JP Merz
Out, Outfor flute and electronics
11’ 30”
2013
about:
Out, Out- is based on Robert Frost’s poem of the same name, itself a reference to
Macbeth’s final soliloquy. This piece, like Frost’s poem, explores the sometimes
violent relationship between people and technology. This drama is played out
between the flute and the electronics, representing two oppositional forces. The piece
opens powerfully, with both players creating a chaotic texture that eventually yields
to a soft and pastoral flute melody. After an improvised cadenza, the melody becomes
fragmented between explosive strikes in the electronics. The piece ends with an
electronically processed flute improvisation in which the flutist and the electronics
respond to one another, signifying the dissolution and merging of the relationship
between man and machine.
-Sam Golter
The buzz saw snarled and rattled in the yard
And made dust and dropped stove-length sticks of wood,
Sweet-scented stuff when the breeze drew across it.
- Opening lines of “Out, Out-” by Robert Frost
…
... Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing. — Macbeth (Act 5, Scene 5, lines 17-28)
,
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, Out- 4"Out, Out- œ
JP Merz
Out, Out-
JP
and electronics
for flute and
electronics
Notes:
Technical
Notes:
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JP Merz
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The flute should sound like it is struggling to be heard over the
electronics, occasionally letting the electronics overpower it's own sound.
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© JP Merz 2013
Merz 2013
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Out, Outfor flute and electronics
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4
Oscillate between the two boxed notes freely. Spatial distance between the notes represents the relative speed of oscillation but
a regular pulse should not be used. During this section the oscillations gradually speed up until they become the trills. The
notes should be played primarily legato with occasional improvised articulations inserted at the performers discretion.
The murkiness of the lower oscillation should be in contrast to the sweetness of the upper melody as if the performer is experiencing
an inner struggle or conflict. This continues until m. 76 where both voices become agitated.
Conflicted: Dark textures
contrasted by soaring melody
70
murky and mysterious
& œ
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72
2"
& bœ œ
F
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p
4
dolce
3"
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75
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dolce
murky and mysterious
dolce
murky and mysterious
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Turbulent, rising tension in both voices
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legato
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* Frantic and berserk improvisation
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ad lib. dynamics
(Something has broken free from the conflict, it
is unclear if machine or humanity has emerged)
l
20"
13"
14
* Frenetically and furiously improvise this cadenza. Intensity and ferocity of the improvisation is denoted by the texture of the graphic. Level of intensity in the
l
improvisation should be conveyed through density, dynamics, articulations and extended techniques. The improvisation should be between the pitches indicated by
notes in parenthesis. The given notes don’t necessarily need to be played. Explore all of the possibilities within the pitch areas using rhythmic and timbral variety
and both pitched and non-pitched extended techniques. Notes outside of the given pitch area may be used, but very sparingly. Depress the indicated foot pedal cue
near the end of the improvisation and move on to the next page when the electronic "hits" start..
6
Melody fragmented by electronic "hits" (Machine's domination over Humanity)
Duration- ~2:00
When a "hit" occurs in the electronic track, respond by playing one of the cells. Any attack, no matter how faint, should be thought of as a “hit”.
Play the entire cell even if other "hits" occur. Always wait for another "hit" before playing a new cell.
The cells are organized by row for short, medium and long lengths and are also organized by length within each row. Never play cells from the same row consecutively
The audio file in this section is 1:52 long, depress the foot pedal and move onto the next page after you play your last cell.
Short
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Medium
&
Long
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7
The Dissolution of Humanity and Machine
15
Start on the given note and improvise using the cells on the previous page as a starting point. The computer will be recording, delaying, and manipulating
the flutes sound and effectively “improvising”. The computer may pitch shift the flutes material or create dense, delayed textures The flute should
similarly develop its own improvisation by responding to the computer’s decisions (i.e. if the computer pitch shifts experiment with manually pitch
shifting). The flute should feel free to stray away from the cells, but use them as the main motivic material for the improvisation.
œ
&
60"
Around the 1 minute mark white noise will start swelling into the foreground. The flute should
similarly swell in intensity and density of the improvisation until the cutoff point of 1:15.
&
15"
p
Cease improvisation; electronics fade out.
!
10"
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