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    s095 Storming v1.1

    Uploaded by

    Wiktor Barański
    This document provides the score and instructions for "storming", an instrumental and electronic composition by Richard Barrett intended as the eleventh section of his larger work "CONSTRUCTION". The score involves between 10-20 performers playing short, differentiated sounds on various instruments across 5 tracks that gradually converge to a single track. It is accompanied by 8 electronic sound events triggered by the conductor. Performers play independent sequences at varying rates while responding to the dense electronic part. The composition aims to create a high density of sounds through this interplay between live and electronic elements.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    s095 Storming v1.1

    Uploaded by

    Wiktor Barański
    67 views4 pages
    This document provides the score and instructions for "storming", an instrumental and electronic composition by Richard Barrett intended as the eleventh section of his larger work "CONSTRUCTION". The score involves between 10-20 performers playing short, differentiated sounds on various instruments across 5 tracks that gradually converge to a single track. It is accompanied by 8 electronic sound events triggered by the conductor. Performers play independent sequences at varying rates while responding to the dense electronic part. The composition aims to create a high density of sounds through this interplay between live and electronic elements.

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    This document provides the score and instructions for "storming", an instrumental and electronic composition by Richard Barrett intended as the eleventh section of his larger work "CONSTRUCTION". The score involves between 10-20 performers playing short, differentiated sounds on various instruments across 5 tracks that gradually converge to a single track. It is accompanied by 8 electronic sound events triggered by the conductor. Performers play independent sequences at varying rates while responding to the dense electronic part. The composition aims to create a high density of sounds through this interplay between live and electronic elements.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    67 views4 pages

    s095 Storming v1.1

    Uploaded by

    Wiktor Barański
    This document provides the score and instructions for "storming", an instrumental and electronic composition by Richard Barrett intended as the eleventh section of his larger work "CONSTRUCTION". The score involves between 10-20 performers playing short, differentiated sounds on various instruments across 5 tracks that gradually converge to a single track. It is accompanied by 8 electronic sound events triggered by the conductor. Performers play independent sequences at varying rates while responding to the dense electronic part. The composition aims to create a high density of sounds through this interplay between live and electronic elements.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 4

    Richard Barrett

    storming
    2012-2014
    instruments and electronics at least 10 performers

    performing score

    storming
    (2011) for instruments and electronics - at least 10 performers

    Commissioned by the City of Liverpool as part of CONSTRUCTION

    duration: 3 minutes

    Storming is intended to function principally as the eleventh section of CONSTRUCTION.


    The electronic part consists of eight 8-channel sound events which are triggered either by the conductor or under his/her direction. These are provided as a single
    set of 8 mono soundfiles with pauses of about a second between the events, which can either be split into one file per event or given start points in the playback
    software. The eight tracks should be assigned to output channels thus:

    3
    5

    4
    6
    7

    The instrumentation is free although at least ten performers should take part. In CONSTRUCTION, this section involves all performers apart from the vocalists.
    The notated material consists initially of five tracks which gradually narrow down to a single one. Each track consists of defined pitches and undefined sounds
    (denoted by empty note-stems), and the five tracks are characterised by register. At the beginning at least two players should be playing from each track; by
    the end, all players converge on track 3. Players may switch tracks (and instruments) between cues even if they are not obliged to do so by the termination of a
    track.
    Each performer plays an independent sequence of mostly separate sounds, mostly short in duration, at a rate which enables each sound potentially to be heard
    while at the same time the overall density of sounds should be mostly high, sounding as responses to (not imitations of) the dense and jagged electronic part.
    The rate at which each player produces sounds will depend on the number of performers taking part, although each player may also vary his/her rate freely, as a
    rule between one sound every two seconds and six sounds per second. These durations may be extended somewhat as the music progresses and the amount of
    defined pitch-material decreases.
    The undefined sounds do not need to stay within the register of the defined ones in a track; in fact they do not need to be pitched at all - each sound should be as
    differentiated as possible from all others in pitch (or pitchlessness), timbre, articulation, duration (within the limits mentioned above) and dynamic (using the entire
    range specified for the section). The repeat signs apply only to the defined pitches; the others may be freely varied at all times. The notated pitches may be
    microtonally varied by up to (but not including) a quartertone in either direction, and should not in general be either emphasised or de-emphasised relative to the
    others.
    The alternation between electronic and instrumental sound-events should always be instantaneous (unless a general pause is indicated), which might involve
    beginning to play a fraction of a second before an electronic sound-event ends.
    The score is at sounding pitch. The should be no octave transpositions, and as few as possible pitches omitted for lying outside the range of an instrument.

    storming
    Richard Barrett
    2011

    track 1

    7"

    20"

    7"

    ff - fff

    track 2

    track 3

    track 4

    track 5

    ff - fff

    ff - fff

    ff - fff

    electronic
    sounds

    ff - fff

    fff sempre (with internal variations)

    14"

    track 1

    track 2

    track 3

    track 4

    track 5

    electronic
    sounds

    ppp - fff

    ppp - fff

    ppp - fff

    1" 12"

    ppp - fff

    mf - fff

    5"

    GP

    mf - fff

    mf - fff

    mf - fff

    ppp - fff

    12"

    track 1
    8

    track 2

    track 3

    track 4

    ppp - f

    ppp - f

    ppp - f

    ppp - f

    electronic
    sounds

    12"

    13"

    track 2
    10

    track 3

    track 4

    electronic
    sounds

    p - fff

    p - fff

    11"

    ppp - mp

    ppp - mp

    9"

    ppp - mp

    p - fff

    fffppp

    fff sempre as before

    track 2
    13

    track 3

    10"

    11"

    12"

    ppp - fff

    ppp - fff

    ppp - pp

    ppp - pp

    electronic
    sounds

    track 3
    16

    electronic
    sounds

    7"

    8"

    GP

    2"

    7"

    fff

    In a complete performance of CONSTRUCTION, the following section Helene follows after a brief "breath-pause".

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