Ondas - for harp and live electronic processing

8/18/2019 Ondas - for harp and live electronic processing

1/17


2/17

Notation and performance techniques

Rubbing a string with a sheet of paper

The paper is rubbed back and forth horizontally on a low string(for example, the first E)

(page 2, bar 1)

The width of the curves lines represent the

velocity that the paper has tu rub the string:

The wider line (the first line in the picture)represent a slow and long movement.Meanwhile, the thinner line represent a fastand shot movement with the paper.

(pg. 2, b. 13)

Scrapping the low strings with a coin

One of the low strings of the harp (it could be E again) is scraped vertically, downwards with a coin. Thescrape can be done in one fast movement or slowly over a long period of time, and beginning from the lowpart or the high part of the string it depends on the next notation:(pg. 3, b. 19)

(pg. 3, b. 19) (pg. 4, b. 22) (pg. 5, b. 28)

Slow movement,beginning from the lowpart of the string,downwards until the end(it goes over just a smallpart of the length of thestring, so the movementhas to be slower).

Beginning from themiddle part of the string,downwards until the endof the string (faster thanthe one before)

Beginning from the highpart of the string,downwards until the endof the string (it has to befast but covering the barsthat the line is indicating)


3/17

String buzz

A string buzz is produced by plucking a string with somuch force that it clashes against the next stringcreating a buzzing sound.

When the two strings clash together a short buzzingsound is heard.

In the notation is specified which strings should beplucked

Percussive sounds on the soundboard

The sound board can be knocked, struck, tapped or slapped with the knuckles, palm of the hand the fingers or thefingertips.

(pg.4 , b. 73)

(pg.3 , b. 46)

Slapping the soundboardover the low part

Beating the soundboard with thenails.

To produce a softer sound, it can bedone in the part behind desoundboard (the part of theresonant box nearest to the player)

Touching the string with the nails while it is still vibrating

(pg.3 , b.37)

(pg.4 , b. 79)

(pg.4 , b. 79)

Just after playing the note, touch the string with the nails while it isstill resonating to create a buzz

Just after playing the note, touchthe string with the nails while it is

still resonating to create a buzz


4/17

Note and changing harmonics

Muting strings with one hand

Xylophonic sounds

Plucked sounds with nails

Hit strings

Playing always the same note (the one notated) with

one hand, the other hand is used to go from this

fundamental note to the highest harmonics, changing

the pitch of the sound a little bit in every repetition of

The palm of one hand presses

the strings horizontally. The

fingers of the other hand thenplay the strings.

Xylophonics are muted sounds with a clearly distinguished pitch.

To produce xylophonic sounds one hand mutes the strings by pressingthem with the fingers close to the soundboard. The other hand plays

the strings normally.

The harpist turns the hand slightly away from the normal playing

position and plucks the strings with his/her fingernails.

Playing with the fingernails gives a sharp and slightly penetrating

sound.

The harpist hits the strings with the palm of the hand, held horizontally.

The harpist let the strings ring after the hit until the continuos line finish.

The range of pitches hit must be similar to the position of the symbol on

the stave.

(pg.4 , b.80)

(pg.5 , b.85)

(pg.5 , b.92)

(pg.5 , b.97)

(pg.5 , b.104)


5/17

Glissandos

the effect is produced by sliding the fingers quickly over the strings to create a fast scale

Hitting softly the soundboard

The nail of thefinger is used to

slide over thestrings.

Damping a little bitthe strings with one

hand, the other oneplay a glissando butwith tremolo betweenthe different strings.It could be withfingers or nail (nailwould be notated)

Usual glissando, butavoiding a continuos

scale, fragmenting themovement to the highpitches in different steps

It means to play close to the tuningpins. The strings are played

between the bridge pin and thetuning pin.

Sound board hit with the fingertips,moving quiet fast from the top of thesound-board to the low part. But withreally soft hitting, almost as rubbing.

Rubbing the wood of teresonant box with the palmand fingertips

Rubbing

The whole hand is rubbedback and forth verticallyon the string. The range isthe one notated with abox

(pg.8 , b.162) (pg.8 , b.172) (pg.9 , b.187) (pg.9 , b.188)

(pg.8 , b.164)

(pg.8 , b.168) (pg.10 , b.198)


6/17

Using a slider

Pedals

Electronics (patch and notation)

Pedals controller notation

The live electronic processes used in the sounds that the harp is generating are programmed by apatch using Max for Live, and Ableton Live. This patch has been adapted to control it with a Midi foot

controller, using just three different buttons/pedals with “toggles function”.

(pg.10 , b.189)

(pg.7 , b.139)

(pg.7 , b.157)

(pg.2 , b.1)

The sliding object (a glass) is held horizontally on

the strings and moved up or down. The strings canbe played with the other hand.

A pedal buzz is produced by holding thepedal halfway between two pedal

positions. Therefore, as it is played, the

string vibrates against the metal of the

tuning disc.

Notation used toindicate a change ofposition of a pedal.

Boot the patch


7/17

(pg.2 , b.9)

(pg.2 , b.8) (pg.2 , b.13)

Pedal/button Next: after assign this function to a pedal, pushit twice every time that this symbol appear at the score

Freeze functions

There are two different “freeze functions”: F1 and F2. They have to be assigned to different pedals,and in the notation is indicated when to put them ON or OFF.


8/17

Arpa

Electrónica

Arpa

Elec.

4

Arpa

Elec.

7

Arpa

Elec.

10

&

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9/17

Arpa

Elec.

= 40

1

o

f

= 40

Arpa

Elec.

7

o

p

Arpa

Elec.

13

o

f

o

Arpa

Elec.

19

p f

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10/17

Arpa

Elec.

25

o

f f

Arpa

Elec.

31

f

f

Arpa

Elec.

37

f

f

Arpa

Elec.

poco accel.43

f

f

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Arpa

Elec.

= 5049

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beat the resonant boxwith the palm-hand

?

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ª

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¿

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3


11/17

Arpa

Elec.

55

o

f

p

Arpa

Elec.

60

f

f

Arpa

Elec.

poco accel.63

p

f

p

Arpa

Elec.

p

. = 60 e=e

69

e=e

Arpa

Elec.

f

o

75

9

9

9

9 7 5 7

9 7 5 7

9 7 5 7

7 6 5 9

7 6 5 9

7 6 5 9

&

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& E1

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nails over the resonant box

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4


12/17

Arpa

Elec.

81

p

Arpa

Elec.

o

87

f

Arpa

Elec.

o

p

Con moto

. = 70

93

f

MNMOMNNN

Arpa

Elec.

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99

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7 6 5 6

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5


13/17

Arpa

Elec.

p

o

102

Arpa

Elec.

o

p

105

f

Arpa

f p

o

111

Arpao

p

117

f f

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p

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14/17

Arpao

p

129

Arpaf

p

135

Arpa

. = 80

141

f

p

Arpa

147

f

Arpa

Elec.

MNMOMNNN

p f

p

. = 90

151

f

9

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7


15/17

Arpa

Elec.

155

f

p

Arpa

Elec.

f

p

o

159

f

Arpa

Elec.

p

o

163

ff

Arpa

Elec.

p p

167

ff

MNMOMNNN

f

f

&

g l i s s .

ª

g l i s s . g l i s s .

g l i s s .

ª

Finger really softlyover the resonant box

˘

Rub resonant box

&

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G/G#

∑

?

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&

º


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g l i s s .ª

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8


16/17

Arpa

Elec.

172

f

p

Arpa

Elec.

p

o

176

Arpa

Elec.

179

f

MNMOMNNN

Arpa

Elec.

183

f

&

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/

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gl iss.

over the tuning keys

gl iss.

?

&

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(Strings hitwith a slider)

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9


17/17

Arpa

Elec.

187

f f

Arpa

Elec.

191

f

p

Arpa

Elec.

196

f

p

p

f

Arpa

Elec.

202

pp

f

o

&

?

Rub string

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

&

?

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F1

ON

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Rub stringÍÍÍÍÍÍÍÍÍÍÍ

/

OFF

F1 F1

ON

&

?

Rub string

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Rub string

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/

OFF

F1 F1

ON

OFF

F1 F1

ON

&

∑

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10

Ondas - for harp and live electronic processing

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Transcript of Ondas - for harp and live electronic processing