Ipseity / Disturbance (2013)

for electric guitar and ¼ inch jack

Andrew A. Watts
CP-025
 Ipseity / Disturbance (2013) - Andrew A. Watts
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Performance Notes
Suggested setup Duration (approx.): 9 minutes 30 seconds

Accidentals apply only in the measure and register in which they appear.

Microtonal accidentals (in diagram from left to right):

¾ tone flat, semi tone flat, ¼ tone flat, natural,
¼ tone sharp, semi tone sharp, ¾ tone sharp.

Grace notes always occur before the beat or note they are going to.

Feathered beaming– rhythmic accelerando and ritardando (notated below).

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

Note: The tablet/timer should have a digital display large enough for Diminuendo al niente / Crescendo da niente
the performer(s) to read even via a quick glance or through their
peripheral vision. The level of accuracy necessary for the readout is
seconds [MM:SS]. More accurate readouts, such as tenth of a second
[MM:SS.S] or hundredth of a second [MM:SS.SS], may be too
Change gradually from one sound or one way
distracting for the performer(s).
of playing (etc.) to another.
This piece may be performed either with an electric guitarist and
For boxed notation repeat phrase in box as fast as possible for the
another performer realizing the jack part live (preferred), or if
duration indicated before moving on.
requested, an electric guitarist with the jack part as a pre-recorded
stereo playback. The equipment requirements are identical regardless of
Stems connected to glissandi lines are used merely as guides to help
which form the jack part takes (live or playback).
indicate the meter (i.e. where the beat is in relation to the slide). Please
do not accent these. Rather, re-articulate freely and staggered according
There are two versions of the score:
to the demands of the phrase.
• performance score for the guitarist, written as played
• the same performance score combined with another line,
marked 'sounding', in which the actual pitches are notated
 Ipseity / Disturbance (2013) - Andrew A. Watts
GUITAR
Palm mute (P.M.) String bends (s.b.)
Snap or Bartok pizzicato– slapping the indicated string against the
fret(s) through action with the right hand thumb. This may also
be achieved via “chicken picking”.
Dampen resonance immediately. Also utilized as a palm strike,
where the player rapidly mutes and lifts the palm on and off
the strings at an indicated position beyond the fretboard. The
desired effect is similar to a “kill switch” being turned off and
on. Right hand only.
X Dead note or ghost note Tremolo picking (trem.)
Strike the body of the instrument with the knuckles.
Pick tap– use a side edge of the plectrum at a perpendicular
position to the string(s) and rapidly make contact between the
plectrum and the indicated string position between the bridge
and fretboard. The action should be an up and down jut of the
right hand with respect to the plectrum edge and the body of
the instrument.
Diagonal picking– use a side edge of plectrum at a perpendicular
position to the string(s) and scrape/slide along the string
length. A harsh, metallic sound is desired.
Whisper tone– touch, but do not depress, string at indicated
position; resultant sound should be vaguely pitched and
somewhat diffuse.
Circular scraping (slow) (fast/aggressive)
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scordatura
Picking Regions:
sp/m– “maximum sul ponticello” / as close to the bridge as possible
….........but still pitched.
SP – descending degree of distance from the bridge.
ord – halfway between the bridge and the fingerboard.
ST – descending degree of distance from the bridge.
st/m – “maximum sul tasto” / substantially over the fingerboard.
Some of the sections, such as 05:45 – 6:15 / 07:05 – 07:20 / 07:45 –
8:15, use extended picking techniques (tapping, diagonal, whisper tones,
dead notes) while executing quick nested tuplet rhythms. Due to the
practical limits of plectrum control, gradations of ad lib. are acceptable
for these passages.
An electric guitar with a tremolo system is REQUIRED. Preferably, a
locking trem such like a Floyd Rose due to the extensive use of the
vibrato system and overall better tuning stability.
A volume pedal is STRONGLY encouraged for use in the electric
guitar part. There are many fade-ins and outs, some occurring while
picking or using the tremolo bar with the right hand, as well as quick
volume adjustments between complex passages. It is possible to
execute these swells without a volume pedal if the right hand pinky is
controlling the volume knob during picking/tremolo sections, though
this is exceedingly difficult and will likely result in a less accurate
performance.
 Ipseity / Disturbance (2013) - Andrew A. Watts
iii
GUITAR (cont.)
Recommended amplifier controls2

* Match guitar pitch bend to jack part hum.

Recommended initial guitar controls1

Active electronics are NOT a requirement. However, if available please

do utilize them.
In this diagram Calif. is intended to emulate a generic Mesa/Boogie
style amplifier tone, British is intended to emulate a generic Marshall
style amplifier tone, and Tweed is intended to emulate a generic
Fender style amplifier tone.

The master volume level on the amplifier may deviate from the
diagram depending on what the player feels is appropriate for the
venue, audience, and blending mix with the jack part.

When instructed to “BOOST EQ LEVELS” in the guitar part the
player should either: (a) Push Down the Master Volume knob to turn on
the active electronics, along with setting the Active Treble and Active Bass
controls to full Boost; or (b) increase the Low and High EQ settings on
the amplifier if using a guitar without active electronics.
Not all electric guitars have the same volume curve for their
controls. As a result, the volume knob values included in the score
should be taken as a perceived percentage of full volume (100%
ON). For example, a volume indication of 5 in the score does not
necessarily mean setting the guitar's volume knob to the 5 notch, but
rather a setting that will achieve what sounds like 50% of full
volume (which may happen to be 5 depending on the model guitar).
This is to ensure the dynamics are consistent among multiple
performances with various makes of instruments.

1 Carvin Corporation. Passive/Active Electronics. San Diego: Carvin Corporation, n.d. Manuals. Carvin Service. Web. 9 Oct. 2013.
<http://www.carvinservice.com/crg/manuals/activepassiveguit.pdf>.
2 Tech 21, Inc. Trademark 300. New York: Tech 21, 2003. Support Manuals. Tech 21, Inc. Web. 9 Oct. 2013.
<http://www.tech21nyc.com/support/manuals/amps/Trademark300-OM.pdf>.
 Ipseity / Disturbance (2013) - Andrew A. Watts
JACK
The jack part is notated using a spectrogram as a sort of graphic score.
Here, if the jack part is realized via a live performance, the player
should take the spectrogram image as the general flow of the part. It is
NOT necessary for the performer to be overly concerned with their
actions yielding a reproduction of this spectrogram. Rather, the
performer should do their best to follow the shape and written details
regarding actions/effects. Some degree of variation is expected and
acceptable.
If the jack part is realized via a live performance, the tone of the PA
system should resemble the electric guitar tone as close as possible. A
guitar amplifier may be substituted for a PA for this reason. If using a
PA without any internal or external distortion, a similar effect may be
achieved via tweaking the gain levels and master volume.
If the jack part is realized via a pre-recorded sound playback, the PA
system tone should remain as clean and non-distorted as possible. The
EQ levels should be kept without boosts or cuts.
Hold PA system instrument cable with
the left hand and manipulate the jack
with the right hand. When indicated to
do quicker motions, such as tremolo roll
jack BASE between fingers or
scrape/slide jack TIP against clothes, it
make be easier to switch to holding with
the right hand if that is the performer's
dominant hand. If cable is switched to
the right hand, it will be necessary to
switch back in order to reach over and
adjust the PA volume.
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Primary Actions/Effects:
BASE – touch the jack base with the right hand (fingers: index, middle,
and thumb) while holding the sides of the jack with the left hand. The
result should sound like a slight strengthening of the ever-present
60Hz amplifier hum.
TIP – touch the jack tip with the right hand (fingers: index, middle, and
thumb) while holding the sides of the jack with the left hand. The
result should should like a noticeably more dense amplifier hum. The
60Hz is less diffuse and with a sudden greater focus.
BUZZ – tightly hold on to the tip of the jack with the right hand
(fingers: index, middle, and thumb) while holding the instrument cable
with the left hand at a point below the jack. Varying the right hand
pressure and position will modify the sound density. Also, fading in and
out of the “buzz” can be achieved by releasing the right hand grip and
gradually distancing the hand from the tip, similar to a theremin.
Additional Actions/Effects:
Crackling – while holding the jack by the base sides with the left hand,
lightly and gradually move the right hand (fingers: index, middle, and
thumb) between the base and tip. Also, vary right hand finger pressure.
Twist/rub – while holding the jack by the base sides with the left hand,
grip the middle section of the jack with the right hand (fingers: index,
middle, and thumb) and rotate while maintaining pressure. These twists
should be uneven clockwise and counterclockwise.
Tremolo – while holding the jack by the base with the right hand,
rapidly tap the sides of the jack between the left hand index and middle
fingers.
Scrape/slide – while holding the jack by the base with the right hand,
press the tip against a smooth article of clothing (like dress slacks) and
rapidly move the jack back and forth on the material's surface.