...

un puntotodos los puntos

Liste des Instruments:
-

Saxo Soprano
Clarinette Basse
Percussion:
Timbales (set de 4)
Toms (2)
Caisse Claire (1)
Cymbales Suspendues (2)
Triangles (2)
Gong (1)

Besoins techniques:
- Ordinateur (Apple G4 ou suprieur, PC Pentium IV)
- Max/MSP 4.5.2 (installe)
- Tap.Tools 1.0 ou suprieur (installe)
- Table de mixage MIDI (ou contrleur MIDI) avec 8 faders
- Interface de Audio avec 4 inputs et 4 sorties (minime)
- Table de mixage avec 4 inputs et 4 sorties (minime)
- 4 microphones (2 Cardiods et 2 Condensers)
- 4 Haut-parleurs (actifs ou avec amplificateur)

un puntotodos los puntos.

(Interactive music for Bass Clarinet, Soprano Sax, Percussion & Computer)
Program Note:
The interactive piece un puntotodos los puntos (one point.all the points) is based on the concept of extending time
perception trough continuum/discontinuum variations (combinations or interruptions). The piece is then conceived as a whole with
no pauses or gaps. Although small fermatas are employed within the musical discourse to achieve small discontinuities on the
continuum.
Besides the obvious interaction between musicians and their instruments and between each other the computer plays an essential
role throughout the whole piece by integrating the sounds produced by the instruments with the concert space. To achieve this,
Sound Spatialization through a quadraphonic system is employed in order to have a wider sound coverage. The main interactive
principle between the instruments (including the computer here considered as a meta-instrument) and the sound Spatialization
within the space relies on sound analysis of the incoming signal from the instruments in order to determine the properties of the
notes played and mainly the amount (or type) of musical activity related to the physical point where is being made. This will lead to
an automatic Spatialization made by the computer which will find the most balanced possibility for sound placement in order to
represent the continuum as an external (physical) phenomena outside the score or musical notes.
The name of the piece was conceived as a consequence on some thoughts on the novel El Aleph (The Aleph) by Argentinean
writer Jorge Luis Borges. The Aleph is described as a cosmic point of 2-3 cm. diameter, placed on the basement of a house,
through which one could see the whole Universe at a sight. As Borges writes, the whole Universe can be seen at a contemporary
time.
One possible explanation (at least one that I like) would be to understand it as an infinite succession of aligned dots, conforming
what we know as a line. Therefore, the very first point would be a reflection of the very last and vice versa, actually including all the
points in between, producing an infinite succession of the (in reality inexistent) end or beginning point.

Alexis Perepelycia
Padova, Italia, May 26th 2006

Performance Notes:
Timing:
-

All time indications throughout the duration of the piece are to be considered as relative tempo marks. This does not
means that the indications are to be miss considered in any way. However, they should be taken as reference in the
performance of the related passages, sections or gestures.
This rule applies not just to the (quasi precise) tempo marks (t.m.) (q = 60, q = 90, etc.) which are present through the
whole piece but also to the few timing indications (e.g. 4, 3,5, etc.) which are generally employed as fermatas between
sections.
In the last quarter note of bar V in section VI, a solo of the Bass Clarinet (which eventually becomes a duet with the
Soprano Saxophone) begins. From that very quarter note, it is written Tempo Libero (Free Time) which means that if
timing was a little bit flexible in the overall, on that specific section (till end of bar XIII) tempo (timing) could be even more
flexible (rubato) than in any other section of the piece.

Meters & Bars:

-

The whole piece was conceived without barlines, though for reading simplicity it was structured into systems (bars) of 4/4
metric. Subsequently none positional accent (at the begin of every bar) should be played at all. It is a must for all players
to think the piece as written with no barlines and therefore play it as it was a whole from the first note to the very last with
no other accents than the indicated ones.

 Articulations:
-

The following explanations regarding some types of articulations appearing in the scores of the Soprano Saxophone and
Bass Clarinet, might be helpful:

Ord. = (ordinary sound, played as normally/usually)

Air pass (a.p.), also referred as No Note (n.n.) = noise/sound produced by blowing though the pipe or tube
of the instrument. No note should be sounded, except when indicated (and with the indicated proportion less
air sound, more ord. Sound, etc.), however a reference placement of the note within the staff (high, mid or low
register) is suggested when a bright, natural or dark color or sound is desired .

(A combination of the previous two articulations might be asked.

In such cases variations on the amount of note or air would be possibly asked.)

Slaptongue (sl.) = short/staccato sound produced with the tongue and lips. In all cases should be as
resonant as possible.

keys (k.)= sound of the instruments keys. Specific notes are asked in all cases.
Fluttertongue = flutter, normally, trills on single notes will be fluttered.
Growl = Fluttertongue-like sound, produced with the throat. Indicated with a g..

(A combination of the previous two articulations might be asked. In such cases equal dynamic level should be applied to both techniques.)

Vib. (vibrato) = should be produced by modifying the pitch and not the amplitude or loudness.
Molto Vibrato = exaggerated vibrato effect. When this articulation is required an aid graphic with the
approximated contour/envelope is drawn into the score.
Teeth = To be played with teeth on reed.

(teeth on reed e.g.)

Transitions from one type of articulation to another should be played as smooth as possible. They are indicated with an
) covering the length (timing) of it. Otherwise change from articulations should be subito.
horizontal arrow (

 Dynamics:
-

In general dynamic levels (loudness/intensity) are written in a simple manner.

Special indications are employed when extreme dynamics are need: apap (as piano as possible) and afap (as forte as
possible).
Dynamic envelopes are usually employed in a common way except when subito changes occur. In such cases a simple
interpretation of the envelope (contour) is to be applied, following the idea of fast dynamic changes (a).

Dynamic envelope e.g. (a)

An other possibility of graphic dynamic envelope (contour) is the following example (b). Here the main contour (in this
case the overall gesture directionality is a diminuendo starting with mf) is written below the dynamic envelopes for each
note (smaller gestures, in this case perceived as rebounds [delay-like effect]):

Dynamic envelope e.g. (b)

 Appoggiaturas, Acciaccaturas, etc. :

- Most of the appoggiaturas and acciaccaturas are written in a traditional (most usual) way. Though, there are a few times where
they are asked to begin with (from) the pulse and to towards it. Moreover in a few occasions appoggiaturas should be played by
more than one performer and thus they are written in an way that could be confusing like in the following example:

graph. 1
- In this example the Percussionist
begins the gesture with a note
(played on the snare) that will
represent an appoggiatura of the
note (natural mi) played by the
Saxophone player, which at the
same time will be the
appoggiatura of the note (natural
re) sounded by the Clarinet
player.
- In this particular case (and those
where pointed with a dotted line)
particular attention is to be taken
in the overall musical gesture
produced by the involved
instruments.

graph. 1

 Instruments:

Percussion:

The percussion instruments were written in two staves in order to avoid writing overlapping when sound overlapping
happens. Though percussion part is to be played by only on performer.
In cases where two instruments are written in the same staff, an indication of the suggested sticking R.H. (right hand) and
L.H. (left hand) is written above and below the staff.
The following is the full list of percussion instruments needed for the performance:

Timbales (set de 4)

Toms (2)

Caisse Claire (1)

Cymbales Suspendues (2)

Triangles (2)

Tam-tam (2)

One of the Cymbals should have sizzles or a small chain added to produce
a sizzle (sustained) effect (jazz-like sound).

The following is a full list of all the mallets, sticks and accessories necessary for the performance:

Tympani mallets (Hard [staccato], Medium and Soft [legato]).

Snare drum sticks (wood tip and plastic tip).
Metal brushes (wires as thin as possible).
Hot-roads (or similar) (as light as possible).
Gran Cassa (Bass Drum) mallet (soft [legato]).
Super-ball (small/handy size, yet dense rubber ball in order to preserve its shape when handled or squeezed).
Kitting needles (medium thickness, pair).
Violin Bow (preferably bigger/thicker bow [Cello or Double Bass]).
Small Chain for suspended cymbal (if not sizzle cymbal is available).

Soprano Saxophone:
-

Bass Clarinet:
-

All the multiple sounds written on the score are notated as referred to the order number appearing in the Daniel Kientzy
book Les Sons Multiples du Saxophone.
When referring to the Octave Key to sound a specific multiple sound (multiphonic) the letters OK are written just before
the multiphonic number (order of the Kientzys book).
All notes in the general score are written in sounding pitch while in the performers score are transposed.

All the multiple sounds written on the score are notated as appearing in the charts featuring in the web-version of the
book The Clarinet of the Twenty-First Century by E. Michael Richards.
All notes in the general score are written in sounding pitch while in the performers score are transposed.

Computer:
-

The computer performs two main tasks throughout the whole piece: Spatialization of sound objects and sound
processing of the instruments.
By sampling (recoding and storing) small fragments (sound objects) of the musical phrases the instruments play the
computer is then able to spatialize those sound objects within the concert space. That Spatialization is performed by the
computer with the aid of the other instruments involved in the performance. By tracking (and analyzing the incoming
sound pitch and intensity of) the instruments the computer decides where to place the mass of spatialized sound
objects in order to obtain an homogeneous sound mass by interacting with the acoustic instruments that actually provide
the sound.
Sound processing (DSP) is divided into two sections: time (and space) based processing (Quadraphonic Delay and
Reverberation) and frequency (FFT analysis) based processing (Additive Resythesis) and Pitch-Shifter.
When computer is TRACKING (following or analyzing) the incoming signal (sound) from an instrument it will perform a
loudness (intensity) analysis in order to determine relative dynamic levels as well as pitch (FFT) analysis which will
determinate the absolute pitch of the analyzed signal. In the score, if the instrument being analyzed is for instance the
Saxophone, it will then appear: TRACK Sax.

Technical Needs:

Computer (and necessary accessories):

Computer (Apple G4 or above, PC Pentium IV).

Max/MSP 4.5.2 (installed).
Tap.Tools 1.0 or above (installed).
MIDI controller with at least 8 faders (MIDI Interface or if available, USB cable for connection to computer).
Audio Interface with at least 4 inputs and 4 outputs.

Sound System:

One Audio Mixer with at least 4 inputs and 4 outputs (4 XLR balanced inputs are a must, 4 output buses are preferred).
4 microphones (2 Cardiods and 2 Condensers) with its stands (two long-enough stands to place the condenser microphones
over the percussion set) and cables.
4 Powered Speakers (actives) or 4 Passive Speakers with a power-accordingly-matched amplifier.
The amplification setup would be ideally completed with a Sub-low with crossover and a stereo 31-bands parametric EQ (or
two 31-bands mono EQs).

Concert Space and Stage (Ideal):

A = Audience
S = Speakers

Instruments placement (Recommended):

Notice the idea of setting up the

music stands in order to have the
performers facing each other.

....un punto....todos los puntos....

1

Percussion (line 1) /

q=60

molto rit.

Alexis Perepelycia

<h >
2

R.H.

ppp

mp

mf mp
L.H.
rotary motion over the head

<k>2

J

OK 61

Soprano Sax

Bass Clarinet
in Bb

&

&

Max/MSP

5:4

r #

mp
8

mf

pp

sweep motion
from center
to edge

snares off

Percussion(line 2)

ppp

brushes

brushes

mf

ppp

8
R
J

,
mf

mf

mp

(C1) sample 1.5"

rit.
snare stick (wood tip)

snares off

q=60

/
3

Perc.1

S. Sax.

&

let the stick bounce freely till it stops

mf

legato timpani mallets

Perc.2 /

pppp

3:2

p f

hit the side of the cymbal

w/ neck of the mallet
j

sizzle

cymbal

mf

mf

# #-
J
'

j

o
sfz
6)6
6
#66
6
3:2
#
r r # # e e

8

'
R
mp
mf 8
p
mf
'

3:2

-
J

-
J

5:4

mf

B. Cl.

&

MSP

-
J

-
J

3
6

Perc.1 /

3''

hot rods
Perc.2

S. Sax.

B. Cl.

fff

pppp

j
O

g.

n.n.

sffz sfz p

MSP

o
n.n.

&

&

cymbal

+ g.

fff

(C1) playback + TRACK Sax

q=90

(q=e.)

2 legato mallet
8
?
Perc.1
j
w
half-mute the head
sffz mf

#
w

10

pppp

w/ beater of hand

hot rod

Perc.2

S. Sax.

B. Cl.

&
&

on the rim

#8

as forte as possible

10:8

poco vib.

mp

#8

ppp

#8

ppp

~
)

molto vib.

hum with voice

as piano as possible

hum this note at a comfortable register!

MSP

auto-threshold

resynthesis
(77,78 Hz)

(P2) sample 1.5"

(1)

snares off

mute w/ hand
?11
Perc.1
w

Perc.2

S. Sax.

turn slightly out of tune

/
&

12

#
p

f p
6

begin humming

#
mp

B. Cl.

&

66)
666
#6

# 6J )

# 2
#e

MSP

(P2) playback

>.

13

7:4

sffz

r
#

sfffz

g.

/
o

5:4

mf mp

-
j

snare sticks (wood tip)

+ g.

molto rit.

?
Perc.1
14

Perc.2

press and slide

super-ball
against the head

15

(obtain buzz noise)

16

#w
as piano as possible

hit the head near the

rim, w/ the finger to get
as many harmonics
as possible

w
-

'
sfz

as piano as possible

S. Sax.

&

3:2

sfz p

B. Cl.

MSP

&

j
O
sffz

vib.

J
# . . . .
'
.
sfz

mp

3
~~~~~~~~~~~~~~~~~~~~~~~

+ vib.

6:4

pitch-shifter
(50 Hz.)

pp

sfz

sffz

g.

+g

mp

Perc.1

Perc.2

sfz

sfz

sfz

med. mallets

3 q=60
17
?

18

brushes

pmove the hands

19

making two
concentric circles

S. Sax.

&

B. Cl.

&
mp

MSP

pp

o PP

mf

mf

sfz

mf

p
pitch-shift
(76.33 Hz.)
Clarinet

q=45
3

? w
Perc.1

q=60

(q=h)

20

accel.

sfz

Perc.2

S. Sax.

slightly out of tune

turn

MSP

snares off

move gradually from border to centre

as piano as possible
j

&

&

21

ppp

fl.

sffz p

B. Cl.

(q=e.)

mf

,# .
r r
#.

mp

acciacatura
begins on
the pulse

{q}

U # 8 # 8 8 8 8 n #

#
ppp

{h }

mf

(s3) sample 2.5"

sfz

9
q=90

?
Perc.1

molto rit.

(q=q)
22

23

>
>

24 wp

R.H.

Perc.2

S. Sax.

snares on
snare sticks

j
6

sfz

J
&

teeth
teeth on reed

B. Cl.

R
&
sfz

MSP

vib.

4:3

sfz

rimshot

(mute fastlyw/ free hand)

n
mp

mp

r

p

mf

g. + fl.

mp p

ppp

sfz mp

g.
.
. . 5:4 . . 5:4 . . . . . 3:2

#. R R .#
# R

L.H.

mf

mf

mf

mf

mp

fl.

6:5

10

25

?
Perc.1

rimshot
6j

26

rimshots w/ hotrod
grace notes w/ snare stick

only one hand

per note

Perc.2

mp

& #
o
f
ord.

S. Sax.

4:3

o
mf

mp

& ~

mf

#
J

f
MSP

rimshot

g.

(air)
n.n.

B. Cl.

rimshot

pp

11
q=45

Perc.1

(q=h)

3''
27

?4

28soft mallets

pppp

29

kitting needle

Perc.2

44

scratch the surface

making a circle w/
the tip

S. Sax.

&

44

B. Cl.

&

44

44
o

MSP

(S3) playback + TRACK Perc.

?
Perc.1

12

30

31

if possible avoid
playing on
snares on
centre of gong
6:4

Perc.2 /
. . . 6 6
mf

3:2

..

turn slightly out of tune (poco gliss.)

press w/
butt of mallet

med. mallets

6 6

sfz

let bounce

5:4
j ,j
r
.

6> 6. 6
5:4

mp

mf f

mp

S. Sax.

&

+ air

&

rall. trill speed

mp

MSP

poco

gliss.

sfz mp

f. + air

B. Cl.

6:4

?32
Perc.1

13

pppp

33

stacatto
mallet

brushes

w
Perc.2 /

5:4

blend

dynamics

34

apap

w/ sax

S. Sax.

& J

5:4

apap

pp

g.
B. Cl.

MSP

&

w
p

5:4

5:4

mp

pp p

mf

3:2

mf

?35
Perc.1

14

pppp

press w/
snares off
butt of mallet

ringy sound
? 6
Perc.2

growl

S. Sax.

&

5:4

B. Cl.

MSP

&

sfz

g.

mp

6:4

pp

f.

sfz

let bounce

mf

'

mp

5:4

5:4

36

mp

mp

mf

let ring

. .

.
R
#

6:4

mf

mf

15

L.H.

Perc.1

Perc.2

S. Sax.

5
?37

&

3''

q=90

38 (q=e)

R.H.

gran cassa mallet

39 f
w
w

MSP

&

ord.

6)6
6
)

# 66
#ord.
w2
e
w

OK 59

growl

scratch the surface

making a circle w/ tip

B. Cl.

kitting needle

mf

pitch-shift
(64.19 Hz.)
Clarinet

mp

(s3) sample 2.5"

16

rall. movement

-U
? w
Perc.1

violin bow

mp

poco rit.

41

40

42

p cresc.subito

Perc.2

S. Sax.

&

&

air pass (no note)

mf

B. Cl.

air pass (no note)

j
8
'

.
R
J

sfz

8
R
p

mp

8
4:3

mf

sfz

MSP

DLY
Clarinet + TRACK

?43

Perc.1

legatto mallets

3:2

Perc.2

S. Sax.

&

4:3

3:2

mp mf

mp

g.

# q
3:2

mp

snare sticks f
snares on

B
J

45
1R 1

j
6

mf sfz p

22

j #
&
R #

mp

MSP

mp

mf

B. Cl.

44 (q80)

bell of
cymbal

3:2

U
U
U

U

U. U j U
j J #.
.

j
8
'
3:2

U
U
U

r
6

B
B
R

36

zR

teeth

sfz

(s4) sample 2.5"

mp

17
rit.

18

(q70)
46

Perc.1

rall.

?
Perc.2

w
w
& w

Bw

S. Sax.

B. Cl.

&
z

'

ff

sfz

+7

f subito

MSP

47

8 #8
#8
f

5
(S4) playback + TRACK Clarinet

8 #8
8 8

mp

n
sfz pp

19

?
Perc.1

48

(q60)

press and slide

supr-ball
against the head
49 (obtain buzz noise)

w
w

as piano as possible

?
Perc.2

&

O
p

B. Cl.

w
w

'

'

#
'
'

as forte as possible

MSP

+ air

& w

50

g.
senza vib.

vib.

slightly out of tune

vib.
S. Sax.

press
pedals
to
max.

10:8

'

(P5) sample 2.5"

#
J n
'

#
J

mf

20

6 q=120
(q=e)
?51 U

Perc.1

?U

Perc.2

S. Sax.

U
&

poco rall.

5:4

# # #

mf

B. Cl.

U
&

52

r
8

mf

mf

'
mp

4:3

mf

MSP

port.

53

Perc.1

?
Perc.2

S. Sax.

B. Cl.

MSP

& J

&

/ o

21

5:4

mp

5:4

pitch-shifter
(124.72 Hz.)

54

mf p subito

'
mf

+ g.

mp

5:4

mp

(P5) playback + TRACK Clarinet

3:2

sfz

#
'

sfz

22

55

?
Perc.1

56

?
Perc.2

&

S. Sax.

B. Cl.

&

n
J

mf

MSP

+ air

pp

n
J

+g.

(C6) sample 2.5"

tempo libre

#
p

mp

SOLO
Button

23

57

?
Perc.1

Perc.2

S. Sax.

B. Cl.

&
J

&

subito f

MSP

mp

7:6

58

g.

3:2
7:4

#j #
R # R
# # #

#

8

mf
.

5:4

mp

mp

sfz

24

59

?
Perc.1

Perc.2

S. Sax.

B. Cl.

&

&

mf

MSP

60

mp

mf

4:3

#
J
sfz

mf

f.

5:4

Perc.1

Perc.2

S. Sax.

25

61

&

(q80)

acciacatura
begins on
the pulse

# #
#

pp

B. Cl.

&

mf

MSP

62

<h >

. . . . . . .

fff

ppp

fff

(C6) playback + TRACK Sax

growl

mp

26

63

?
Perc.1

Perc.2

S. Sax.

&

g.

3:2

B. Cl.

&

MSP

64

r
r #

6:4

subito f

mf

# # ##3:2 U

R J
#

'
sfz p
o
sfzf p f p

5:4

U
r # # #

6:4

#
# . .#. . J
.

sfz

p cresc.subito p

p f

p f

sffz

# #

f ppp

?65

Perc.1

legatto mallets
gliss.

ppp

27

Perc.2

S. Sax.

&

B. Cl.

MSP

&

ppp

growl
gliss.

2
p

28

Perc.1

7 q=70 violin bow

?66

sfz

Perc.2

S. Sax.

B. Cl.

sfz

&

& 2

kitting needles

fff

MSP

67

SUS
Button

g.

w
w

74

#w
w

38

7:4

gliss.

6)6
))
3
66 g.

e33:2

f.

g.

gliss.

'

fff

f.

fff

68

Perc.1

69

29

rall.poco a poco

scratch the surface

making a circle w/ tip

-J

sfz p

mf

Perc.2

e
#

65

S. Sax.

&

6)6
6
6
#6
6
#
#e

B. Cl.

&

MSP

(C7) sample 2.5"

mf

8 #8
sfz

sfz

mp

g.

8
'

3:2

mf

3:2

8
'

mp

# #
mp

sfz f

sfz

sfz f

(C7) playback + TRACK Percussion o

?
Perc.1

30

Perc.2

S. Sax.

B. Cl.

MSP

70

&

71

simile

scratch the surface

making a circle w/ tip

&

- sfzR p

-
sfzp

nO

j
O

sfz mp

mp

mf

sfz p

mp

#
#

sfz mp

sfz p

sfz p

#
# #

31
72

?
Perc.1

sfz pp

3:2

sfz pp

Perc.2

S. Sax.

sfz pp

- sfz ppp

sfz pp

This bar should be played

as long as possible with only one
breath of both players (sax & clarinet).
The rest of the performers
should attach to them.
The very end should be
diminuendo to nothing.
The computer will finish the
spatialization of sound in a fade out.

&

3:2

j
O

j
O

ppp

pp

B. Cl.

MSP

&

pp

w
w

73sfz ppp

ppp

QuadDLY

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