for you i sing in colours [vc + electronics]
'cello + electronics.
This piece is ultimately about the building of and interaction between resonant spaces. Staves are used to delineate different voices//channels//effects//affects. I would suggest a three channel ++ three speaker setup, not necessarily spatialised. The continuation of the staves indicates a continuation (through looping, delays or feedback) of the material of that stave. Using Max+MSP and some (or even one) footswitch(es), you could delineate effects and panning quite simply; my patch can be provided. The more brave could consider using an effects pedal setup routed into a multichannel looper, the (and pickup owning and) braver still could consider an effects && delay setup routed in some sort of feedback loop.
Regardless of the approach taken, the extended graphic figure in system three needs to interrupt the existing aural structures to the extent that they either stop or are significantly disrupted, and the piece ends by breaking down//overloading// glitching out; these should both be taken into technical consideration.
The first time I saw the ‘cello played was in a tiny classroom with twenty other people crammed, in the heat of early Autumn in Adelaide, in a tight formation around Janis Laurs. He played the first bach suite, sang along with the internal counterpoint, swayed back ++ forth ++ left ++ right in his chair. For you pushes the memory of how those open and stopped strings hung in the hot, dry air through effects pedals, feeds it back on itself, blows it out of proportion... it’s minimal maximal self indulgent and heavy metal and Janis Laurs swaying back and forth in that creaking chair in the heat; it’s the echo of the human voice we hear in those strings, volume turned up to eleven.
November 2015:: Dan Thorpe with Hilary Kleinig. COMA Local Composer Feature, Thebarton
July 2013 :: Dan Thorpe with David Moran. EMU Showcase. The Wheatsheaf Hotel, Thebarton