51
Appendix A: Recommended Placement
Figure A1 – Recommended Configuration
Figure 13 illustrates a suggested set up for the works in this document. Because neither
Tambourine Dream nor Sirens use microphones, the speakers may be placed behind the
performer for those works. Otherwise, the speakers should be positioned in front of the
microphone(s). Balanced XLR cords connect the speakers to the audio interface, however an
adapter may be needed if the interface does not have XLR outputs.
The computer and audio interface should be adjacent and placed where the performer can
see the computer screen. The audio interface and computer communicate by either a USB or
FireWire connection. One or both may need to be plugged into a power source as well. The
footswitch, also connected via USB, should be placed in an easily accessible location.
The microphone will be plugged into the audio interface by an XLR cable. Similar to the
52
speakers, if the audio interface does not have XLR inputs an adapter may be needed. Point the
microphone towards the center of the instrument or area of the instrument to be recorded.
53
Appendix B: An Introduction to the Descriptions of the Max Patches
The following explanations and schematics for the Max patches are intended to help
performers and composers understand how the computer program works. Knowing the
mechanics of Max facilitates both troubleshooting and sound checks. The following diagrams
and figures explain how the patches function, however having the Max patches open on a
computer is recommended.
In Max there are often several different methods of writing patches to accomplish the same
process, however this document presents robust and foolproof patches geared towards ease of
use for the performer. An important feature in each patch is the reset button. Throughout the
patches, there are receive objects with the argument “clear” that receive a bang when the
backspace button is pressed. This resets the patch to the beginning, ending any sounds without
the need to close and reopen the patch. In addition, each patch has the ability to start on any
event throughout the work to facilitate rehearsal.
Explaining how Max patches work can become tedious, as there are many details that need
to be taken into consideration. For example, as the patches become more complex there are
patches within patches and it may be necessary to refer to different layers. To aid understanding,
the figures are labeled in order and are used as references throughout the descriptions. Another
issue that arises is that some patches are too large to fit legibly on a page. In these instances,
detail boxes enclose portions of the patch and are labeled with the figure number corresponding
to the figure showing those objects more closely.
54
Appendix C: Tambourine Dream Max Patch Description
Figure C1 – Tambourine Dream Max Patch
The DAC~ object, or digital to audio converter, allows Max to send an audio signal to
speakers. Illustrated more in more detail in Figure C2, notice it has two black inputs, these
correspond to channels 1 and 2 or Left and Right on the audio interface or computer speakers.
Double clicking on the DAC~ object will bring up the Audio Status window (Figure 7).
55
Figure C2 – Tambourine Dream Max Patch Detail
A toggle object, which looks like a square in Figure C3, sends out the messages “1” when
switched on and “0” when switched off. When it receives a bang it will change states and send
out the corresponding message. In this instance it activates the DAC~ by sending the message
“1.” Conversely, it deactivates the DAC~ when switched off by sending the message “0.” The
DAC~ object must be on to produce any sound. If something goes wrong in performance,
turning off the DAC~ will stop any sound. The key object reports when a key has been pressed
and its corresponding number out of the leftmost inlet. The select object, hereafter abbreviated
sel in the patches, matches incoming data to its arguments then sends a bang when it receives the
specified argument – in this case 32. If the input does not match any arguments, it is sent out of
the rightmost outlet. Using the key and select objects, the spacebar can start and stop the DAC~.
The sfplay~ object, in Figure C4, will play an audio file, more specifically it will play the
fixed media part of the tambourine work. It is important to specify an argument of 2 meaning
that it will play a 2-channel or stereo file. The open message allows the performer to choose a
56
sound file from the computer and the playbar object controls the sound file. Both are connected
to the left inlet of sfplay~. The left two outlets of sfplay~ correspond to Left and Right channels
and should be connected to the appropriate inlets of the DAC~. The rightmost outlet sends a
bang when the audio file ends.
Gain~ objects (Figure C5) are one way to control volume in Max and function like a fader
on a mixer. In this patch they are placed between the sfplay~ object and the DAC~ object to
control the sound of the audio file. A third gain~ object connects to both and acts as a master
control. This configuration ensures both channels have the same volume. During a sound check
the master gain~ can be manipulated to get the best balance between the acoustic and electronic
sound. Notice an integer box below the master gain~ object gives the exact volume so it can be
easily replicated. Another important aspect of the gain~ object is that 127 is equal to 0dB. After
being scaled, the audio is sent to the DAC~ object.
The loadmess object, in Figure C5, sends an argument as a message when the patch is
opened. In this case the master gain~ is set to 127 or 0dB automatically. If a different level is
needed, it should be changed every time the patch is loaded. Beside the gain~ objects are meter~
objects that show the level of the signals going into the DAC~. Meters are one way of testing
whether a signal is passing through and at what amplitude.
57
58
Appendix D: Sirens Max Patch Description
This Max patch is slightly more complex than the previous work, utilizing new objects
such as the send and receive, counter, delay, subpatcher, line, loadbang, dropfile, and amplitude
objects.
Figure D1 – Sirens Max Patch
The dropfile object, shown more closely in Figure D2, sends out the file path of a file or
folder dragged onto the patch. This ensures that the sfplay~ objects will open the correct sound
files without the performer manually loading each one. The toggle object is switched on when
the audio files have been loaded.
The trigger object, abbreviated “t” sends messages out of its outlets from the rightmost
outlet to the leftmost outlet; the program reads right to left. Trigger objects schedule bangs to
happen in a specific order but almost simultaneously. The arguments of trigger objects
59
correspond to the outlets and ascribe the type of message to be sent out of each. There are several
different kinds of messages including, bang (b), symbol (s), integer (i), float number (f), and list
(l). A constant message can be sent as well, for example in Figure D2 the left outlet will always
send the message “1.” This is to ensure the toggle object stays switched on after audio files have
been loaded, even if the audio files are loaded more than once. Performers may be anxious and
drag the file onto the patch numerous times.
When the trigger message receives a message, it immediately sends out the appropriate
message types in order from the rightmost outlet to the leftmost outlet. For example, in Figure
D2, when a folder is dragged onto the dropfile object it sends the file path to the trigger object.
The trigger object, with arguments 1 and s, first sends the file path as a symbol out of the right
outlet then sends the integer “1” out of the left outlet.
The send object, abbreviated s, will send a message, in this case the file path, to a receive
object with the same argument or name – here “folder.”
Figure D2 – Sirens Max Patch Detail
Figure D3 shows the triggering mechanism in this patch. As discussed earlier, the
argument in the select object, here 13, needs to be the same as the number outputted by the foot
switch trigger. The number box labeled “set trigger number” will change the argument for the
60
select object.
The next objects in Figure D3 are designed to guard against an accidental double trigger.
When the foot switch is pressed the select object sends out a bang to both the counter object and
the delay object. The counter object counts in order from the specified minimum to the specified
maximum, in this case 1 to 10. The delay object holds a bang for a specified amount of time,
here five hundred milliseconds, then sends it out. When the counter object receives a bang it
sends out 1 since that is the minimum number. The select object matches that 1 with its argument
and sends a bang out of the left outlet. The second counter object then sends out the next number
triggering the next event. Meanwhile, the delay object is set to five hundred milliseconds after
which it sends a bang to the message “0” resetting the first counter. If there are any extra trigger
hits within those five hundred milliseconds, it would cause the counter to output higher numbers
which the select object would send out of the right outlets – essentially discarding them.
The next counter object, with arguments 1 and 21, controls which event will be triggered
next. The loadbang object, located above that counter object, sends out a bang when the patch is
opened. It is connected to a 1 message and a 0 message. The 1 message sets the counter object to
start at 1 on the next bang and 0 makes it output a 0 immediately. Directly above the loadbang
object is a receive object, abbreviated “r” and followed by the argument “clear.” Receive objects
pair with send objects that have the same argument to transfer messages without patch cords.
This reduces clutter on the screen and allows one send object to communicate with many receive
objects. In this case the send object is located to the left of the DAC~. It is configured in such a
way that hitting backspace or delete causes a bang to be sent to any receive objects with the
argument “clear.” Thus if the patch needs to be reset, then the receive object activates the
loadbang object resetting the counter. Another important aspect of the patch is the ability to start
61
on any cue to facilitate rehearsal. A number entered into the number box by the comment “start
on event” will cause the counter to send out that number on the next bang.
The lowest object in Figure D3 is a subpatcher object, abbreviated “p” and followed by a
name for the subpatch. A subpatch is a patch within a patch often performing processes that
would otherwise clutter the main patching window. In this case it is named “soundfiles” since it
plays the sound files throughout the work. Notice the counter object is connected to the inlet and
sends numbers to the subpatch. The next section explains what the “soundfiles” subpatch is
doing.
Figure D3 – Sirens Max Patch Detail
The “soundfiles” subpatch, illustrated in Figure D4, contains all of the sfplay~ objects and
messages needed for the events. The mechanism for starting the first sound file is shown in detail
in Figure D5. The first object at the top is an inlet object that corresponds to the first inlet of the
subpatch object in the main patching window (Figure D3). Within the subpatch, the inlet is
connected to a select object that has several different outputs corresponding to the Current Event.
The first outlet of the select object as shown in Figure D5 is connected to a “1” message
62
just above the first sfplay~ object that starts the sound file. A “0” message will stop the sound
file. As part of the reset mechanism for the patch, a receive object with the argument “clear” is
connected to a “0” message which in turn is connected to each sfplay~ object. When the receive
“clear” object receives a bang, it stops any audio files the sfplay~ objects are playing. A “loop 1”
message is also connected to the sfplay~ object enabling looping for that sound file. The
performer can play freely during the beginning since the sound file is ambient and on a
continuous loop. A later trigger will lower the volume by using the *~ object or amplitude
multiplier. When triggered, the line object sends a continuous stream of numbers from 1 to 0 to
the *~ object creating a smooth decrescendo. Other sfplay~ objects do not loop the audio files
and the performer must play along.
Send~ and receive~ objects allow the audio signals in the subpatcher to be sent to the
DAC~ in the main patching window, removing the need for extra patch cords. The last trigger
ends the electronic part by lowering the volume of the last audio file.
Figure D4 – Soundfiles Subpatcher
63
Figure D5 – Soundfiles Subpatch Detail
64
Appendix E: Wooden Blossoms Max Patch Description
Figure E1 – Wooden Blossoms Max Patch
This patch is more complex than the previous two, utilizing several subpatches. However
the main patching window is similar to the previous works and the triggering mechanism works
in the same way. The “pedal” subpatch, shown in Figure 18, contains the same objects that
receive information from the foot switch as the timpani work but condensed into a single object.
Figure E2 – Pedal Subpatcher
65
In the main patching window (Figure E1), the ADC~ object, or analog to digital converter,
routes the microphone audio signal into the patch. Arguments for the ADC~ object determine the
input channels, for example this work needs two microphones therefore inputs 1 and 2 are
assigned. These inputs correspond to the audio interface microphone inputs. The signals are sent
directly into gain~ objects to control the level before being sent into the rest of the patch via
send~ objects.
The “tempo” subpatch, shown in Figure E3, turns the numbers from beats per minute to
intervals of milliseconds using arithmetic objects. For example, 60 BPM translates to 1000
milliseconds or one second between every beat. Dividing 60,000 by either BPM or the
millisecond interval yields the other. In this piece, the first tempo is set at 108 BPM, the subpatch
then divides 60000 by 108 resulting in approximately 555.6. Other subpatches use this
information to create digital delays. The performer may change the tempi when learning the
work and may choose different tempi for performance.
Figure E3 – Tempo Subpatch
66
Figure E4 – Events Subpatch
The “events” subpatch, appearing in Figure E4, contains a number of other subpatches that
perform certain processes when triggered. The subpatches are triggered in order via the select
object from left to right. A brief explanation of the processes is given below and in the figures
following.
Tapin~ and tapout~ objects, found in the middle of Figure E6, are used together to create
digital delays. The argument for the tapin~ object is the maximum delay time and the argument
for the tapout~ object is the actual delay time. The receive~ objects send the audio signals from
the microphones into an amplitude (*~) object initially set at 0 or muted. The first trigger causes
the amplitude to increase from 0 to 1 allowing the sound to be delayed by the tapin~ and tapout~
objects.
To create a short feedback loop, the output of the tapout~ object is routed through an
amplitude multiplier then back into the tapin~ object. At first the amplitude multiplier is set at .2,
making each iteration 20% less than the previous, but it gradually increases eventually reaching
.99 creating a cacophony.
The other subpatches named “volvariation,” “filter,” and “randompan” create small
67
variations in volume, timbre, and panning respectively. These subpatches give the sound nuance
before being sent to the DAC~ via send~ objects. The “One” subpatch continues this technique
weaving an intricate background.
Figure E5 – One Subpatcher
68
Figure E6 – One Subpatch Detail
The “Delayblooms” subpatch, Figure E7, consists of more tapin~ and tapout~ objects that
randomly add small bursts of sound, varying the density of the electronic part. The random
quality comes from the urn object, a non-repeating number generator, controlled by a metro
object, or metronome. The argument of urn is the number of possible integers starting with 0. In
this case the metronome is set at 6000 milliseconds sending a bang every 6 seconds to the urn
object. The urn object sends a random number between 0 and 6 to the select object which then
sends any message that does not match one of its arguments out of the rightmost outlet. For
example, when the urn object sends “2,” to the select object, the select object sends a “2” out of
69
its rightmost outlet activating the counter object. The urn and select objects create a random
amount of variation in the density of sound. Without the urn and select objects, there would be
an increase in sound every six seconds when the metro object sends a bang.
Figure E7 – Delayblooms Subpatch
The “Two” subpatch (Figure E8 and E9) isolates, delays, and feeds back the lower notes of
the marimba. At m. 45 the whole notes in the marimba are delayed and fed back into the system
creating quarter notes at Tempo 2. A bandpass filter centered at 200 Hz isolates the lower notes
of the marimba though some of the higher notes will also be faintly present.
70
Figure E8 – Two Subpatch
71
Figure E9 – Two Subpatch Detail
Subpatch “Three,” shown in Figure E10, creates a loop of mm 58-60 by using a digital
delay with feedback at 100% volume of the original. This means that each iteration has the same
volume as the original creating an ambient loop. The loop lasts six seconds, including a 500
millisecond crescendo at the beginning and a 1000 millisecond diminuendo at the ending. These
amplitude changes from 0 to 1 then 1 to 0 ensure there will not be a click in the loop. To mask
72
the amplitude changes, a second iteration of the loop is also played but delayed by 2500
milliseconds. Since the feedback is set to 100% this looping system will continue indefinitely.
Subpatches “Four,” “Five,” and “Six” perform the same process as “Three.” The messages
on the right side of the subpatch control the volume of the loops. The loops are recorded and
consequently layered during the “Adagio” sections: mm. 58-60, 72-73, 82-83, and 91-93 then
muted during the “Pesante” sections.
Figure E10 – Three Subpatch
From mm 102-112, the performer starts rhythmic ideas and the digital delay repeats those
ideas filling in the space in between entrances. To be effective, the performer must play this in
time. The ending is similar to the beginning: a digital delay with feedback creates a background
sound with varying densities.
73
Appendix F: The Seafarer Max Patch Description
Figure F1 – The Seafarer Max Patch
The main patching window for the snare drum and Max piece, though similar to the
previous patches, is more streamlined. The “events” subpatch and the counter object are both
within the “Event Trigger” subpatch shown in Figure F2.
Figure F2 – Event Trigger Subpatch
74
This work uses digital delay with a constantly changing delay time and bandpass filters to
change the pitch and timbre of the recorded sound. The “Events” subpatch, illustrated in Figure
F3, contains all of the objects that will process the sound.
Figure F3 – Events Subpatch
The select object, shown in detail in Figure F4, receives a number message from the
“events trigger” subpatch and relays the message to the corresponding event. The send objects
send bangs to the corresponding receive messages – in some cases more than one location. This
alleviates the need for a tangle of patch cords. The last trigger sends a message causing the
master control gain~ object to decrease from 127 to 0 in 3 seconds.
Figure F4 – Events Subpatch Detail
The first triggered event, shown in Figure F5, starts a digital delay whose audio signal is
75
connected to a bandpass filter. The filter changes the timbre of the drum sound by constantly
varying the center frequency and thus varying the harmonics. When sent a bang the receive
“start1” object sends a bang that raises the volume of the microphone audio signal, allowing it to
pass through to the tapin~ object. Then the volume is decreased to 0 when the receive “start2”
object is sent a bang.
The second triggered event, Figure F6, uses a digital delay with a constantly varying delay
time to change the pitch of the sound. Each of the “pitch change” subpatches use the same
objects but the random and rand~ objects cause unique outputs. The computer can perform a
controlled improvisation by using random number generating objects and arithmetic objects.
76
The “pitch change” subpatch is illustrated in Figure F7. The rand~ object outputs a
constant, continuous stream of numbers between -1 and 1. The multiplier object, when activated,
multiplies those numbers by 1000 yielding a range of -1000 to 1000. These numbers are then
added to a random number between 1000 and 3700. The new possible range would be from 0 to
4700. That is then sent to the tapout~ object and becomes the new delay time.
Figure F7 – Pitch Change Subpatch
Comprised of several different processes, the third event (Figures F8 and F9) begins ten
77
seconds after the second event is triggered. The first process consists of a digital delay with two
band pass filters dramatically changing the timbre of the drum. The Q or curve of the band pass
filters is set to 55, producing a very narrow frequency range. The center frequencies are
constantly changing, one moving between 2500 and 4500 Hz and the other moving between 125
and 275 Hz hence the subpatch name, “echo very high and very low.”
Figure F9 – Echo Very High and Very Low Subpatch
The next four processes each happen 20 seconds apart - timing being controlled by a metro
object. They appear in Figure F10. The processes are in the subpatches “sweepz,” “loopz,”
“strettoz,” “chorus,” and the previously described “pitch change.”
78
The “sweepz” subpatch uses a digital delay and a bandpass filter with a narrow frequency
range. When activated, the center frequency moves from high to low or vice versa at a randomly
decided pace. The “loopz” subpatch consists of five sets of digital delays with 99% feedback
creating loops. The delays are activated in a one second interval creating a five second snapshot
of sound that continues for approximately 10 to 12 seconds. When activated the “strettoz”
subpatch uses three digital delays each with a different delay time. The volume is automated so
the beginning of the delay is loud then quickly diminuendos producing three similar attacks of
the same sound in swift succession. The chorus effect uses the same technique as the pitch
change subpatch.
The next section, triggered by the send object “start3,” uses the same processes but in a
random order. The rate at which processes are activated increases through this section. It is
79
shown in more detail in Figure F11.
The next trigger causes the main volume to decrease immediately then slowly crescendo
back to the previous level. This coincides with the main theme being played in its entirety on the
snare drum. Immediately following this event is a roll on the snare drum and the “room filter”
event (Figures F12 and F13). The room filter event increases the gain on the microphone creating
a feedback loop from the speakers. The room acts as a resonant filter slowly changing the timbre
of the snare drum roll into an unrecognizable sound. Low pass filters guard against any
overpowering high frequencies.
80
Figure F13 – Room Filter Subpatch
The final event is a variation on the “loopz” process. There are sixteen different digital
delays, each one creating a short loop at a one second interval. The digital delays also have
bandpass filters, each one having a slightly higher center frequency than the last. This process is
described more fully in Figures F14, F15, F16, and F17.
81
Figure F15 – Loops Ascending Subpatch
82
Figure F16 – Loop Subpatch
83
Figure F17 – Filter Subpatch
84
Appendix G: The Universe Expanded Max Patch Description
Figure G1 – The Expanding Universe Max Patch
The main patching window for The Universe Expanded is configured slightly differently
than the previous patches. The DAC~, ADC~, and gain~ objects are present but the triggering
mechanism is entirely hidden within a subpatch. The information on the right guides the
performer through the work and shows the status of the patch.
Figure G2 includes configuration and preliminary steps to be taken before starting the
piece. It also contains the “events” subpatch where the computer processes are stored. The
dropfile object in the upper left of the patch works in the same way as in Sirens (Figure B2) and
configuring the trigger key is also the same as previous patches. Since the score is open to
improvisation and interpretation, the event list acts as a guide for the performer.
85
Figure G2 – Expanding Universe Max Patch Detail
The “events” subpatch, shown in Figure G3, contains the processes that occur during the
work and the mechanism used to activate and deactivate each. The triggering involves first
starting each event then moving in retrograde to stop each one. The subpatch “event control” in
Figure G4 sends out the current event number to the gates in the “events” subpatch. The
“looperase” subpatch allows the performer to easily delete a recording and re-record. The
subpatch also stops each event in the reverse order, shown in Figure G5.
86
Figure G3 – Events Subpatch
Figure G4 – Event Control Subpatch
87
Figure G5 – Looperase Subpatch
The first event is called “expanding” and causes swells of sound via oscillator objects and
narrow band pass filters. The subpatch is shown in Figure G6 and explained below.
Figure G6 – Expanding Subpatch
In Figure G7 a play~ object is initialized, playing a sound file that has been read into the
buffer~ object and normalized. The normalization process ensures the sound file will be at an
88
adequate amplitude. The “loop 1” message attached to the play~ object causes the file to
constantly repeat. Two digital delays mask the looping point by delaying the file, thus creating
three iterations of the same file one offset by 2 seconds and the other by 4 seconds. The audio
signal is then sent to the “filter” subpatches explained later in Figure G12.
Figure G7 – Expanding Subpatch Detail
Figure G8 shows how the swells of sound are initiated every 9 to 10 seconds by a metro
object. The bangs from the metro object are then sent to the “filter” subpatches (Figure G12) to
activate the oscillators. Figure G9 shows how the pitches are determined.
89
90
In Figure G9, the line object receives a message causing it to output the numbers 1
through 12 at a regular interval over two minutes. These numbers determine the range of the
random number generator. The random number generator sends outputs to a select object that
then matches the input to the corresponding outlet. Each outlet is connected to a different
frequency. The order of pitches is as follows: B, E, C#, F#, A, D, F, G, C, Eb, Ab, Bb. The first
sound cloud is comprised entirely of Bs at various octaves and slightly out of tune. The
subsequent undulations include E, then C#, and so on until all twelve pitches are possible. This
process is reversed at the end of the piece when the line object receives the message “12, 1
100000” causing it to output 12 through 1 evenly over 100,000 milliseconds.
The frequencies are also sent to the main patching window and translated into pitch
names for the performer. Figure G10 illustrates that part of the main patch more closely and
Figure G11 shows the subpatch “pitch set” that translates the frequency information.
Figure G10 – The Expanding Universe Detail
91
Figure G11 – Pitch Set Subpatch
Figure G12 illustrates how the swells of sound are produced. There are two sets of
“filter” subpatches that create sound shown in Figures G13 and G14. The first set uses a narrow
band pass filter on the audio signal sent from the play~ object in Figure G7. The random number
generator in Figure G9 determines the center frequency of the band pass filter. That frequency
may then be transposed to a different octave and shifted slightly out of tune. The second set of
“filter” subpatches use sine and triangle wave oscillators to create the sound. The frequency of
each oscillator is determined in the same way as the center frequency from the other “filter”
subpatches.
An increase in amplitude from 0 to 1 in a randomly determined time followed by a
decrease back to 0 in the same amount of time causes the undulating effect. The variable, “$1,”
in the message to the line~ object sets the duration of the ramp up to 1 and down to 0. The
92
random number generator preceding the message determines the variable. Each “filter” subpatch
has a different duration when activated, varying between twelve and eighteen seconds. There are
eight “filter” subpatches with oscillators and eight with a band pass filter so while the first four
diminuendo, the second set of four different pitches crescendos.
93
Figure G13 – Filter Subpatch with Band Pass Filter
94
Figure G14 – Filter Subpatch with Oscillator
Figure G15 shows the second inlet of the “expanding” subpatch. Once the “looperaser”
subpatch (Figure G5) has stopped all of the loops it sends a bang to this inlet and thus into the
send object named “contract.” There is a receive “contract” object in the “looperaser” subpatch
that receives the bang and turns off the metro object. There is also a receive “contract” object in
the “expanding” subpatch that in turn is connected to a delay object. The delay object holds the
bang for 100,000 milliseconds while the line object, having received the message “12, 1
100000,” returns the possible pitches to 1. The delay then sends the bang turning off the gate
attached to the metro object (Figure G8) stopping the sound.
95
Figure G15 – Events Subpatch Detail
The second event after “expanding” is recording the samples that are looped. The
subpatch titled “tapseg” in the “events” subpatch (Figure G3) controls the first loop. The
“segment” subpatches that follow control one loop as well but will all have the same length as
the original sample in “tapseg.” Figure G16 illustrates how the initial loop is recorded and played
back.
Figure G16 – Tapseg Subpatch
96
Figure G17 shows the subpatch “playloop1” that plays back the recorded sample.
Figure G17 – Playloop1 Subpatch
The subpatches titled “segment” in the “events” subpatch each record a new loop. They
are identical except for the name of the buffer~, record~, and groove~ objects, which need a
unique name for each recording. The first “segment” subpatch, in Figure G18, will serve as an
example for the rest.
97
Figure G18 – Segment Subpatch
After all of the loops have been recorded and are playing, the performer triggers the next
event – “expand loops.” This event happens in the three stages and the subpatch “expansion
stages” (within the subpatch “events” in Figure G3) controls when each stage is triggered. The
“expansion stages” subpatch is illustrated in Figure G19. The first stage lengthens the loop
duration of each iteration by a unique amount. This is explained in Figure G20.
98
Figure G19 – Expansion Stages Subpatch
Figure G20 – Loop Expansion Stage 1
Figure G21 shows the subpatch “expand audio file2” from the first “segment” subpatch.
This subpatch contains expansion stage 2 and 3, both add a new groove~ object playing the
recorded sample at a different speed. The “tapseg” subpatch and all “segment” patches have the
same “expand audio file2” subpatch except that the groove~ object will have a unique name.
99
Figure G21 – Expand Audo File2 Subpatch
The final event, “stop loops,” sends a bang to the “looperase” subpatch (Figure G5)
starting the metro object. The “looperase” subpatch then sends bangs into the second inlet of the
event subpatches in reverse order every five seconds. This causes the loops to stop, the
“expanding” subpatch to diminish the number of possible pitches in the swells, and finally to
stop the sound entirely – ending the work.
100
Appendix H: Scores
101
Dedicated to Dan Moore
Tambourine Dream
For Multiple Tambourines or Various Ethnic Tambourines Andy Thierauf
and Fixed Media
Tuning note q = c 60
U
Approx. 30" Carmen - Habanera (Vlns)
b 42 œ œ œ Œ œ bœ œ œ œ nœ bœ
3
?
& w œ. œ bœ œ
œ. œ œ œ. œ œ œ. œ œ
Fixed Media &
U 2
(Basses)
ad lib warm up
ã 4 ! ! ! !
Keep strict time
w œœ œ œœœœ œœœœ œ œ
@
Tambourine
P
Clarinet
œ bœ œ œ œ nœ bœ œ bœ
3
& b œœœœ œ œ œ œ. œœ œ
8
3
œœœœ œ œ œ
3
œ œ
ã œ œ œ œ œœœœœ
@ @
œœ œœœœœ œœœœœ œ œ œ œ œ œœœœœ
@ @ @
& b œ œ œ nœ bœ œ bœ œ œ œ nœ
3 3
œ. œ bœ bœ
14
œ œœœœ œ œ œ
3
ã œ œ œ œ œ œ œœ . œœ . œœ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ .
@ @
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿œ ¿
& b œ. œœ œ n## Œ œ Œ Œ
19 (Tamb)
œœœ œ œ œ œ Œ œ
3
œ œ œ œ œ œ " œ œ " œ œ œ œ œ " œ œ œ. œ " œ œ

(Tpt)
ã œ œœœ œ œ œ œ œœœ œ œ œ
3 3 3 3 3
(Vlns)
# ¿ ¿ ¿ ¿ ¿ ¿ ¿œ ¿ ¿ œ. œ
& # œ Œ Œ Œ Œ œ œ. œ œ œ
25
œ œ œ œ. œ œ œ
ã " œ œ " œ œ " œ œ œ œ œ œ œ œ " œ œ œ. œ œ œ œ. œ œ Œ œ. œ œ Œ

© 2015
102
2 Tambourine Dream
>
## > > >œ œ .
œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œœ œ œ œ œ œ
32
& .
ã œ. œ œ Œ œ. œ œ Œ œ. œ œ Œ œ. œ œ. œ œ œ œ œ œ. œ œ œ
>> > >
ƒ
> > U Drone
q = 72
## > œ œ. nn
œ œ œ œ œ œ œ. œ œ
(Tambourine)
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 78
Approx. 10"
œœ œ œœœœ 4 ˙
40
& ˙ ã
shake roll, allow roll to slow down
" œ. œ œ œ œ œ œ œ œœ œœ œœœ œ ˙ 4 ˙ Ó 7
ã 4 ! 8
during decrescendo
J æ æ
p
To Riq
3 or tamb with a loose, resonant head
¨j j
ã 78 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ " œ œ œ œ œ œ œ œ œ œ œ œ 44 œ œ
46
œ œ œ œ
top notes at edge (high tone)
7 4 œ œœœœœœ œœœœœ
ã 8 œ œ œ œ ‰ œJ ‰ œJ " œ œ œ œ ‰ " œ œ ‰ œœ œœ ‰ œ 4
bottom notes in center of head (low tone)
R J
j j ¨j j
œ 78
50
ã œ œ œ œ œœ œ œœ œœœœ œœœœœ œ œ œ œ œ
ã œ œœœœœœ"œœœœœœ œœœœœœœ œœœœ"œœœ œ œ œ œ œ " œ œ œ œ œ 78
¨ ¨j ¨
7 2
ã 8 œ œ œœ œœ œœ ‰ 4 œ 85 œ 3 42 œ œ œ œ œ œ . 38
53
œ œœœœœœ 8 œ œ
7 2 5 3 2 3
ã 8 "œ œœ œ œœ œœ 4 œ œœœ œœ 8 œœœœœ œ œ 8 œ œœ 4 "œœœœœ œ 8
103
Tambourine Dream 3
¨ ¨
ã 38 œ . œ œ œ œ œ œ œ 45 œ Œ
58
œ œ œ œ œœœœœ œœœœœ
ã 38 " œ œ œ œ œ . œ œ 45 œ œ œ œ œ œ œ " œ œ œ œ œ œ œ . œ œ œ œ œ œ œ. œ œ œ œ œ
¨
‰ ‰ 4 45
62
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ
4 œ œ œ œ œ œ œ œ œ œ œ œ œ 45
ã œ œ. œ œ œ œ œ œ œ " œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ
3
5 4 œ 5
ã 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. " œ œ
65
4 œ 4
5 œ ‰ œ ‰ œ œ 44 " œ œ œ ‰ œ œ œ . œ " œ œ œ 45
ã 4 œ œ. " œ. œ.
J J
¨
ã 45 œ œ œ œ " œ œ œ œ
U bb C
67
œœœœ œœœœ œ œ œ œ œ w &

Continue riffing
on previous material
5
ã 4 ‰ œœœœ œ œ œœœœ œ œœœœ " œ œœœ œ œ œœœ œœœœ œ C
until interrupted by tape
/ / / /
3 3 3 3 3
Carnival Overture
b œ œ ˙ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
&b C œ ˙
Vlns
#œ œ œ œ #œ œ œ œ œ
70
ƒ Molto rubato, follow recording
ã C ! ! ! ! !
To concert tambourine
b œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b
75
ã ! ! ! !
104
4 Tambourine Dream
Winds
œ œ œ œ œ œ #œ œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ
&b
79
ã ! Œ œ œ œ œ Œ œ œ œ Œ Ó
P
b œ œ œ œ œ œ #œ œ œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
Strings
b œ ˙.
83
&
ã ! Œ œ œ œ œ Œ œ œ œ Œ Ó !
j
Winds
b œ ˙. ˙. j
&b œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ. œ œ. œ
88
ã Œ œ œ œ œ Œ œ œ œ Œ Ó ! Œ œ œ œ
w j
w œ œ . n œj œ . j 3
Strings
b j j œ. œ #œ œ nœ
Winds
& b œ. œ w
93
œ nœ.
ã œ Œ œ œ œ Œ Ó ! Œ œ œ œ œ Œ œ œ œ Œ Ó
j œ œ œ œ œ nœ
Vlns. I
bb w œ œ . n œj œ . j œ ˙. œ ˙.
99
& œ.
3
œ #œ œ nœ
ã ! Œ œ œ œ œ Œ œ œ œ Œ Ó ! Œ œ œ œ
œ œ œ œ œ nœ œ œ
Winds
b œ œ œ #œ œ œ nœ œ nœ œ œ œ œ #œ œ #œ œ nœ œ œ œ œ
&b œ
105
ã œ Œ œ œ œ Œ Ó ! Œ œ œ œ
105
Tambourine Dream 5
q = 132
œ #œ —. j —. j
Marimbula
b œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ ?
n n 45 — — Œ — — — Œ —
109
œ Œ œ œ œ Œ œ œ 5 Toœ Pandeiro
Œ Ó . Ó. œ ‰œ
ã 4
or very dry tamb.
j j j j
? —. —. —. œ ‰ œj ‰ œ œ œ
Marimba
— — Œ — — — Œ — — — —Å — œ œ
113
¿ ¿ ¿ ¿ ¿ œ. ¿ ¿
Hi Hat
ã Ó. œœ‰œ ‰œŒ
J J
œ œœ‰œ ‰œŒ
J J
œœ˙ œœ Œ œ œœ‰œ
J
æ
F
j j j
? œ œ œ ‰ œj ‰ œ œ œ bœ œ œ ‰ œ ‰ œ œ œ
117
œ. ¿ ¿ bœ. ¿ ¿
ã œ œœ œœœ ‰ œœœ œœœœœœ œœ œ"œœœœœ œœœœ œ œ
j j j
? œ ‰ œj ‰ œ œ œ œ ‰ œj ‰ œ œ œ œ — œj — œ œ œ
b œ . b œ œ¿ œ œ œ œ
119
¿ œ . ¿ ¿ œ . —¿ ¿ ¿
ã @œ œ !œ !œ œ @œ ‰ œJ œ @œ . œ œ œ œ œ ‰ œJ œ œ . " œ œ œ œ œ œ Œ œ œ œ œœœ
finger rolls
3 3
j
j
? b œ . b œ œ œ ‰ œj ‰ œ œ œ
j
b œ . b œ œ œ ‰ œj ‰ œ œ œ œ œ b œ œj œ œ œ
œ . ¿ ‰ ‰¿
122
¿ ¿ ¿ ¿
ã @œ œ !œ !œ œ @œ ‰ . œR œ œ . œ œ œ œ œ œ " œ œ ‰ œ œ œ œ . " œ œ œ œ . œ ‰ œJ ‰ . œR ‰ œJ " œJ .

3
106
6 Tambourine Dream
j j b œ j œj j j
? œ. œ œ bœ ‰ œ ‰ œ œ œ œ. œ œ œ œ bœ œ. œ œ bœ œ œ œ
bœ
‰ ‰ ‰ ‰
125
¿ ¿ ¿ ¿ ¿ ¿
ã ‰ œJ œ œ . ‰ œ œ œ œ œ œ œ ‰ œJ œ . œ œ œ ‰ œJ œ . œ œ œ œ œ œ œ œ œ œ œ œ " œ œ œ œ œ œ œ
3 3 3 3 3
j j
? b œ . b œ œ œ ‰— œj —‰ œ œ œ b œ . b œ œ œ ‰ œj ‰ œ œ œ œ ‰ œj ‰ œj œ
128
¿— ¿ ¿ ¿ ¿ œ œ
¿ ¿ œ
œ.
ã œ ‰ œ ‰œ ‰" œ. œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ. œ œ œ œ œ œ
J J J @ ! ! @
3 3
j j
? j j œ ‰ œj ‰ œ œ œ œ ‰ œj ‰ œ œ œ
œ œ¿ œ ‰ œ ‰¿ œ œ œ œ œ œ œ
131
œ. œ. ¿ ¿ œ. ¿ ¿
ã œ œ œ œ œ œ œ œ œ œ œ œ " œ œ œ œ œ œ œ œ œ œ œ œ œ " œ œ " œ œ œ ‰ œJ ‰ . œR Œ œ . œ ‰ œJ
j œj j
b œ œj œ œ
? œ. œ œ bœ œ œ bœ œ. œ œ bœ
j
œ ‰ œj ‰ œ œ œ
‰ ‰ ‰ ‰ b œ œ
134
¿ ¿ ¿ ¿ bœ. ¿ ¿
ã " œ œ œ œ œ ‰ œ œ œ œ œ " œ œ œ ‰ œJ œ œ œ œ . œ ‰ @œJ œ œ œ œ œ œ " œ œ ‰ . œR œ œ ‰ œJ

3 3
j j j j
? bœ œ œ ‰ œ ‰ œ œ œ œ œ œ ‰ œ ‰ œ œ œ
137
bœ. ¿ ¿ œ. ¿ ¿
ã œ œ œ œ œ œ œ œ œ œ œ œ " œ œ œ œ œ œ œ " œ œ œ œ . œ œ œ œ œ œ œ œ œ ‰ œJ
3 3 3 3 3
107
Tambourine Dream 7
j j
? œ œ œ ‰ œj ‰ œ œ œ œ œ œ ‰
j
œ ‰ œ œ œ
139
œ. ¿ ¿ œ. ¿ ¿
ã œ œ œ œ œ œ ‰ . œR ‰ œJ " œJ . " œ œ œ œ œ œ. œ œ œ œ œ œœ
finger rolls
@ @ ! @ @ ! ! @
F
j
? œ ‰ œj ‰ œ œ œ ˙.
U ### C
approx 15"
œ œ ˙ w œ w œ
141
œ. ¿ ¿ &
To concert tambourine
ã @œ œ!œ !œ œ @œ œ@œ . !œ œ@œ @œ œ œ œ @œ @œ œ œ œ @œ œ wæ œ U

Ó ˙. C
shake rolls
æ æ æ
P ƒ #
(All metric modulations are approximate) (h=q)
Carnival Overture
## œ œ œ œ œ œ ˙ nnnb 3
Carmen - Aragonaise
& # C œ ˙ œ œ œ œ œ œ œ œ œ œ œ Œ 8 œ œœœ
145
ƒ
C œ ˙ œ Œ 3 œ œœœ
ã œ œ œ œ œ œ œ œ œ ˙ 8
æ æ
ƒ (q=h)
Carnival Overture
### #œ œ
& b œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ n C œ ˙
150
ã œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ C œ œœœ œ
(h=q)
### œ ˙ #œ œ œ ˙ #œ œ œ ˙ # œ œ n n # 43 œ œ œ ##
Carmen - La Boheme
41 # œ # œ œ œ # 38
158
&
3 1 3
ã œœœ œ œœ œ œ œœœ œ œœœ œ 4 œœœœœœ 4 œ œ 8
108
8 Tambourine Dream
Roman Carnival Overture Nutcracker
œ œ œ œ
(Œ=q.) (‰=e)
## œ œ œ œ
œ œ œ œ nn# 3 œ œ œ œ 2 œ œ œ œ œ œ # œ œ œ
& # 38 ! 42
163
8 4
3 œ. 2 3 "œœ œ 2 œ œ œ
ã 8 4 œœœœ œœœœ œœœœ 8 R 4 œ œ œœ œ
æ
Carnival Overture
(q=h)
# ## œ œ ˙ œ œ ˙
& œ œ œ œ œ # 21 œ œ œ C œ œ œ œ œ œ œ œ 68
170
1 œ œ Œ œ œ Œ 68
ã œœœ 2 œœŒ C œœŒ œœŒ œœŒ œœŒ
Roman Carnival Overture

(h=q.)
## œ. œœ .. œœœ .. œœ .. œœœ .. œœ .. n
n # 43
& # 68 œœ .. œ. 38 œœ œœ œœ
175
œ. . . œ. œ œ œ
6 œ. œ. œ. œ. œ. œ. 3 œ œ œ 3
ã 8 8 4
Carmen - La Boheme
(Œ.=Œ) Nutcracker
# 3 œ œ œ #œ œ œ #œ œœœ œœœ œœœ œœœ œœœ œœœ

41 42 œ œ œ œ œ œ
179
& 4 œœœ œœœ œœœ œœœ
3 1 2
ã 4 œ œ œ œ œ œ 4 œ œ 4 œœœ œœœ œœœ œœœ œœœ œœœ
Carnival Overture Carmen - La Boheme
(q=h)
# œœœ œœœ ### 1 nœ œ Œ n n # 43 œ œ ‰ œ œ œ œ œ 42
! 42 œ œ Œ
184
& œœœ œœœ 4

1 2 3 2
ã œœœ œœœ 4 œœœ 4 œ œœœ œ œœœ 4 œœœœ œœ 4
3 3 3
109
Tambourine Dream 9
j
Roman Carnival Overture
# 2 œ œ œ #œ ### 6 j j j j 44
8 œœ œœ œœ œœ œœ œœ œœ œ.
189
& 4 œœ œ.
ã 42 œ œ œ œ 68 œ œ œ
J
œ œ
J
œ œ
J
œ œ
J
‰ œ ‰ 44
Bob Dylan - Mr. Tambourine Man
p
## nnnb œ œ
subito
œ œ œ
& # 44 w œ œ œ œ. œ œ. œ œ œ œ
193
œ œ.
ƒ Hey Mis - ter Tam - bou - rine Man play a song for me in a
U
4 wæ Œ Œ Œ Œ
Crescent/ Rock and Roll tambourine
ã 4 œ œ œ œ
subito p
& b œ. œ œ. œ œ œ œ œ. œ œ œ !
196
œ ˙
jin - gle jan - gle mor - ning I come fol - low - ing you.
ã Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ
110
Dedicated to Wannapha Yannavut
Sirens
Andy Thierauf
For Timpani and Max
Freely q = c 80
4 ! ! Ó
(Ambient noise)
&4
*
Max
1
? 44 œœ ˙ Œ œœ œ. j Œ œœ ˙ !
Timpani œœ œ œœ œ œ œœ œœ ˙
f
5
&
?‰
somewhat freely
œ ‰ œ œ œ Œ ‰ œ œ œ Œ œ œœœœŒ Œ
5
œ ‰ œ
3
w œœœ
P
(Electronic sounds, bells, ambience)
gggggggggggggggggggggggggggggggggggggggggggggggggggg
9
&
2
? œœŒ œœ œ " œ‰œœ œ ‰ j Ó œ ®œ œ œ ‰ . œr

9 3
œœ œœ œ ˙ œ. œ
>
F
3
g
gggggggggggggggggggggggggggggggg gggggggggggggggggggggggggggggggggggggggggggggggggggg Ó Œ
(Tam tam)
&
*
3 4
? œ œ œ œ@ œ UŒ U
5
‰ œ œ œ œ œ œ œ@ œ@j ‰ œ œ œr œ " œ œ œr œ æ
œ ˙
13 3
œæ
3
œ œœ æ
> >
œœœœ
Allegro q = 120
˙˙ œœ >o >o >o >.

‰ #J Ó
(Gongs)
o Ó
(Resonant Metals)
Ó. –
(Metal)
Œ ˙˙˙ œœœ
17 (Wood)
&
~~~~~~
*
~~~~
? æ >œ ,
˙. œ œ œ
6
Œ Œ "œœœœœœ œ œ ‰ œœœ
17
œ ˙æ æ æ
> Í F
© 2015
111
2 Sirens
o o
&– ‰ #J Ó o o # " #J . ‰ øJ ‰ . ø Œ – – –
21 (Cymbals)
?œœ œœ œ j j
œ œ ‰ œœœœ œ œ œ œ. œ œ œ œ ‰ œ œ œ " œ œ œ ‰ œ œ œ. œ œ œ. "œ œœœ œ ‰ œ
21
3 3
o o o Ó #.
& o. ‰ – – – – – – 78 # Œ # . 6 #. 5
25
8 8
*
? œ œ œœœ œ Œ j j3 ‰ j 7 œ œ œ 6 œ œ œ 5
25 3
œœœœ œ œ œ œ. œ œ œœœ œ 8 œ œ œ œ 8 >œ œ œ 8

3
>
f > > > F > > >
5 2 4 #
&8 # #. 4 # Œ Œ Ó Ó Œ
29
4 *
fl
sfz in normal playing area
Move to center all others in center
?5 œ œ œ 2 œ œ 4 œ œ œ œ œ œ œ œ œœ œœ œ
29 3 3 3
8 œ œ 4 œ œ 4 œ œ œ œ œ œ œ œ
> > > > ß
&Œ Ó Œ Œ 78 ˜ Œ 68 ˜ . ˜. 85
33
* * * ˜.
fl fl fl
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7 j œ j >œ j 6 œ œ œ 5
33 3 3 3 3 3 Normal playing area
œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ 8 >œ œ J 8
ß ß ß f> >
& 85 ˜ ˜. 38 ˜ . 44 ˜
37
?5 >œ j 3 4 œ ‰ œœœ œ ‰œ
œ 8 >œ œ œ 4 œ œ œ œ œ œ
37 3
8 œ œœœœ
3
>
112
Sirens 3
41
&
U
rit. 7 Freely
?‰ œ . œ œ œj œ ‰ œ œ œ œ œ " œ œ œ œ œ . j
œ œ œ Œ ˙ Œ
41 3
3
œœ
œœ œ œ œœ œ
3 3 3
P
~ ~ ~~~~~~~~ ~~~~
~~ ~~ ~ ~ ~ ~ ~
45 (Glissandi in fixed media)
& ~~~~~~ ~~ ~~ ~~ ~~ ~~ ~ ~ ~ ~
8
? œ. j Œ ˙
45 (ad lib glissandi)
w ~~~~~~~~ ~~~ w
œœ œœ
œœ œ œ œœ ˙
~~ ~
œœ
æ
7 ooooooooooooooooÓoooooooooooooooooooooooooo6ooooooooooooo
(Bubbles and Water Sounds)
5
& ~~~~~~~~~~~~~~~~ 8 oooooo 8 8
~~~
9 10
j
? wæ ~~ ~~~~~ ~~~~ w
29" 23"
7 œœ œœ 6 œœ j 5
49
~ ~~~ 8 œœ œœ J 8 œœ .. œœ 8
p J
32" 26"
~~~~~~~~~~ 7
& 85 42 44 ~~ ~~~~
~~~~ ~~~~
~~~~ 68
53 simile
~~~~~~~~ 8
j 6
11
? 85 œœ j œœ 42 œœ œœ 44 78 œ œœ œ œJ 8
œ
~~~~~~~ ˙˙
53
œœ œœ ˙˙ ~~~~~ œ œ
J
P
6 5 2 4 ~~~~~~~~~~~~~~~~~~~~~ 7
57
&8 8 4 4 ~~~~~~~~~~~~~ 8
12
? 68 œ . j j ~~~~~ ˙˙
œœ œ 85 œœ œ œœ 42 œœ œœ œ 44 ˙˙ ~~~~~~~ 78
57
œ. œ œ œ
113
4 Sirens
rit.
7 ! 6 ! 5 ! 2 ! 4
61
&8 8 8 4 4
^ ^
œœ œœ œœ j j
?7 œ œ 6 œ. œ 85 œœ œ œœ 2
4 œœ
œœ œ 4
61
8 œ œ J 8 œ. œ œ œ 4
F
˜˜Ó – ‰ –J Ó #– # ø̃ ø̃ ø̃ ø̃ ø̃
Allegro q = 120
4 ‰ –J Ó
&4 ––
3
? 4 Œ Œ ‰ . œr œ œ œ ‰ œ œ œ ‰ œ œ œ œ ‰ j‰. r œ œ œ ‰ 3 œ œ. œ >
13
œ œ œ œ œ ‰œ
65 3 3
4 J œ œ œ. œ œœœ 3 J
f 3
ø ~~~~~~~~~~~~~~
& *o Œ Ó ‰ o ‰ o Œ ‰ o o ~~~~~~~~~~~~~~ ~
69
? œ œ œ œ . ‰ >œ >œ >œJ >œ >> ˙˙æ ~~~~ b ˙˙

14 15 Freely
œ œ œœœ‰ ‰ œ œ œ œ œ œ œ Œ Ó
5
69 3
œ œ > > > >œ > > æ

p f 3
3
p 3
ƒ ß p
42 85 68 44
73
~~~~~
& ~~~~~~~~
~~ ~~~~~~
16
? ˙æ ~~~ 2 5 j 6 b œ .. ~ ~ ~ ~ œ . 4
4 b œœ b œœ œœ 8 b œœ b œœ
73
˙ ~ ~ ~ b ˙˙ œœ
J
8 b œ ~~~~ œ . 4
æ
4 " """""""""""""
& 4 """""""""""""""" """""""""""""""
77 (Ambient, percussive, metallic sounds in background)
"""""
"
$ " "
? 44 b œ œ . b œ Œ œ œ œ ‰ j Œ " œ b œ b3œ b œ œ b œ " j Œ œ œ b œ Œ œ œ œ
œœœœ .
77 rubato 3 3
œ œ œ œ œ. œ
p Blend with ambient background
114
Sirens 5
""""""" """"""""""""" """""

& """"""""""""
81
" " " " " " " """

""""
, 17
? ‰ bœ ˙
accel.
œ ‰ b œ b œ œ œ œ œ b œ b œ œ œ œ œ œ œ œ œ œ œ ˙ ~~~ b( œ̇ )
81 3 3 3
Jæ œ œ œ œ ˙
F Gliss only to C
Strike G and Eb
85
&
P
j
Freely
? œ Œ œ œ Œ ˙
85
œ.
bœ bœ œ bœ
œ bœ
œ
˙ œ bœ
œ
œ bœ ˙ œœ
– # – # "˜ ˜ ˜ ˜ ˜ ˜ ˜
Allegro {m q = c 120}
‰ ø ø Œ
88
& J J ˜ J
3 3
Continuous roll and gliss
move from drum to drum as indicated 18
? j j >œ
æœ . ~ b œ œæ. ~~ œ œæ. ~ œJ bæ˙ ~ næ˙ J ‰Œ Ó ‰ œ œ œ bœ. " œ œ œ œ
88
P ƒ f
– – – – ˜ ˜ ˜ j
& Ó ‰ ˜ Œ ˜
93
˜ ˜ ˜
3
? œ . œ œ " b œ œ œ ‰ . œr œ œ œ œ œ ‰ œ œ œ . œ œ œ . œ œ b œ œ " œ œ œ b œ œ œ " œ œ œ œ œ œ

93 3
subito p
3 3 3 3
˜ ˜ Œ
& ‰ J̃ Œ Œ Ó Ó Œ Œ Ó
96
* *
(Strike sfz in normal area,
? " œ œ œ œ œ œ œ œ œ œ œ œ ˙> œ^ ‰ Œ
all others at center)
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
96 3 3 Dampen 3 3 3 3 3 3
bœ œ æ J
subito p ß ß
3
f
115
6 Sirens
Œ Œ 7 ø ø ø ø 6 ø ø ø
j j
ø 85 ø ø 2
100
& 8 J 8 J ø 4
* *
Normal playing area
? œ œ b œ œ œ œ œ œ œ œ œ œ œ œ 78 b œ œ œ œ 6 œ œ œ 85 œ œ œ œ œ 42
3
œ bœ œ 8 œ œ œ
100
ß 3 ß f Pedal notes down
2 3 4 ! ! Ó
104
&4 ø ø 8 4
*.
^ ^ ^
poco rit. Freely
?2 3 4
19
4 œœœœ 8 œœœ 4 ˙ Œ œ. j Œ ˙
104
œœ œœ œœ
œœ œ œœ œ œ œœ œœ ˙
ƒ
7 3 5 ooooooo2ooooooooo ooooooooooooo28ooooooooooooooo ooooooooo " 4 !
4 oooooooooooooooooooooooooooo8ooooooooooooooooooooooooooooooooooooo
oo 4 gggoogggoogggoogggoooogggoooogggoooooooo
ogggo gggggggggoogggoogggooo
109
& 8 4
gggg
Ï 20
? æ 7 œ œ œ œ æ 3 œ œ œ œ @ æ 5 œ œ œ œ æ 2 œ œ œ œ æ 2 >œ >œ >œ >œ >œ 4dampen
Take enough time that electronics become almost unbearable by the penultimate measure
¿¿
109
8 œ. 4 œ œ 8 œ. 4 œ 8 4 w¿
all but G
w
P >
3 3 3
ƒ
116
Dedicated to Johnny Mendoza
Wooden Blossoms Andy Thierauf

For Marimba and Max
(Tempo I)
Playful {q = c 108} 1
4 bœ
bœ bœ bœ œ
Delayed sound fades in
&4 bœ bœ
? 4 bœ bœ bœ bœ œ œ œ œ ‰ œ œ œ œ ‰ ! bœ bœ bœ bœ œ.
Marimba
4
F
b œ bœ bœ bœ
bœ b œ ‰. œ œ bœ bœ bœ
3
& R bœ
bœ bœ œ
? ‰. bœ ! œ œ bœ œ
R bœ
œ
& bœ œ œ bœ bœ œ œ bœ bœ ‰ jbœ bœ œ œ bœ bœ œ œ œ œœœ
5
bœ bœ bœ œ
? bœ œ bœ bœ
œ
‰ œ bœ 3
3
3
3
j bœ bœ œ
&‰ œ œ œ œ bœ bœ
8
œ bœ bœ bœ œ
b œ b œ bœ œ
? bœ bœ œ bœ œ ! bœ bœ œ œ
3
œ 3
œ bœ œ bœ
11
& œ bœ bœ bœ bœ
œ bœ œ œ bœ œ œ
? bœ bœ œ œ bœ ‰ œ bœ œ œœ
bœ ! œ œ bœ bœ. œ !
J
3
© 2015
117
2 Wooden Blossoms
bœ bœ
& ‰ bœ bœ œ bœ ! bœ œ bœ bœ œ ‰
14
3 3
œ œ
? bœ bœ bœ œ. bœ bœ œ œ œ ! œ bœ bœ bœ œ bœ
bœ œ bœ
3
bœ bœ bœ œ œ œ bœ bœ œ œ
‰ b œj œ b œ . œ bœ bœ bœ œ
17
& bœ œ œ œ. bœ bœ
3
? bœ bœ
‰ bœ œ ‰
3
! bœ bœ
20
& bœ œ œ
3 3
œ j
b œ b œ œ œ bœ bœ œ bœ œ œ bœ œ œ œ
?
bœ bœ bœ œ œ œ. bœ bœ ! œ
œ œ 3
3
‰ bœ . ‰ b œ
23 3
& J bœ bœ bœ bœ œ
3
bœ bœ bœ bœ œ bœ œ bœ
? bœ bœ bœ œ bœ
3
5
25
& bœ œ œ bœ œ 4
? bœ bœ bœ bœ œ œ œ œ œ bœ œ bœ œ œ œ 5
! œ œ œ bœ œ 4
3
& 45 44
27
? 45 b œ b œ b œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ Œ 44 œ b œ œ b œ b œ œ œ b œ œ œ n œ œ n œ
3 3
118
Wooden Blossoms 3
29
&
? bœ. bœ œ œ bœ œ œ nœ œ ! bœ œ œ œ. œ œ œ bœ œ œ œ œ œ ! bœ bœ œ nœ œ œ œ œ œ
œ
3 3 3 3
32 Electronic sound becomes very dense
&
? # b œœ œœ œœ œœ œœ œœ œœ œœ Ó bœ œ œ œ œ œ
# œœœœœœÓ
bœ œ œ œ œ œ œ
# œœœœœ œ œ Ó
bœ. œ. œ. œ.
# œ. œ. œ. œ. Œ
3 3 3
36 Electronic sound begins to fade out
&
? # b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
> > > >
2
& œ #œ #œ
b œ œ œ œ œ œ œ œ
?# œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ
œ #œ #œ œ
> > > > 3 3
3
œ bœ œ bœ bœ nœ bœ bœ œ bœ bœ
bœ bœ nœ bœ œ bœ œ bœ bœ œ œ bœ bœ
40
& œ bœ
#œ
? bœ œ œ bœ œ
bœ nœ bœ œ œ bœ
& œ bœ bœ œ bœ bœ œ œ œ nœ bœ bœ œ œ bœ bœ
42
? bœ œbœ œ œ U
bœ œ bœ œ bw
œ
119
4 Wooden Blossoms
(Tempo II)
3 Pesante {m q = c 92}
85 44
The bass notes echo as quarter notes through the speakers - play in time with them
&
? œ ( © © © ) #œ ( © © © ) œ Œ Ó 5 œ. œ 4
bœ ( © © © ) 8 4
f simile
bœ
4 œ bœ œ œ bœ œ #œ œ #œ œ œ #œ œ œ #œ #œ œ œ
50
&4 œ œ
? 4 #œ b œJ œ
4 J J
bœ
bœ œ bœ bœ nœ œ œ bœ œ bœ œ œ bœ œ œ œ
#œ œ œ œ œ 98 44
53
&
? œJ œ 98 b œJ 44
J
œ œ œ œ œ #œ
4 bœ bœ œ œ 5 bœ bœ bœ œ 3 bœbœ œ 4
56
&4 8 4 4
? 4 œJ 5 œ 3 4
4 8 J 4 œJ 4
bœ
4 œ # œ œ # œ œ 7 œ bœ œ bœ bœ bœ 4 œ #œ œ #œ #œ 3
#œ œ
59
&4 8 4 œ #œ 8
? 4 #œ 7 œJ 4 œJ 3
4 J 8 4 8
120
Wooden Blossoms 5
#œ œ œ #œ ,
nœ #œ œ
& 38 œ #œ #œ 78 œ
62
? 3 b œJ 7 œJ
8 8
4 Freely
,
Echo ends, computer records for five seconds
5 Echo resumes
4 œ #œ œ 5
a tempo
œ
(ad lib rhythmic hiccups)
& 4 œ #œ œ 8
? œ œ bœ bœ œ œ.œ œ œ œ œ œ œ.œ œ œ œ œ œ œ.œ œ œ.œ œ œ œ œ œ œ œ œ œ œ 4 œ ( © © ©) 5
4 J 8
" F " F
Approx. 8"
5 6 œ œ œ #œ 7 œ œ œ œ bœ 4 œ #œ œ œ œ bœ œ œ nœ œ 5
& 8 œ bœ œ œ
66
8 #œ 8 #œ 4 8
?5 œ 6 œJ 7 œ 4 œ 5
8 J 8 8 J 4 J 8
bœ œ œ. œ.
5 œ . 44 œ œ œ b œ œ 16
9 œ œ bœ œ œ 5 # œ . œ œ 12
70
&8 #
œ œœ 8 16
? 5 b œJ 4 œ 9 œ 5 12
8 4 J 16 J 8 16
b˙
6 Freely
#˙
opt roll notes
œ bœ. œ. œ. , b ˙˙ ˙
# ˙˙
#˙ ,
12 œ . œ œ # ˙˙ # # ˙˙˙ 4
& 16 J bœ œ œ J ˙ ˙ # ˙
74
4
j p
? 12 œ. j 4
œ.
Approx. 15"
16 J J 4
Echo ends, computer records for five seconds
and also plays back m. 64
121
6 Wooden Blossoms
7 Echo resumes
bœ bœ œ
a tempo
4 b œ œ # œ b œ œ # œ œ œ œ 98
&4 bœ bœ œ œ bœ #œ œ #œ œ
? 44 b œ ( © œ #œ 98
© ©) J J
J
F
œ bœ œ bœ œ #œ œ œ bœ. # œ œ bœ bœ œ œ œ œ
& 98 9 J bœ 6 44
81
16 16
? 98 b œJ 9
16
j
bœ. 6
16 44
J
8
bœ bœ bœ œ œ œ , b˙
#œ œ œ œ œ bœ œ œ œ
Freely
& 44 bœ b œ # œ . œ . œ b ˙˙˙ b ˙˙˙˙

84
J
p
? 44 b œJ #œ
J
9
#˙ ˙ ,
# ˙ b ˙˙ bœ œ 4
a tempo
7 5 9
& ˙˙ 4 œ œ #œ œ œ bœ œ 8 œ œ #œ œ 8
87
8 bœ œ œ #œ
˙
? 7 4 œ 5 9
8 œ 4 J 8 # œJ 8
J
F
,
9 œ #œ œ bœ œ œ œ 5 œœ 7 œ j
œ œ œ 11 # œ . œ œ b œ œj
8 œ œ bœ 8 œ œ œ bœ
91
&8 œ 16
j
? 98 œJ 58 œ 78 11 œ
16 J .
J œ
J
122
,
Wooden Blossoms 7
10 Freely 11
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ.œ œ œ œ œ œ œ œ 3 œ œ œ œ œ 4
a tempo
& œ bœ œ œ. œ œ œ. œ œ œ œ œ œ œ 4 4
! F !
? 3 œ 4
4 J 4
F
œ œ œ #œ œ œ nœ œ œ œ bœ. œ.
4 #œ œ œ œ nœ 7 7
œ œ 16
œ
œœ œœ 5 J J 12
97
&4 8 8 16
? 44 œJ 78 œJ 7 œ
16
bœ
85 J 12
16
J
œ œ œ #œ nœ œ
12 j œ œ.
œœ J 6 œ 4 b b œœœ b œ œ œ 7
& 16 œ .
101
8 4 œœ b œ 8
j j œ
? 12 œ . 6 J.
b œ 4 œ œ œ œœ 7
16 J 8 4 bœ 8
3 œ bœ ‰ ‰ bœ nœ Œ
12
7 7 (œ b œ b œ n œ œ œ b œ n œ ) 5
&8 4 8 4
b œ œ b œ ( Ì 3Ì Ì )
?7 3 7 Œ. 5
8 b˙ ( © © ; 4 ; b© ) ‰ Œ 8 4
f 3
œ . œ œ # œ œ # œ .( œ œ œ œ œ œ œ œ )
5 4 3 #œ 4
4 #œ #œ #œ Œ Œ 4
107
&4 4 #œ
#œ #œ
? 45 44 œ Œ Ó 43 44
123
8 Wooden Blossoms
13
# œœ .
opt. roll notes
& 44 42 œ # œ # œ Œ 44 43 Œ . # œœ ...
110 3
? 4 œ #œ œ Ó 2 4 œ œ #œ #œ œ Œ Ó 3 œ #œ œ Œ Œ #œ. Œ.
4 4 4 4
5
p
œ. # œœœ ...
3
# # œœœ ... # # œœœ ... # œ. œœ .

#. # œœ .. # #### 4
.
& Œ œ. .
Œ œ. Œ # œ. Œ . # œ .. Œ. œ. 2
4 Ó
115
4
? œ. Œ. #œ. Œ. œ. Œ. #œ. Œ.
#œ. Œ. 2 #### 4
4 Ó 4
ƒ
#### 4
14 Allegro {m q = c 120}
3 2 3
& 4 œœ œœ œœ œœ 4 œœ œœ œœ 4 œœ œœ 4
? #### 4 œ œ œ œ œ œ œ œ 3 œœ œœ œœ 2 œœ œœ 3
4 4 4 4
p
##
& # # 43 44 42 œ œ œ œ œ œ 43
124
œ œ œ œœ œœœ œœœ œœœ œ œ œ

œ œ
? #### 3 œ œ œ œ œ œ œ 4 œ œ œ œ 2 3
4 4 4 4
P
#### 3 2 4 2
4 œœœ œœœ 4 œœœœœœœœœœœœœœœœ
127
& 4 œœœ œœœ œœœ 4

œ œ œ œ œ
? # # # # 43 42 44 42
##
& # # 42 œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ 42 œ œ œ œ œ œ œ œ 44
130
? #### 2 3 2 4
4 4 4 4
124
Wooden Blossoms 9
##
& # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ 42 œ œ œ œ œ œ œ œ 43
133
? #### 4 3 2 3
4 4 4 4
F
#### 3 œ œ œ œ œ œ œ œ œ 2 œœœœœœœ 4 œœœœœœœœœœœœœœœœ 3

4 œ œ œ 4 œ
136
& 4 4
? # # # # 43 42 44 43
# ## 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 œœœ œœœ 3 œœœ œœœ œœœ 2
& # 4 œ œ œ
139
4 4 4
? #### 3 2 3 2
4 4 4 4
f
œ œ œ œœ œœ œ œ œ œ
#### 2 œ œ œ œ 3 œ œ œ œ 4 œ œ œ œ œ œ œ œ 2
4 œ œ
142
& 4 œ œ œ 4 œ œ œ œ 4
? #### 2 3 4 2
4 4 4 4
poco allargando
œ œ œ œ œ
#
# # 2 œ œ œ œ œ œ œ œ œ œ
3 4
& # 4 œ
145
œ 4 œ œ œ 4
? #### 2 3 4
4 4 4
ƒ
125
10 Wooden Blossoms
15
œ œ œ œ
#### 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
& 4 œ œ œ œ 4
? #### 4 3
4 6 6 6 6
4
œ œ œ
# ## 3 œ œ œ œ œ œ œ œœœ œœœ
œ œ œœœ œ 2 œœ œœœ œ 4
& # 4 œ
148
œ 4 4
? #### 3 2 4
4 4 4
6 6
6 6
6
œ œ œ œ
150
#### 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3
& 4 4
? #### 4 3
6 6 6 6
4 4
rallentando
151
#### 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ 4
& 4 4 4
? #### 3 2 4
6 6 6
4 4 4
# ## œœœ œœ œœ œ œ
Delayed sound
4 œ œ
& # œ œœ œœ œœœ
3
œ
fades away
œ
153
4
3
œ œ œ
? #### 4 œ œ œ ggg www
4 œ ggg w
3
126
Dedicated to Chris Zerges
The Seafarer
Andy Thierauf
For Snare Drum and Max
Snares off
with Timpani mallets
U U
4 œ. œ œ œ œ. U 5
1 (Wait for delay)
ã 4 wæ
(Wait for delay)
œ Œ Œ Œ Ó ‰ œ œœœ œ Ó
q = c 60
Snare Drum
J 4
ƒ P F3 3
Moving q = c 72
5 Play in time independent of delayedœsound œ . œ œ œ œ . ‰ !œ Œ
ã 4 œ. œ œ œ œ. Ó. . œ œ œ œ. Ó x x. x x.
5 stick click
on rim
J
3 3 3
! 7 ! 4
ã œ . œ œ œ œ . ‰ œJ " œJ . x x . 4 œ . œ œ œ œ . Œ œ œ œ œ ‰ œJ " œJ . x x . 4 œ œ Œ œ œ œ œ ‰ . œR
8
3 3 F 3
ã œ œ œ . Œ ‰ !œJ œ œ œ œ œ œ œ œ Œ ‰ !œJ œ œ œ œ 46 œ œ œ œ œ œ œ œ œ œ œ ‰ !œJ œ œ œ œ x x .

11
r r r
3 3 3
F 3
4 U
ã œ. œ œ œ œ œ œ œ. œ œ. œ ˙
14 Allow electronic sound to fade
2
4 $
Approx. 6"
æ
#
To sticks
3 3
2 5 4
ã œ œ œ ‰œ œ ‰ . >œR œ œ œ œ ‰œ œ œJ ‰ œ . >œ œ œ œ œ 4 ‰œ œ œ >œ œ . >œ œ œ œ œ 8 ‰ œ œ œ >œ œJ 4
16 Faster q = c 88
r r r r
œ
f P3 f P3 f P3 f P3
one hand
4 6 . 4
ã 4 x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ Œ œJ x x x œ 4 œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ
21
r r
4
press roll
3
f P3 3 3
f P3
4 3 3 . 4
ã 4 œ œ œ x x x œ œ . >œ œ œ œ œ 4 ‰ œ œ œ >œ œ >œ 8 zœ œJ 4 " œJ . œ œ œ x x x œ œ . >œ
24
r
3 3
f P3 3 3
f
© 2015
127
2 The Seafarer
.
ã œ œ œ œ ‰ œ œ œ >œ œ >œ 42 zœ œ g^ 44 ‰ œJ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ 78
28
r r
P
3 rim shot 3 3
f P3
7 . 4 .
ã 8 œ >œ zœ œ œ g^ œJ 4 ‰ œJ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ œ œ g^ ‰ œJ
32
r
3 3
f P
3
ã !œ œ ‰ œ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ. œ œ g^ 85 ‰ œJ " œJ . œJ 44

36
r
3 3
f P3
4 ! .
ã 4 œ œ ‰ œ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ œ œ g^ ‰ œJ " œJ . œ " x œ
40
r
3 3
f P3 F P
! .
ã œ œ ‰ œ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ œ œ g^ ‰ œJ " œJ . œ ‰ œ œ
44
r r
3 3
f P
3
F 3
! .
ã " x œ œ " œ œ œ œ ‰ œ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ œ œ œ g^ ‰ œJ " œJ .
48
r
æ
P 3 3
f P3
ã œ ‰ œ œJ ‰ ‰ ‰ œJ œ œzœ. " x œ œ " œ œ !œ œ ‰ œ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ

52
r r
F 3 3 3 3 3
f P3
. ! . !
ã zœ œ œ g^ ‰ œJ " œJ . œ ‰ œ œ Œ œJ œ œ œ œ œzœ " x œ œ " œ œ œ œ ‰ œJ " œJ . œ œ œ x x x œ
56
r
F
3 3 3 3 3
. 5 ! 4
ã œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ œ œ g^ ‰ œJ " œJ . œ ‰ œ œ Œ œJ 8 œ œ œ g^ œ œ œ œ œ 4
60
r r
f P3 F
3 3
F P
128
The Seafarer 3
. " .
ã 44 œ œzœ ! x œ œ ! œ œ œ œ ‰ œJ ! œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ œ œ g^ ‰ œJ
64
r
3 3 3
f P3
7 . 2 " 4 . "
ã ! œJ . œ ‰ œ œ Œ œJ 16 œ œ œ g^ œ œ zœ 4 œ œ œ œ œ œ œ 4 œ œ zœ ! x œ œ ! œ œ œ œ
68
r
F 3 3
F P 3
ã ‰ œJ ! œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ zœ. œ œ œ^ ‰ œJ ! œJ . œ ‰ œ œ Œ œJ 43

72
r r
3 3
f P3 F
3 3
3 . 3 " 3 . 2 " 3
ã 4 œ œ œ g^ œ œzœ œ œ œ œ œ 8 œ œ œ œ œ 4 œ œ œ g^ œ œzœ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ 4
3
F P 3
FP
3 . " 4 . 5
ã 4 œ œ œ g^ œ œ œ œzœ œ œ x x œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ g^ œ œ œ œzœ œ œ x x œ œ œ œ 4
80
3
f P 3
5 œ œ +Y ! œr œ . œ œ œ œ œ œ œ œ "œ œ œ 4 œ œ œ g^ œ œ œ œ œ. œ œ x x œ œ œ œ 6
z
83 stick shot
ã4 J 4 4
F p f P 3
+ r
ã 46 zœ œ œ œ œ Y œ œ œ . œ œ œ œ œ œ œ œ "œ œ œ 44 œ œ œ g^ œ œ œ œ zœ. œ œ x x œ œ œ œ 45
85
FP f P 3
5 + U 4
ã 4 œ >œ œ zœ œ œ œ œ Y ‰ ! œR œ œ œ .
87 (allow electronic sound to
r
# 4
dissipate in empty bars)
F P
4 . 6 + 4 "
ã 4 œ œ œ g^ œ œ œ œzœ œ œ xxœ œ œ œ 4 œ >œ œzœ œ œ œ œ Y œ œ œ œ . œ œ œ œ . 4 œ œ œ œ œ œ œ œ Œ œ œ œ
89
r
3
F p3 P f P
129
4 The Seafarer
. +
ã œ œ œ g^ œ œ œ œ zœ œ œ x x œ œ œ œ œ >œ œ zœ œ œ œ œ Y œ œ œ 43 œ œ œ œ . œ œ œ œ .
92
r
3
F p3 3
! 4 . 3 +
ã œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ g^ œ œ œ œ zœ œ œ x x œ œ œ œ 4 œ >œ œ zœ œ œ œ œ Y
95
f P 3
F
44 œ x œ œ œ œ œ œ . œ œ œr œ . U
ã œ œ œ œœœœ Œ 43
98
$
p 3 3
P 3
3 ! 4 . 3 . + 4
ã 4 œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ g^ œ œ œ œ zœ œ œ x x œ œ œ œ 4 œ >œ œ zœ œ œ œ œ Y 4
101
f P 3
F
4 3 g^ œ œ œ x 3 œ œ œ œ œ œ . œ œ œr œ . œ œ œ œ œ œ œ œ !œ œ œ
ã 4 œ œ œ œœœxxxœ Œ
104
8 4
p3 3 3 P3 3
f P
108
U 4 œ œ œ œ œ œ x x x œ œ œ œ !œ ‰ 5 œœ œ g^ œœ œxœ œ œ œœ œ . œ œ œr œ . 3
ã $ 4 4 4
p3 3 3 3
F
3 3
P
3
+
ã 43 œ >œ œ zœ. œ œ œ œ Y 85 œ œ œ œ œ œ x x x œ 68 œ œ œ !œ œ œ œ œ x ‰ 46
111
F p 3 3 3 3 3
6 3 . + 5 6
ã 4 œ . >œ œ œ œ g^ œ œ œ x œ œ œ œ œ œ . œ œ œ œ . 4 œ >œ œ zœ œ œ œ œ Y 8 œ œ œ œ œ œ x x x œ 8
114
r
F
3 3
P
3
F p3 3 3
6 ! 6 U 7
ã 8 œ œ œ œ œ œ œ œ x x x 4 œ . >œ œ œ œ g^ œ œ œ x œ œ œ œ œ œ . œ œ œ œ .
117
j r
$ 4
3 3
F 3 3 P 3
130
The Seafarer 5
+ !
Electronics drop out and slowly fade back
7 ..
ã 4 œ zœzœ œ œ g^ œ œ . œ œ œ œ x Y œ œ . >œ œ œ œ g^ œ œ œ x œ œ œ œ œ œ . œ œ œ œ . œ œ œ œ œ œ œ œ
4 in over next several measures
r
Í 3 3
F 3 3 P 3 f
! . !
ã œ œ œ œ œ zœ " x œ œ " œ œ œ œ ‰ œJ " œJ . œ œ œ x x x œ œ . >œ œ œ œ œ ‰ œ œ œ >œ œ >œ
122
r
P 3 3 3
f P3
. . . œ œ œ œ +Y 2 œœ œr œœœœ 3
ã zœ œ œ g^ ‰ œJ " œJ . œ ‰ œ œ Œ œJ œ œ œ g^ œ œ œ œzœ œœ xxœ œ œ œ œ >œ œœ
124
z
r
4 8
F3 3 3
F p 3 3
U
3 5 ! 6 4
8 >œ œ œ œ œ œ œ œ 8 œ œ œ x x x œ œ œ œ œ œ œ œ œ 4 wæ
127
j
ã 8 œœœxxxœ
3 3 3 3
F
3 3 3 3
ƒ #
U U
5 Room Filter - Allow electronics
U 6
ã wæ wæ
to fade until almost silent
$ 4
ƒ To timpani mallets
F
6
ã 46 œ œ œ œœ œœœ œœ œ‰ !œJ œœœ œx x . 44 œ . œœœœœœ œ . œ œ . œ œ œ œ œ œ . œ œ . œ Œ 43 ‰œ œ œ . œ Œ

7
r
P
3 3 3 3 3 3
131
Dedicated to Rusty Burge
The Universe Expanded Andy Thierauf

For Vibraphone and Max
Improvise using notes on screen, in any octave

Start sparsely and increase energy
b œœœ
œœœ n œœœœ n œœœœœ # n œœœœœ # n n œœœœœ n n # b œœœœœœ
1
œœ # œœœ œœœ œœœœœ # n n n œœœœ
Approx. 2'
&œ # œ œœ # œœ # œœ n # œœœ n b # œœœœ # b n œœœœ n b # œœœœ

2 Samples to record 3
5
& 4 .. œ œ Œ Œ Œ .. .. Œ bœ bœ ‰ bœ œ œ Œ ..
start and stop recording in rests
nœ œ J
4 œ œ #œ œ 5
J
& .. ‰ Œ Œ .. .. Œ ‰ j œ œ
..
#œ œ nœ œ
bœ œ nœ œ
6 7 8
& .. Œ Œ Œ .. .. Œ b œ œ Œ œ œ Œ .. .. Œ ‰ b œJ œ œ ‰ œJ œ œ ..
Improvise over loops (may use suggested notes below)
9 Loop expansion
œ
or continue to loop expansion
œ #œ nœ
[ #œ ]
Improvise in a wild and free manner
& œ #œ #œ
10
n n # b b œœœœœœ # n n œœœœœ # n n œœœœ # n n œœœœ # n œœœœ n œœœ œœ œœ

& # b n œœœœ n b # œœœœ b # œœœœ # œœœ # œœœ # œœœ # œœœ n œœœ œœœœ œœœ œœ œ
n œ n œ n œ n œ
Stop Loops
Decrease energy
improvise on notes on screen
until the sound fades away
Approx. 2'
© 2015
132

Percussion and Max - A Collection of Short Works For Solo Percussi

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Theses and Dissertations

Percussion and Max: a collection of short works for solo

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Copyright 2015 Andrew Thierauf

This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/1774

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PERCUSSION AND LIVE ELECTRONICS

An essay submitted in partial fulfillment of

Essay Supervisor: Professor Daniel Moore

This is to certify that the D.M.A. essay of

has been approved by the Examining Committee

William LaRue Jones

amazing people who inspire me everyday.

experience performing with live electronics.

essential to becoming a successful performer in a contemporary setting. Being able to perform

efforts and help produce compelling, original work.

Chapter 1: Introduction ................................................................................................................... 1

Figure 1 – Configuring the Foot Switch Max Patch ..................................................................... 18

included an extra daylong session dedicated to electronic music including numerous

choose to perform them.

The purpose of this document is to help percussionists unfamiliar with technology

works with Max.

Description of Project and Limitations

illustrations to explain how the program works.

and seven in the 2009 conference.5

J. B. Smith, percussion professor at Arizona State University, wrote an article for

and pedagogy, however it is limited to a short article.

of live electronics and percussion will continue to develop.

when working with a teacher.

Similarly, this document is intended to be a supplemental method book explaining how to

Fernando Rocha at a percussion conference at the University of California San Diego, he

mentions that it will take a new audience to appreciate these advancements.10

percussionists as on-stage performers. Credo in US (1942) is another example of percussion with

the score when to change the volume.

an electronic engineer at Radiodiffusion Télévision Française, was a pioneer in electronic music

which was the home of the RCA Mark II synthesizer.17

modifiers, and other analog devices.

of these ensembles incorporated electronic as well as acoustic instruments. The improvisers in

conservatory-trained musicians, they began democratizing music by allowing and encouraging

audience participation in concerts.22 In December of 1967, the University of California Davis

Synthesizer in 1966.25 John Chowning, working at Stanford, conducted research using

Instrument Digital Interface, was developed in 1982 by a coalition of several companies

interested in codifying a communications protocol for musical electronic devices, such as

and Prime Ordinal by Jim Casella.

understanding of electronics and music technology regardless of their intended careers.

explanation of the devices is included as well as a recommended set up in Appendix A.

perform all of the compositions in this document.

the sound card in the computer.

Figure 1 – Configuring the Foot Switch Max Patch

for percussion and Max.

manipulation, computations setting parameters for algorithms, and other procedures.

Hz, here 440 Hz.

Figure 3 – Object and Argument

and upcoming projects with fellow Max users.

full version of Max.

the Window menu, may show the error in red.

Figure 6 – Max Window

in the Audio Status should be ready to use.

Introduction to the Works

looping and manipulated playback.