timothy mccormack

porcelain body
solo percussionist
 porcelain body [2018] for percussionist
Composition commissioned by ON - Neue Musik Köln e.V. The composition was made possible by the funding of the City of Cologne. Written for and premiered by Rie Watanabe.

inventory

timpano cowbell small metal baking sheet two metal bead chains
32-inch (D-B) medium-sized, which approx. 13.25 x 9.25 x .625 in. 1st approx. 21/2 ft.
produces a subtle but (33.7 x 23.5 x 1.59 cm.)
instrument body symbol: audible glissando when
a superball is dragged 2nd approx. 2-3 times longer than the first
along its length (up or
down, depending on
the direction)
Bead chains should be light & should rattle upon
the timpano without muffling it.
instrument membrane symbol: Must not be too thick.
Bead chains should be able to attach to
When turned upside-down, must themselves, making a necklace. It is suggested
have a trench between edge & to do this, as it shortens the length that the
indented sheet, inside of which one of performer must deal with as they slowly drop
the four small wires can be placed. or remove it from the timpano head. Also,
the long bead chain can be created with 3
If possible, use Wilton’s Recipe Right interconnected chains which are all the length
Non-Stick Small Cookie Pan (2105-966). of a single shorter chain.

double bass bow two superballs four small wires two styrofoam objects small, heavy cloth
lightly rosined each approx. 5-6 inches, 1 styrofoam ball (33/4 in.), used as a mute upon the timpano
cut from a wire hanger cut in half.

a washcloth or hand towel will do

time-space notation
This work utilizes a time-space notation in which events are presented
spatially and proportionately in relation to other events, suggesting things
like rhythm and duration without prescribing them. Though time is elastic
and thus the duration is relatively flexible, the durational/proportionate
relationship between events should not vary wildly. Grey lines parsing out
evenly spaced intervals of approximately ten seconds has been provided to
aid the performer in visually retaining proportional relationships throughout
the piece.
beams and stems
As this piece is written in a time-space notation, conventional distinctions
between note values (quaver, semi-quaver, etc.) have been replaced by pure
spatial relationships between impulses. Thus, stems indicate velocity and
value through their proximity to other stems. Beams indicate both phrasing
and duration. If a beam is present, sound should be present. The sound/
action indicated by the note head affixed to a stem continues through the
beam until a different direction is given.
from the impending forward motion of the whole, even if an event or action
is sudden. Everything should have an almost causal relationship to all else.
A listener must sense that there is a logic to this ecology of sounds, and the
energies at play at the beginning of the piece are still active by the end of
the piece, despite the great changes the piece has undergone.
ideal listening conditions
Ideally, this piece would be performed in a decently resonant (but not
too resonant!) space, with the audience seated extremely close to the
percussionist. Quiet details and subtle differences between sounds must
be clearly audible. If the hall is too resonant or if the audience is too far
away, details and granulation within the sound will be lost; if the hall is
too dry, other sounds in this piece may be dead on arrival. Depending on
the acoustics of the space, amplification may be appropriate. If employed,
the amplification should not be obtrusive; it should serve the purpose of
revealing a greater level of detail in the sounds.
If possible, the audience should be seated not only very close to the
performer, but nearly surrounding them:

sound world
The sound world of porcelain body is entirely generated from friction-based
techniques. Objects are dragged or rubbed against each other, or vibrate,
tremble, or fibrillate sympathetically upon each other. As such, the performer’s
task is to coax out of these objects a rich landscape of granulation or a
dense complexity of noise. One must be sensitive to the degrees of pressure program notes
exerted upon these objects, the rates of speed or slowness at which they
traverse each other, and the positioning of one object upon another. Minor In ceramics, the word body designates an amount of unfired porcelain;
deviations in any of these parameters may result in completely different the material in a raw, unshaped form. In this piece, all sounds are created
sounds. In this world, more pressure or faster action rarely translates to a through processes of friction - objects dragged, drawn, or vibrating against
louder or fuller sound. Rather, if one feels the materials out, there will often one another. This mode of sound production reveals something elemental
be a sense of them locking into one another. Within this ‘lock,’ one can then in the instruments: it guides our focus towards the textures within sound,
get a sense of how to properly modulate sound. its granulation, its density, its physicality. Like an unfired body of porcelain,
we confront these sounds as raw, unshaped, but vibrant material, before it
It is important to maintain sense of connection and continuation throughout is shaped and solidified within the extreme conditions of the kiln.
the whole piece. There should not be an event or sound that feels divorced
 general notational conventions
staves
This piece uses two notational schemes depending on what the main object
being played upon is. The beginning of the piece [measures 1-26, on the
left] uses a staff that indicates what actions take place upon the styrofoam
half-sphere, while most of the rest of the piece uses a staff that represents
actions taking place upon the head of the timpano [on the right].
In general, and regardless of which staff is used, the beginning of each system
reiterates basic information regarding the state of the object or objects in
use. The beginning of most systems will include the following information:
a note head indicating what pressure is being exerted from the object
in one’s hand upon the object it is in contact with [for example:
the pressure of the bow upon the styrofoam, or the pressure of the
superball upon the timpano, etc...]. There are five degrees of pressure,
indicated by the size of the note head. The smallest note head relates
to an extremely light amount of pressure, while the biggest note head
instructs the performer to exert a maximal amount of pressure upon
the object or surface in question.
the object being used, and, depending on the staff, in which hand
the current state of objects resting upon the head of the timpano.
Since objects are often resting or vibrating upon the head of the timp.
without being manipulated by the performer, and since objects are
so frequently added and removed from the timp. head, each system
begins with a symbol of the timpano membrane along with symbols
for each object that is resting upon it [i.e.: each object that is not in
the hands of the performer but which are active in the piece at that
moment].
first staff: general conventions
The first section of the piece has the performer holding one of the
styrofoam half-spheres in the left hand while bowing the object with
the bass bow in the right. The bow speed is represented through a
green graphic underlay. In the staff, the bottom line represents the
bow’s frog, while the top line represents the tip [see above].
Though white noise is the main sound desired out of the
bowed styrofoam, when accompanied by this symbol on an
‘unspecified’ treble clef, a quiet, hazy, high-pitched sound is
sought after. The sound should be fairly gentle and quiet, and
not at all scratchy or abrasive, so fine control over the degree
of pressure being applied to the styrofoam is required.
Once the styrofoam half-sphere is being dragged upon the
head of the timpano [measure 26, more on that later], a
low pitched sound should be produced, at which point this
‘unspecified’ bass clef is used.
The shaded parts of the styrofoam object symbol correspond
to the performer’s fingers, the smaller shaded area being the
thumb and the larger shaded area being three fingers. Once
the object is being bowed upon the head of the timpano [as opposed
to the beginning of the piece, where it’s bowed while held in the air], the
performer is required to occasionally remove the three fingers so as to give
a slightly different color to the white noise of the bowed styrofoam. The
higher symbol shows the styrofoam object secured with the thumb and
three fingers, while the lower symbol indicates the three fingers have been
removed off of the object.
Once the styrofoam object is being bowed upon
the head of the timpano, the object is occasionally
manipulated while being bowed to produce lower, friction-based sounds
on top of the white-noise sound being produced by the bow. The action
for this second sound is represented above, but it can be produced one of
two very different ways, depending on how the performer is holding the
styrofoam, or depending on how dry the performer’s fingers are.
The first option is graphically represented by the above symbol. While
exerting added pressure on the styrofoam object upon the head of the
timpano, slowly, steadily rotate the half-sphere in place for the duration
indicated by the blue/gray beam. This produces friction between the
styrofoam and the membrane, which is then amplified by the timpano.
The performer might choose this option if their hand is too small to fit
the bass bow underneath the hand as the hand grasps the styrofoam
object, or if the performer’s fingers are too moist or oily to produce
friction when slid down the styrofoam object.
The second option is more ideal if the performer’s hands are large
enough that the hand can grasp the styrofoam object while the bass
bow passes between the object and the hand [the hand creates a bridge
over the styrofoam and the bow passes under it], or if one’s fingers are
dry enough to produce friction when slid down the styrofoam object. In
this option, all fingers in contact with the styrofoam slowly slide down
the half-sphere towards the membrane, thereby producing friction
with the styrofoam which is then amplified through the timpano.
The performer should then quietly, discretely ‘reset’ the fingers at the
higher point upon the half-sphere in preparation for the next action.
The finger-slide should last for the duration of the blue/gray beam, and
should be as smooth & continuous as possible [the sound should not
stutter or start-and-stop; if all four fingers in contact with the styrofoam
are engaged in this action, an imperfectly continuous sound should
be achievable.
second staff: general conventions
From measure 26 on, the performer is mainly oriented towards the
timpano. In this second staff [see above], the thick black beam in the
middle shows what objects are resting upon the head of the instrument,
while information above and below this thick beam convey the actions
of the right and left hands, respectively.
The illustration below shows the metal bead chain being retrieved,
placed upon the membrane, and then removed:
When an implement or object must be retrieved but is not yet
being used, the symbol of that object is seen in this shape which
is connected to the beam. It also indicates which hand holds it
[again, above the beam is the right hand, below the staff is the
left].
When an object is laid upon the timpano and left there, without
further manipulation by the performer. Note that sometimes, the
object is applied slowly, over the course of some time.
When an object is removed from the timpano, the point at which
it is fully off of the membrane will have an X over the object
symbol. Note that sometimes, the object is removed slowly, over
the course of some time.
Under the left hand material is occasionally a bass
staff which indicates the positions of the timpano
pedal. Since some 32-inch timpani extend down
to D or to C, and since some extend below their
lowest given pitch, an upside-down triangle note
head indicates the lowest pedal position.
The actions of objects upon the head of the timpano are notated in a highly
choreographic tablature, using a symbol representing the entirety of a surface play-by-play
[either the timpano membrane, the baking sheet, or the cowbell] to chart
the path of an object and in what amount of time. The pressure at which
Since this piece presents many isolated events, situations, or instances
one drags the object upon the surface will be given between the surface
of notational problem-solving which don’t show up elsewhere, or which
symbol and the beam. The entirety of the given path is to be completed for
are extremely idiomatic or specific to the larger situation at hand at that
the duration of the blue/gray beam, or until a new surface symbol & new
moment in the piece, the remainder of these instructions will take the form
choreographic instructions are given.
of a play-by-play walkthrough of the score from beginning to end with the
hopes of disambiguating the intention or action being conveyed through
There are three conventions used to convey the choreography upon the
the notation.
surface of an instrument:
Measure 1: The styrofoam object is being held in the air in the left hand
The most typical situation presents a solid line and
while the right hand bows it at its rounded top. It is preferred that the bass
the path to be taken. The dot indicates where you’re
bow pass between the hand and the styrofoam, but that may depend on
starting; the arrow indicates where you’re arriving at.
the size of the performer’s hands. I wrote this piece using a cheap bass bow
When playing on the timpano, it is important to be very
which maintains the same distance between the hair and the wood, like a
discerning as to where exactly the path is asking you
large cello bow [i.e.: the distance between the hair & the wood on most bass
to pass through, as it might be intentionally guiding the implement through
bows grows as they near the frog]. Using a bow which maintains the same
multiple zones of differing tension, or explicitly avoiding such zones.
distance between these two points will also help in bowing the object in
the preferred way. I find that bowing the object between the hand and the
A dotted line is provided when the exact choreography/
styrofoam gives me more control when applying more pressure with the
passage of an implement is not important. In these
bow when the object is held in the air, and helps me anchor the object on
moments, the performer keeps the implement moving
the timpano head when the piece asks you to remove three fingers from
upon the surface at a consistent speed and in a path
the styrofoam. It also allows you to bow directly on the top of the rounded
that remains within the same general tension zone of
side of the styrofoam, which I believe also gives you more control over the
the membrane. Once the implement starts again on a prescribed path, a
sound, allows for smoother choreography, and puts the bow where it will
new symbol with a solid line will be given.
need to be upon the styrofoam once measure 26 is reached.
From measures 62-67, the path lies outside of the
Measure 5: While most instances of increased bow pressure upon the
timpano symbol, but this does not mean the superballs
styrofoam half-sphere result in a quiet, hazy, high pitch, it is possible [and
are not making contact with the membrane. Here you
here, required], to increase the bow pressure without producing a pitched
are instructed to drag the superball at the very edge
sound. Here, and elsewhere, the increased bow pressure should result in a
of the membrane, between the metal frame of the
subtle shift in the quality of white noise already being produced.
instrument and the tuning hoop [which is of course on the inside of the
instrument, under the membrane]. The superball will lightly bounce against
Measure 13: Here, the styrofoam is suddenly, and in mid-bow stroke,
the hoop and the frame. This part of the membrane has a very different
placed upon the head of hte timpano, resulting in a deeper, amplified,
tension than anywhere else, and thus the sound will be much higher and
resonant noise. In the symbol representing the timp., the dot indicate
less resonant than elsewhere.
where to place the styrofoam object: dead center. While you must apply
the styrofoam gently to the membrane [no sound should be produced as
a result of placing the object upon the surface], it also must be sudden and,
Since most of the piece requires the superballs to be dragged
most importantly, acoustically unexpected. The change in resonance of the
using very little pressure, a continuous, slight but discernible
white noise must sound as though a switch has suddenly been turned on.
bounce or ricochet is often desired, even essential, for the correct
realization of this piece’s sound world. When this bouncing of the
Measure 22: Since the styrofoam object is moving [for the first time] to a
superballs is expected, the note head which indicates degrees of
different position on the timp. head, the bass bow does not need to move.
pressure will be followed by the symbol to the left. When more
Even though the bass bow
pressure is applied and the bounce is expected to transform into
remains stationary, the
straight, continuous contact between the superball and the surface, an ‘x’
object will end up at the
will indicate when the bounce should fully stop.
frog by the time it reaches
its ending position near the
The iterations of the bounce should be almost uniformly fast, small,
edge of the membrane.
unobtrusive, minimal, but, as already stated, discernable. It should read at
The light green represents
times more as a trembling within the sound than as a discrete ‘bounce.’
the motionlessness of the
Depending on the tension of the membrane or how many objects are laying
bow, but the darker green
atop the instrument, the discrete iterations of the bouncing action may be
illustrates that the styrofoam
more or less audible, though it will still produce the desired sonic affect [the
object nevertheless travels
action of objects vibrating upon the head of the timpano is dramatically
to the frog, from where the
different when the superball is in continuous contact with the membrane].
next bow stroke begins.

The mute [washcloth or hand towel] is occasionally lifted

Measure 24: This passage
slightly, but not entirely, off of the head of the timpano
presents the opposite situation
[see measures 75-80]. The degree to which the muting
than the one above. Here, the
cloth is removed from the head is indicated by the degree to which the
bow remains stationary as the
M symbol is filled in. An entirely black M indicates that the entirety of the
styrofoam travels back to the
muting cloth is lying upon the membrane, while if only the corner of the
center of the membrane, and
M is blackened, then only a corner [or perhaps 25%] of the mute is still in
the notation shows that once
contact with the instrument’s head.
in its ending position, the
styrofoam will be at the tip of
the bow, from which the next
repeats bow stroke proceeds.

Occasionally, cells or parts of cells are repeated a certain

number of times. This is indicated by a bracket above the
staff with a numeral bookended by repeat signs. The number
given is the total amount of times one plays the passage.
Most repeated passages contain material that is only played
during certain iterations. These symbols designate if an event
should be played in first, second, and/or third iteration of a
larger passage.
Measure 26: At this point in the measure, stop
bowing the styrofoam, and being using the bow itself
to move the styro. around on the head of the timp. As
in the illustration, the hair near the frog of the bow is
in constant contact with the styro. Here, you are only
applying a relatively light degree of pressure [though
enough to steady the styro. under the bow], resulting
in white noise.
Measure 29: With the slower rate of movement, and as you increase pressure
with the bow, a loud, resonant pitched sound should be produced as a
result of the friction between the styrofoam and the timp. The pitch might
change, might be a complex sound [multiphonic], or might hit a harmonic.
The notation only gives a very generalized indication of what the pitch range
should be. Strive to maintain this pitched resonance throughout this whole
section, even through changes in direction. Of course the friction between
these two objects can be unpredictable or finicky, but one can usually feel
it out and make slight modulations to pressure or speed or placement to
maintain the sound. I find that giving the styrofoam a slight accent or push
when changing directions helps allow the materials to catch each other
and initiate the desired friction sound.
Measure 33: Place the second styrofoam
half-sphere on the timp. membrane at
the point indicated by the dot. The object
simply rests there, inactive, until measure
42.
Measure 42: Until this point, the right hand alone
has controlled of the movement of the bass bow
and one styrofoam object. Here, the bow catches
the second styro. object and drags both half-
spheres together, side-by-side. This requires both
hands to exert pressure on the bass
bow, so the symbol also shows the left
hand traveling up to the right hand area on
the staff. With both styrofoam objects, the
sound should be louder and fuller than before,
and the transition from one object to two should be as seamless and with as
little break in sound as possible. Notice that with two objects being moved
by the bow, everything in the notation is doubled: there are two half-sphere
symbols, and two path lines on the timp. membrane symbol. Both hands
are on the bass bow until measure 50, at which point the right hand must
maintain balance and pressure upon the two styrofoam objects alone while
the left hand retrieves two superballs at once.
Measure 42: Once the two styrofoam objects reach the middle of the timp.
head, the hand suddenly [thus
the ‘sub.’ indication] lifts off of
the styro. objects, leaving them
on the head of the timp. to
lightly, very quietly vibrate as the
superballs are slowly dragged
across the membrane.
Measure 82-3: The left hand holds the baking
sheet [upside down], and the superballs
[both in the right hand] jump from the
timp. head to the sheet as smoothly as
possible. The tray should not touch the timp.,
or at least should not make a sound against the
timp. As you bring the
baking sheet near the surface
of the timp., grab the mute/
cloth with whatever left hand
fingers are free to do so, and
slowly, soundlessly, lift it off
as you raise the baking sheet
from the timp membrane.
You may drop the mute on
the floor or wherever is easiest once you have cleared the area of the timpano
head as you will not use the mute again.
Measures 86, 87, & 91: At these moments,
bring the baking sheet very close to the
timp. head WITHOUT actually having them
touch, then immediately lift the sheet back from
the head. It should add extra resonance to the
actions of the superballs on the baking sheet,
almost like a cavernous “echo” within the body
of the timpano.
Measure 92: The left hand holds the
baking sheet at an angle against the timp.
head so that one end touches the membrane
while the other end is held above it.
Measures 96-7: The entirety of the baking
sheet is laid upon the head of the timp.
Measure 98: As indicated under the inventory portion of these
performance instructions, this piece requires a baking sheet
which, when turned upside-down, has a trench between the
edge and the protruding sheet, inside of which one of the four
small wires can be placed. In the graphic to the right, the arrow
is indicating that one of the small wires is placed in this trench,
causing them to vibrate loudly against the metal tray as you drag
the superballs over the sheet and timp. Two of the four metal wires are
placed on both trenches/sides of the baking sheet in this measure.
Measure 99: The remaining two metal wires are
placed on the head of the timp. just above the
baking sheet. Immediately after, lift the baking
sheet up with your left hand so that the wires go underneath the
sheet. Once they are trapped under the sheet [which, again, should
be upside-down], the sheet can continue resting on the surface of
the timp. These two wires remain under the baking sheet for the rest of this
passage, until you remove the sheet [the wires are removed from the timp.
head in measures 106 & 108].
Measures 109-10: Before this gesture,
the right hand has been playing with
both superballs simultaneously for
quite a while. This shows how and when
the left hand retakes one of the two
superballs; it shows how and when the
the trajectories of the two superballs diverge.
The transition of one of the superballs from one
hand to the other should be very smooth and
without any disturbance to the consistency of
sound.
Measure 121: The quiet placement of the cowbell upon
the head of the timpano is expected to dampen or muffle
the sound that the superball is making. Be sure to place the
cowbell so that the handle is on your left and the opening is
on your right.
Measure 122-end: Quiet drags of the superball upon
the cowbell should make a faint, hazy, but nevertheless
perceivable pitch. There is a slight upwards glissando
when dragged from right to left [left hand action], and
a slight downwards glissando when dragged from left
to right [right hand action].
Measure 128: The left hand doubles back on its path
over the cowbell while the right hand runs its superball
upon the kettle of the timpano itself. The graphic
indicates that this should be an upwards motion
from the bottom of the instrument to the top,
but depending on the drum, one could also drag from
side to side. The desired sound should be resonant and
warm, and should register clearly as a new sound in
the piece but still a part of the established sonic ecology.
The x’s at the end of both hands’ pathways indicate that
both superball gestures end in dead stops.
 porcelain body Timothy MCCORMACK

commissioned by ON - Neue Musik Köln [2018]

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Copyright 2018 | Timothy McCormack | All Rights Reserved

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Cambridge, MA / August, 2018

[V:9.21.18]