Existentialism in Sound (2016)

for soloist and live electronics

Andrew A. Watts
CP-034
 Existentialism in Sound (2016) - Andrew A. Watts
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Instrumentation/Equipment Suggested setup

Solo instrumentalist
Regular dynamic microphone (with cable)
Microphone stand (must be able to extend to at least 4 feet in height)
PA speaker (at least one)
3 speakers positioned behind the audience
Laptop with Max/MSP (at least version 7)

Performance Notes

Duration (approx.): 10 minutes

Diminuendo al niente / Crescendo da niente

Change gradually from one sound or one way of playing (etc.)

to another.

Stems connected to glissandi lines are used merely as guides to help indicate
the meter (i.e. where the beat is in relation to the gesture). Please do not
accent these. Rather, re-articulate (if necessary) freely and staggered
according to the demands of the phrase.
greater presence.

Play note(s) or passage as fast as possible.

Tremolo Wooden, hollow X Percussive, aggressive

*required cables not shown in diagram*

Highest range Lowest range
 Existentialism in Sound (2016) - Andrew A. Watts
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[Notation diagram] [Additional notational diagram]

1. Sound Quality: evocative instruction(s) for the soloist to interpret on their

respective instrument with regards to timbre and playing technique.

2. Frequency Band: The range of pitches to be focused on when executing
musical gestures, with the lower dotted line representing the lowest described
frequency bound and the upper dotted line representing the highest frequency
bound for each system. The thick black horizontal beams do not represent
rhythmic duration (as in eighth note values), but rather how long a pitch or
gesture should last. For example, given the proportional nature of the time
scheme in the piece, a beam covering the length of ten seconds implies the
pitch or gesture associated with that beam should last ten seconds.
3. Dynamics for Instrumental Gestures – 4. Proportional Timeline –
5. Indication of Electronics Part Activity
Vocalizations are notated in red and should be performed close to the
microphone. Breathing should sound similar to natural, albeit sometimes strained
or heavy, respiration.
Though pitch direction is very subtle through the breathing textures, it is notated
by upward sloping lines (inhalation) and downward sloping lines (exhalation).
The “z” notation through the note stems also indicates inhalation, similar to that
in Brian Ferneyhough's Time and Motion Study III for 16 solo voices with
percussion and electronic amplification. 1 Please do NOT mistake this for flutter-
tongue or some other buzz or rolled technique.

1 Ferneyhough, Brian. Time and Motion Study III: 16 Solo Voices with Percussion and Electronic Amplification. London: Peters, 1974. Musical score.
 Existentialism in Sound (2016) - Andrew A. Watts
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Phonetic Symbols t = as in French teint – t without breath
tʃ = as in chin
a = as in father
u = as in do
ɑ = as in law, guard
ʊ = as in put
ʌ = as in but
w = as in well
æ = as in bad
z = as in zeal
b = as in bed, but
ʒ = as in vision
d = as in day
dʒ = as in just TEXT:2
e = as in day, but without (i) vanish-sound
ɛ = as in French misère the dichotomy between thinking and feeling,
ə = as in better ðə daɪˈkɑtəmi bɪˈtwin ˈθɪŋkɪŋ ænd ˈfilɪŋ,
g = as in give
intellect and passion,
i = as in be, feed
ˈɪntəˌlɛkt ænd ˈpæʃən,
ɪ = as in bit, hymn, in
k = as in French coup – k without breath has really disappeared.
l = as in look hæz ˈrɪli ˌdɪsəˈpɪrd.
ʃ = retroflex l as in original
m = as in much He feels his thoughts.
n = as in never hi filz hɪz θɔts.
ŋ = as in ring
He can fall in love with an idea.
o = as in obey, German sohn
hi kæn fɔl ɪn lʌv wɪð ən aɪˈdiə.
ɔ = as in oral, ostentatious
p = as in French père – p without breath An idea can make him ill.
r = as in Italian raro, at tip of the tongue ən aɪˈdiə kæn meɪk hɪm ɪl.
s = as in see
ʃ = as in show

2 Nietzsche, Friedrich W, and R J. Hollingdale. Thus Spoke Zarathustra: A Book for Everyone and No One. Harmondsworth, England: Penguin Books, 1969. Print.