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Phase Change

Phase Change

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Published by Jason Charney
oboe/stereo fixed media score
oboe/stereo fixed media score

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Published by: Jason Charney on May 31, 2013
Copyright:Attribution Non-commercial


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 jason charney 
2013for oboe and stereo
xed media 
Performance Software and Setup
 The software required for performing the piece can be downloaded fromhttp://www.jasoncharney.com/phasechange. It requires an audio interface with stereo output and amicrophone. An onstage monitor is recommended. The software includes both the fixed mediatrack and a click track for rehearsal. The oboe should be mixed at equal volume with the backing track, except for at the loudest points. The included reverb module may be adjusted for the acousticsof the performance space, but should be used with discretion to simply blend the track andinstrument.
 Air Tones 
 The piece begins with the oboist blowing through the instrument without the reed. It should beready to be quickly replaced in the instrument for normal playing.If a triangular notehead points down, the performer should exhale through the instrument for theduration; if it points up, the performer should inhale through the instrument: Whole note exhaled through the instrument:Eighth note inhaled: A
above a note indicates that all holes should be covered:Otherwise, the instrument should be played with all holes open.Key clicks are indicated by the symbol above a note. Key clicks should employ all fingers andpress keys in no particular order, but should always be played with force for maximum projectioninto the performance space. Spacing of the symbol indicates relative speed. In the following example,key clicks begin quite fast and then slow down over four beats:
 Scalar air tones played in rhythm are notated like so:It is probably best to use the low D as the low point for maximum contrast and resonance of theinstrument. Note the inhalation and exhalation directions of the noteheads. When the reed is replaced, a special notation above the staff indicates oscillation between alternatefingerings for the notated pitch:Increasing frequency of the ridges indicate faster alternation, though not every ridge necessarily corresponds to one alternation. A completely filled box indicates alternation as quickly as possible ina timbral trill.
  All multiphonics were taken from Libby Van Cleve’s
Oboe Unbound 
(Scarecrow Press, 2004), and arenotated exactly how they appear in the chapter on multiphonics. Feel free to experiment withdifferent sounds and harmonic content, but observe in particular the metamorphic multiphonics.
Duration: 8 min.
© 2013 Jason Charney (ASCAP) www.jasoncharney.com

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