Section V
Spasis
Spasis (Fall 1999)
Spasis is the result of my composition class with Dr. Cleve Scott. The original
samples that eventually became the sounds used in Spasis came from a cello, violin,
piano, tin whistle, and my mom singing. The sounds were manipulated in Sound Hack,
Peak, Sound FX Machine, MetaSynth, and ProTools. The main types of manipUlation
include convolution, vary speed, pitch shift, phase vocoding, reverb, flanging, multivoice, echo, playing the sample backwards, using the sample backwards and forwards at
the same time, and feedback.
I put Spasis together in ProTools. There, I set up all the panning, dynamics, and
texture for the piece. Spasis is in arch form ABCBA and lasts about 6 and a half minutes.
The "A", "B", and "C" sections come from the three main sustained sounds in Spasis.
These sections fade into and out of each other for a continuous sound that seems to float
around in the space. Other sounds are layered on top of them for a programmatic
"spacey" feeling.
The following page is a time line flowchart of the events that take place in Spasis.
Here I will describe where the sounds came from:
- This repeated beating sound originally came from a cello pizzicato that I
used multiple filters on and had it boomerang so that it played forwards
and backwards at the same time.
<>
- This sound came from a violin. I used feedback and filters to manipulate
it to the final sound heard in Spasis.
- This sound came from the low rumble of a piano with the attack cut off,
and a boomerang added.
This sound ~so came from the piano rumble however echo and feedback
o
were used in this sound along with the boomerang effect.
- This sound came from my tin whistle trill that I used filters on and a
flange effect.
- This sound also came from my tin whistle, but I added a boomerang
effect and edited the spacing between sounds to create the beat feeling.
- This sound and the following all came from my mom's voice
boomeranged with a chorus effect and pitch shifted up.
- This sound was also boomeranged with chorus and pitch shift, but it also
was filtered and reverberated.
- This sound was just boomeranged with the chorus effect you can almost
make out the words. (He is our morning star)
- This sound was also just boomeranged with a chorus effect, but it was a
different chorus effect that sounds larger.
~ - This sound is the voice boomeranged with the chorus effect and a shuffle
effect that adds the pulsing feeling.
Departure (Fall 1999 - Spring 2000)
Departure is a serial piece written for a woodwind quintet and chimes. I came up
with the 12 tone row while sitting at the piano and trying out different combinations of
the twelve pitches in a scale. I wanted something with triads so I could have some nice
tonal harmonies, and I didn't want it to be really chromatic or scalar. I ended up with the
row: 0, 8, 11,3,6, 1,4, 7,2,5,9, 10. Serial music manipulates the row in various ways.
The composer can leave the row in its prime form, change it to the retrograde, inversion,
or retrograde inversion, or transpose the row up or down an interval. The diagram below
shows a matrix of these different manipulations of the row I used. Though most of the
music in Departure can be traced to some part of the matrix, I used the matrix more as a
guide than a law. When I felt it would make Departure more musical, I deviated from the
numbers in the matrix and used notes that I felt added to the overall sonority.
There are other ways to manipulate the row besides prime, retrograde, inversion,
retrograde inversion, and transposition. The row can be played horizontally as a melody
or vertically as a harmony. By having all the instruments play the same row at different
times, the row can be played both horizontally and vertically. The row can also be
broken into different cellular ideas. Since I used a 12-tone row, it was ideal for me to
have six instruments playing it, as ;ix is a factor of twelve. Grouping both the row and
the instruments into cells of2's, 3's, 4's and 6's makes it easier to manipulate the row.
Original: 2 10 1 5 8 3 6
9
4
7
11
IIP.Tersion
0
4
1
9
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3
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Retrograde
~
"Departure"
C Score
Julie Stucky
For Woodwind Quintet and Chimes
Senza Misura
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