This continuous suite of five short compositions emphasizes timbre, rhythm and dynamics.
1. A contrabass duet score – both parts performed by Adam Linson. He performed using the same score each time – thus it was recorded as two solos. The score is an edited version of that used in Part 5.
2. Trombone solo score performed by Hilary Jeffery
3. Contrabass, trombone and percussion trio score (Linson, Jeffrey, Gustavo Aguilar) – In the last few seconds the original audio score is also momentarily audible in this version.
4. Contrabass solo score, Adam’s playing is so harmonically rich here that it is worth mentioning that, apart from artificial reverberation, no processing or electronics were used.
5. A trio version of the score used in Part 1. The original audio score is audible throughout this version.
I constructed several short “tape” pieces to be used in a similar way to graphic scores. My original concept is that these recordings could be used like a graphic score to generate performances in the context of a solo instrumental recital. The reason I chose not to use a visually notated graphic score is because it does not move in time, I wanted a source that was changing in the present moment – I also didn’t want the energy and focus of the musicians to be too bound up with looking, but to have it more fully in listening. Sound is much more accurate at expressing sound than any kind of visual notation can ever be. It expresses itself in a first-hand and very satisfactory way. But there is also something about the graphic score I wanted to keep: something synaesthetic, something about its openness and availability to differing interpretation. So for me at least, considering it an Audio Graphic Score is more expressive idea than regarding it is simply an Audio Score. I think The graphic aspect, although imaginary, is still very important.
The purpose of an Audio Graphic Score is to create a performance, to give some parameters and impetus, but not to tell the musicians what to play. The musician has great freedom of how they respond, which aspects of the score to work with and how they work with these aspects. The piece is explicitly intended for highly experienced, virtuosic musicians who have there own improvisational practise and who are familiar with the full sound potential of contemporary instrumental technique and who are comfortable performing as soloists.
Thanks very much to Hilary, Adam and Gustavo for throwing themselves so enthusiastically into this piece!
Note: Audio Scores have also been explored in some depth by Rick Nance.Our appraoches are different and we developed the methods independently of each other.