Broken Cello

Broken Cello 1.0

A piece for solo cello for performance with a recording of itself, playing in 1-2 devicesset on continuous random play. The piece may also be performed by 2-4 players, with or without the recording(s).

Instructions

1. Record each phrase and save into separate sound les (WAV). (Play each phrase smoothly andleave 1-2 seconds in the front and back of the les. Feel free to extend each track with silence.Added silence to each phrase will increase the probability of more space in the music)2. File naming: phrase#_last_rst.wav (20_jones_david.wav)3. Transfer les to CD or other media or device. (It is optional to include the loop phrases in therandomization. Loop phrases will not be in sync in the shufe order and will result in a cacophonyof rhythms. It is recommended that only the single notes and phrases be included in the randomshufe of tracks.4. Connect outputs of devices into a mixing board and set on continuous shufe, or in normalsequence a few seconds apart, i.e. start one, then start the other)5. In performance, play phrases in any order against the tracks playing in random order in thebackground. A typical conguration is to shufe the single-notes and phrases and play the loopsagainst the background.

By: Lee Barry

1. Connect the outputs of each system to a mixing board and record the output.(Effects and other processing can also be added.)2. Make a set of discs with 3-5 sounds on it and random loop them, recordingthe output. (Instant lm music, with lots of variations!) These discs can alsobe used in live performances using portable players and controlled at themixing board.3. Apply treatments and effects, transfer to media, then incorporate the newsounds back to the mix.4. Use with visuals: Multiple projectors on one screen, dissolving intoeach other. Another approach would be to use contextual information, forexample, pastoral scenes placed against war scenes. (This would be anironic juxtaposition with soft music.)5. Use for soundtracks in multimedia and lms, as they create endless variation based upon a well-dened set of diegetic and non-diegetic sounds.