lippe saxscore
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Music for Alto Saxophone & Computer
by Cort Lippe
1997
for Stephen Duke
1997 Cort LippeAll International Rights Reserved
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Performance Notes
There are four classes of multiphonics in section III. The performer should chooseappropriate multiphonic fingerings based on the class of multiphonic and the indicatedpitch. The indicated pitch should be either the most prominent pitch or a v ery prominent
pitch in the multiphonic. The following descriptions of the multiphonic classes aresubjective:
1.) mult-pure should not be dissonant sounding 2.) mult-pure-dense should be dissonant sounding 3.) mult-dense should be very dissonant and somewhat rough sounding. 4.) mult-raspy should be as dissonant and rough sounding as possible.
The note in the score to continuously vary amplitude and spectral envelope of themultiphonics indicates that the sound of the multiphonics should not remain stable forany length of time. This variation can be achieved mainly through a combination ofbreath and lip pressure which constantly changes . To achieve rich variations of timbre,breath and lip pressure should not change synchronously . The speed with which thevariations in the multiphonics timbres take place should be loosely based on thedurations of the notes (longer durations mean slower variations). In addition, the speed ofvariation should not be regular.
Errata
1) On page 2, measure 140 should be a 3/8 measure (and measure 141 is a 4/8 measure).
2) On page 10, measure 904 is a 4/8 measure that is missing an eighth-note rest at the end ofthe measure.
Ossia
On page 13, measures 1181 to 1183 have a very difficult passage. The four very high noteswith four ledger lines above the staff (notated g, a-flat, g, a-flat) can be played an octavelower to facilitate playing this passage at tempo.
On page 11, measure 1122 shows 6 bars of rest. These 6 bars are there mainly for the pageturn. If the page turn is not needed, the 6 bars of rest can be omitted entirely. If the page turnis needed, the 6 bars of rest can instead be moved to between measures 1018 and 1019 if theperformer prefers.
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Cort Lippe
Program Notes
Music for Alto Saxophone and Computer (1997) was commissioned by the Americansaxophonist Stephen Duke, and premiered by him at the 25th Annual Experimental Music Festivalin Bourges, France in June of 1997. The electronic part was created at the Hiller Computer MusicStudios of the University at Buffalo, New York, using the IRCAM Signal ProcessingWorkstation (a real-time digital signal processor) and the program Max which was developed byMiller Puckette and whose technical support made this piece possible.
The piece is in one movement and makes use of regular/irregular rhythmic and pitch relationships.Metaphorically, I have tried to exploit our rather complicated and intertwined conceptions of humans and machines. We spend a great deal of time trying to discipline ourselves to perform likemachines: our ideal of technical perfection is something akin to our idea of a perfectly workingmachine. Yet, we also have another entirely negative viewpoint towards anything human which is
too machine-like. Furthermore, we seem to have a complicated love/hate relationship withmachines in general, which is exacerbated by the accelerating replacement of humans by machinesin more and more tasks. I am not interested in using the computer to replace musicians, or acousticinstruments. The computer seems best suited to creating new, yet unheard sounds and musicalrelationships through the exploitation of compositional algorithms in real-time. Finally, it seemsthat in the future, as our machines continue to become more complicated and sophisticated, we willonly become more confused about their roles in our lives unless we make an effort to keep ourhuman relationships as non-mechanistic as possible.
Technically the computer tracks parameters of the saxophone, such as pitch, amplitude, spectrum,density, rests, articulation, tempi, etc., and uses this information to trigger specific electronicevents, and to continuously control all the computer sound output by directly controlling the digitalsynthesis algorithms. Thus the performer is expected to interact with the computer, triggeringand continuously shaping all of the computer output. Some of the sounds in the electronic partcome directly from the composed saxophone part, so that, certain aspects of the musical and soundmaterial of the instrumental and electronic parts are one and the same. Sound material other than thesaxophone is also manipulated via time-stretching and granular sampling. FFT-based crosssynthesis and analysis/resynthesis using an oscillator bank, as well as other more standard signalprocessing such as harmonizing, frequency shifting, phasing, spatialization, etc. are all employed.The instrument/machine relationship moves constantly on a continuum between the poles of anextended solo and a duo. Musically, the computer part is, at times, not separate from thesaxophone part, but serves rather to amplify the saxophone in many dimensions and directions;while at the other extreme of the continuum, the computer part has its own independent voice.Duration: 14 minutes.
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1
360 1Section I
sempre un poco staccato et senza vibrato
dynamics simile
7
13
19
26 2
41
47
58 3
65
71 4
Music for Alto Saxophone and Computer
AltoSaxophone
by Cort Lippe1997
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82
88
94 5
104
110 6
121
127 7
135
141 8
150
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158 9
168
176 10
184 11
192
199 12
205 13
21214
218 1516
226 17
-3-
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23218 19
237
20
24421 22
251
23
257
24 25
262
26
267
273
281
-4-
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293
27
303
28
318
1ction II
3272
3339
352
4
362
370
5
382
6
-5-
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392
7
401
8
411
9
42210 11
43112
441
450
13
460
14
469
15
478
-6-
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488
496
501
507
513
521
531
541
550 16
561
dynamics simile-7-
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7/25/2019 Lippe SaxScore
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573
584 17
597
dynamics simile
611
sim.
625
sim. sim.
636
18
sim.
648
659
sim.
[continuously vary pitch and timbre slowly]
670 19 [continuously vary pitch and timbre slowly]
sim.
-8-
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Mult-pure683
Section III 1
[continuously vary amplitude and spectral envelopes of all multiphonics]2 3
Mult-pure6964 5
Mult-pure708
6 7
Mult-pure7218
Mult-pure-dense7379
751 Mult-pure-dense
10
768 Mult-pure-dense
11
787 Mult-pure-dense
12
807
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822 Mult-pure-dense
13
840 Mult-pure-dense
14
860
874 15 Mult-pure-dense
16
88917
90218
Mult-pure-dense
19
915
accel. poco a poco20Mult-dense
928
94321 22
Mult-dense
956
sempre accel. poco a poco
23
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Mult-dense96824
Mult-dense
981
25 sempre accel. poco a poco
Mult-dense991
2627
1004 Mult-dense
28 29Mult-dense
30sempre accel. poco a poco
1015
3132
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1028 Mult-dense
3334 Mult-dense
1039 Mult-dense
35Mult-dense
Mult-dense1048480
36
Mult-denseMult-dense
1058 Mult-raspy Mult-raspy Mult-raspy
dynamics simile
1068 Mult-raspy Mult-raspy
1077 Mult-raspy Mult-raspy Mult-raspy
1086 Mult-raspy Mult-raspy
Mult-raspy1095 Mult-raspy
Mult-raspy1103
Mult-raspy Mult-raspy Mult-raspy
dynamics simile
1112 Mult-raspyMult-raspy Mult-raspy Mult-raspy
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Mult-raspy1121
dynamics simile
Mult-raspy Mult-raspy
Mult-raspy1130 Mult-raspy Mult-raspy Mult-raspy
114037
1148
1157
1166
1175
1183
1193
120138
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7/25/2019 Lippe SaxScore
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1209
1218
decresc. poco a poco
1227
poco a poco meno legato1236
1243
1252
1261 39
1271sempre un poco staccato
128040
1285
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7/25/2019 Lippe SaxScore
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129041
1295
1301
42
1310
132943
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