Feedback shift II (2014/15)

for amplified cello and live processing

Andrew A. Watts
CP-028
 Feedback Shift II (2014) - Andrew A. Watts
i
Program Note (recommended setup) Feathered beaming- rhythmic accelerando and ritardando (notated below).

Feedback Shift II was composed in the fall of 2014 for cellist Séverine
Ballon's January 2015 residency at Stanford University. For Feedback Shift II I
returned to a process of extreme restraint. The work consists of eight sections
each “shifting” through distinct sets of pitches. The effect can be thought of Diminuendo al niente / Crescendo da niente
as having the live instrument passing through isolated filters or rules. The role
of the cello, similar to that in Feedback Shift I, is to challenge one's timbral
perception and contextual memory, begging the question during each episode:
What is the relationship between these two seemingly disparate elements
(soloist vs. environment)? The live processing of the cello tone serves to
Change gradually from one sound or one way of
bridge the human-electronic divide, highlighting and extending gestural
playing (etc.) to another.
extremes of the instrument via various noise envelopes.
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 slide).
The cover page image was designed by Andrew A. Watts.
Please do not accent these. Rather, re-articulate freely and staggered
according to the demands of the phrase.
Instrumentation
X Scratch tone (scr.)
Cello
Contact microphone (or directional mic on a stand) at bridge ... Ricochet bowing (ric.)
Instrument amplifier
Effects processor Snap or Bartok pizzicato
PA system (stereo: right and left speakers)
Playback device col legno battuto col legno tratto
Mixing board for PA system (optional but recommended)
Circular bowing (slow) (fast/aggressive)
A wooden clothing pin will be utilized at various points in the piece to
selectively mute the G string on the cello. This will be provided for the *required cables not shown in diagram*
soloist. Bow position diagram [example]
Performance Notes
The soloist should NOT be tasked with controlling the electronics part during
the performance. A separate, dedicated individual is required to actively Duration (approx.): 10 minutes
control the distortion/gain levels for the cello sounds, as well as start the
playback of the pre-recorded sounds at the beginning. Accidentals apply only in the measure and register in which they appear.

The playback is a single audio file and does not need to sync up perfectly with
the live performance. Rather, there is some extra time added at the end of the
tape part in case the tempo is taken slower than indicated. If this is the case,
and the audio duration matches the soloist's performance no other action is
necessary. Otherwise, please gradually fade out the playback if it is still
sounding when the soloist has finished.
The live processing instructions are notated on another printed part and
involves continuously monitoring the distortion/gain levels. For the premier
performance a DigiTech RP100 was used at preset #14 with amp Hr and
calibrated with the volume knob at 50. Other digital effects pedals or
distortion stomp boxes may be substituted, as long as there is a sustained lead
guitar tone and independent volume and tone knobs.
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.
Additional microtonal pitch alterations are notated with
small arrows in front of the note head and indicate
very slight changes to the written pitch.
Grace notes always occur before the beat or note they are going to.
BB – “behind bridge”/often used with scratch tone.
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.
 written for Séverine Ballon

tape play
at 0:00
Feedback Shift II
Andrew A. Watts (2014/2015)
 e = 80    
 BB
sp/m
 BB  sp/m
 BB
sp/m
 sp/m sp/m
 ord ord
SP

sul A

              
Amplified rearticulate when needed, as imperceptibly as possible
    
non vib. ric. norm.

             
Violoncello 
    
gliss.
 
 



 
f     5:4  3 7:4 mf
pp pppp f sub pp f


   
11 BB
sp/m
BB
sp/m
 BB  sp/m
 
 SP SP
ord ord

scratch  
scratch
              
tone
          
Vc. 5 5 gliss. tone 5

     
         
            



  
    
f ( f) pp
9:8 3:2 9:8 9:8
mf f   mf  

        
21  BB
sp/m
 BB   sp/m
  sp/m
  
 SP
ord ord ord ord ord
ST
st/m st/m col legno battuto st/m

    
w/L.H. pull-off pizz.

       
  
5:4

       
scr. norm. scr. norm. pizz. arco

          
Vc.

     
      

                  
 
 
 

pp   
  3:2 3       
mp   f
9:8 9:8
ff sub p ff 4:3 mp pp
mf mp f f
© 2014 by Andrew A. Watts. Published by Counterpoint Printworks (ASCAP). International Copyright secured.
All Rights Reserved. Copying or reproducing this publication in whole or in part violates the Federal Copyright Law.
2  Feedback Shift II (2014/2015) - Andrew A. Watts
32  "slap" on the fingerboard
 SP SP SP
ord
ST ST ST ST
st/m st/m
arco, norm. ric. ric. ric. pizz.

9:8 3
9:8 3 5 6 6
3 5 6 6 3 3 3

                         
6:5

            
3
           
            
Vc.

ppp  

(mf)
                 
         
ppp mf mf p 
f

39
sim. sim.
 ord ord
SP SP
ST ST
st/m st/m st/m

 
arco, ric. ric. ric. pizz.-arco ric. ric. ric. pizz.-arco 9:8
3:2 3:2 6:5 6 6 3 5 6

                     


                
3 3 3 3 3 3

         
                  sub p
Vc.

  pp
 
( f) sfz f
                           
       
f ppp mf
    
46
"slap" on the fingerboard
   
 ord ord ord
ST
st/m st/m st/m st/m

    
ric.

    
3

               

 
gliss. gliss.
   
sul D

Vc.

ric.  ric. 
 

           
ric. 3:2

 
sul G
               
  p          
3 3 3 add wooden clothing pin ppp p 
pp
ppp
ppp
f  3:2
 on G string right at bridge  5:4  5:3
pp
 Feedback Shift II (2014/2015) - Andrew A. Watts 3
      
54       
 ord ord
ST
st/m st/m

 
               
         
[lift]

Vc. 
gliss.
 
 

                                                             

    
pp  3
 p-pp
3
 5
  3
 3


  
61   

ST ST
st/m

           
Vc.     
                                                  
       

 

     

   3


    
63     
 ord ord
ST
st/m st/m

 
sim. sim.
  
poco vib. molto vib.
Vc.              

      

non vib. (non vib.) 7:4 (non vib.) (non vib.)
         
      
p p pp
ppp
4 Feedback Shift II (2014/2015) - Andrew A. Watts
    with building engergy
  
71       
 SP
ord ord
ST ST ST
st/m
like a machine gun
ric. ric. ric. ric.
(non vib.) arco
 3 33 3
molto 8:7

Vc. 5 pizz. 3 3 3 3 3


rearticulate when needed, as imperceptibly as possible
         
      
           gliss.           
4:3 3 3 3 3

  
3:2

                
  
   

   
    
remove pin pppp
mp pp p pp mp pp


 
80  
 SP SP
ord
SP
ST ST


9:8
Vc.
        3:2
5:4
 9:8
        

3

       
       
                   
3 3:2

   
      
                   
    
    
    
 
3:2
sub pp mp 5 3:2 5 pp
mf p   mp mf mp mf mp


 
86 abrupt outbursts  
 SP
ord
SP
ord
SP
ord
SP
ord
SP
ord
SP
ord
SP
ord
SP
ST

Vc.
  
       
3:2 5:3 3

       
                                 
3 3 3
 
   



           
mp 7:4 7:4
mp  mf sub ppp mf
sfz mp sfz-pp sfz-p sfz 3 7:5 f
mf pp
 Feedback Shift II (2014/2015) - Andrew A. Watts 5
   
95 sp/m
 BB  sp/m
 
 SP
ord
ST
st/m

  
 gliss.   
scratch

    
Vc. 3 3 3 3
      
tone
        
3 3 3 3 3 3 3 3 3 3 3 3 gliss.

                                           

sub ppp ff    pp

     
f mf 3 3

      
102       BB

 SP

st/m

  
non vib. molto
   ric.   
[breve]

                 
Vc. arco norm. 4:3 scr.

       
3:2

                                 
4:3
 
       
    
pppp
   5 7 3
3 sfz sfz sfz
poco f


        
114  "slap"
 sp/m
  sp/m
  sp/m
  sp/m

 ord ord ord
st/m st/m

     

col legno battuto
  
       ric.
   ric.   
    
Vc.

[lift]

          
          
non vib.
  
molto
        
norm.

        
  
        
    mp        

sffz sffz sub ppp p ppp ppp mf pp fff
5 3 3 5:3
5:4
6 Feedback Shift II (2014/2015) - Andrew A. Watts
 Wildly      
125   "slap"     
 SP
ord
SP
ST ST
ric. ric. ric. ric.
norm. 8:7 5 3:2 5 9:8
sul A 3 col legno battuto 3 3 3 3 3

       gliss.     

      
        
3 3 3 3 3 3

    
                 
3:2
gliss .

      
Vc.
  
sul D       




     
 

                       
 

( fff)   ffff
   

     
131    sp/m
BB   
 SP
ord ord
SP
ord
ST

 
scr. norm. scr. norm. 5

3:2 5:3 4 sec

       
                     gliss.                 


Vc.
    
  
     
           

  fffff fff
5
 

     
139      
 ord ord
ST ST ST
st/m st/m
mute strings with L.H.
 
circular bow
approx. positions    
Vc.
                      

  
7:4

 
   
  
           
    
sub pp p p pp
ppp
 Feedback Shift II (2014/2015) - Andrew A. Watts 7

    
149     
 ord ord ord
ST ST
st/m st/m st/m

      

Vc.
                  
 
   
7:4 7:4

  
     
 
            
p
    p pp p
   
ppp ppp


     
159      
 ord ord ord
ST ST ST
st/m st/m

         

Vc.
                      
 7:4
   
 
   
  
            
   

p pp p
ppp

December 14, 2014

Stanford, CA