HERMETIKA IX
Singer speaks before the beginning of part 1:
C’est moi la partie de ma mère
Et c’est moi la mère
C’est moi la femme
Bernhard Lang 2018
Bernhard Lang 2018
Non-vibrato should be the normal style unless expressly indicated otherwise. amplification
beginning of part 1:
clairement
Bernhard Lang 2018
C’est moi la partie de ma mère
C’est moi la jeune fille
Et c’est moi la mère
C’est moi la femme enceinte
C’est moi la femme
C’est moi la sage-femme
C’est moi la jeune fille
All instruments are amplified in such a way as to make the amplification almost imperceptible.
C’est moi la femme enceinte
C’est moi la consolatrice des douleurs de l’enfantement
C’est mon époux qui m’a engendrée
C’est moi la sage-femme
Et c’est moi sa mère
C’est moi la consolatrice des douleurs de l’enfantement
The Electric Guitar, Synthesizer and Sampler players need individual monitors. The singer has a wireless head-set with microphone.
C’est mon époux qui m’a engendrée
Et c’est lui mon père et mon seigneur
C’est lui ma force
Et c’est moi sa mère
Ce qu’il veut, il le dit clairement
Et c’est lui mon père et mon seigneur
C’est lui ma force
Ce qu’il veut, il le dit clairement
It is recommended that the Sampler is projected to all the other players to assist synchronising with the samples.
Studio
synchronisation
play the loop asynchronously, entering in the order indicated by numbers.
syncmaster cues loop starts and other sync events.
approximate synchronisation of metre (metronome beat).
precise sync of loop start.
play loop number of times indicated, changing the length of the rest at the end of each loop (“scratching the loop”), so varying the loop length.
player try to keep the same (metre) metronome beat, shift the layering of phrases by 8th /4er notes.
synchronise metre with the Sampler as much as possible; approximate the loop of the sampler by ear.
add 1-2 eighths rest at the end of each loop
general signs
add 1-2 eighth rests, vary with each loop
F spoken with approximate pitch curve asynchronous
dal/al niente.
Exaggerated vibrato.
laRacineduTout,
add 1-2 eighth rests, vary with each loop
eighths
at the end of each loop add 1-2 eighths rest at the end of each loop add 1-2 eighths rest at the end of each loop add 1-2 eighths rest at the end of each loop
Register-Clef on a 3-lined staff indicates approximate pitches in high, medium and low register.
l’Ineffable,
4x play/sing 4 times, or other number as indicated.
l’Ineffable,
asynchronous
spoken with approximate pitch curve
add 1-2 eighth rests, vary with each loop
improvisation: use the notation as a guide to gesture, density and complexity. The graphic notation is to be used as a suggestion only.
spoken with approximate pitch curve
laRacineduTout,
voice
stage whisper
asynchronous add 1-2 eighth rests, vary with each loop F asynchronous
l’Ineffable,
Sprechgesang (Berg) with discernible pitch
add 1-2 eighth rests, vary with each loop spoken with approximate pitch curve
spoken, no definite pitch defined rhythm, highest register
flute, clarinet, trombone
rough tone, as used by jazz players like Dolphy: dirty embouchure
subtone, underblowing.
aeolian (Flute)
sound with high air-stream content.
air only, no pitch.
pizzicato articulation (Flute only, see Artaud).
slap (Clarinet), tongue-ram (Flute).
Sing the lower/upper note through the instrument while playing, resulting in a diffuse harmonic structure; octavise ad lib. according to one’s
vocal range
free multiphonic
multiphonic: the white diamond notehead indicates the fingered note, the black notehead indicates the resulting tone that should be perceptible. (Alternatively the diamond notehead can be sung.)
move towards higher partials without losing the fundamental (overblowing).
transition from multiphonic to normal sound emission.
open wah-wah mute: from closed to open.
violin, violoncello
Bartok pizz.
c.l.b. col legno battuto, strike with the wood of the bow.
c.l.t. col legno tratto, play with the wood of the bow.
c.l.t. + crini play using both the wood and the hairs of the bow.
n.v. non vibrato.
s.p. sul ponticello: play near the bridge.
s.t. sul tasto: play near the fingerboard.
ord s.p. transition from normal to sul ponticello position.
half pressed, muted strings (half harmonic).
s.t. arco flautando, sul tasto. exaggerated bow pressure. bow noise only, no pitch.
electric guitar
sound descriptions are associative and open for interpretation. e-bow is also used
Delay line specified in milliseconds
use steel finger-slide (bottleneck)
move slide finger quickly up and down the finger-board (blues trick)
vibrato using whammy bar
muted near the bridge (“Iron Maiden mute”)
strike with fingernail
4. The Angel’s Song
The players can use metronomes/clicks for synchronisation, the playback is in loose synchronicity except start and stop.
Feedback-delay “Frippatronic”, 6774ms, 70%–80% feedback, dampening during 7–8 delays
Volume Pedal Crescendo singing overdriven
the loops shown in the score result from the guitar delay-line, they are notated here approximately for orientation only, not for synchronisation
special technique invented by Daevid Allen (Gong) using a screwdriver to agitate the string by making a slide tremolo (as above) and adding reverb and delay space.
feedback delay creating a dampened loop (in this case 6774ms), getting softer and darker during 7-8 repetitions. Could be created using a patch or jam-master, or similar.
The Sampler is played via a masterkeyboard, with individual samples allotted to the keys: The labels above the notes indicate the sample names. (See extensive list below.)
Part 1
File name
BarRootMIDI
HIX Part01 Sample C3 bar 7 Version transponders G.wav7C360
HIX Part01 Sample C#3 bar 11.wav 11C#361
HIX Part01 Sample D3 bar 13.wav 13D362
HIX Part01 Sample Eb3 bar 15.wav 15Eb363
HIX Part01 Sample E3 bar 17.wav 17 E3 64
HIX Part01 Sample F3 bar XX.wav 41F365
HIX Part01 Sample F#3 bar XX.wav 85F#366
HIX Part01 Sample G3 bar XX.wav 112G367
HIX Part01 Sample G#3 bar XX.wav 125G#368
Part 2
File name
BarRootMIDI
HIX_Part02_Loop_01__Steps_A3.wav 16A369
HIX_Part02_Loop_05_M6_Hold Grain01_Bb3.wav 17 Bb3
HIX_Part02_Loop_06_kasibeat_H3.wav
HIX_Part02_Loop_02_Klingel_C4.wav 50C472
HIX_Part02_Loop_07_C#4.wav 69C#473
HIX_Part02_Loop_08_D4.wav 96D474
HIX_Part02_Loop_05_M6_Gliss_grain_D#4.wav
name
HIX Part 03 Sample 8 m9 gran 02 H2.wav 85H259
Hermetika IX Score Part 03 loop1 E4.wav 201E476
Hermetika IX Score Part 03 loop2 F4.wav 205F477
Hermetika IX Score Part 03 loop3 F#4.wav
Hermetika IX Score Part 03 loop4 G.wav (not used)G479
HIX Part 03 Sample 5 G#4.wav 323G#480
HIX Part 03 Sample 6 A4.wav 335 A4 81
HIX Part 03 Sample 7 Bb4.wav 339Bb482
HIX Part 03 Sample 08 H4.wav 345H483
HIX Part 03 GuitImproLoop02_C5.wav 484C584
HIX Part 03 Coda_C#5.wav 534C#585
HERMETIKA IX Vox Angeli II
Singer speaks before the beginning of part 1:
C’est moi la partie de ma mère
Et c’est moi la mère
C’est moi la femme
C’est moi la jeune fille
C’est moi la femme enceinte
C’est moi la sage-femme
C’est moi la consolatrice des douleurs de l’enfantement
C’est mon époux qui m’a engendrée
Et c’est moi sa mère
Et c’est lui mon père et mon seigneur
C’est lui ma force
Ce qu’il veut, il le dit clairement
1. Osculetur me (Tower)
Bernhard Lang 2018
+ crini synchronize loopstart with other players
synchronize loopstart with other players
synchronize loopstart with other players
synchronize loopstart with other players synchronize loopstart with other players
loopstart with other players
approximate synchronicity with sample, try to sync meter
approximate synchronicity with sample, try to sync meter
sing lower voice octavize ad lib HIX Part01 Sample D3 Bar 13 p
add 1-2 eighths rest at the end of each loop add 1-2 eighths rest at the end of each loop f add 1-2 eighths rest at the end of each loop
add 1-2 eighths rest at the end of each loop add 1-2 eighths rest at the end of each loop
approximate
with sample, try to
approximate synchronicity with sample, try to sync meter
approximate synchronicity with sample, try to
approximate synchronicity with sample, try to sync meter
Sprechgesang
Mezz.
2. Nigra Sum (Studio)
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
? & & ?
? & & ?
continuous gliss. with string-change, using slide
(continuous gliss.: neither emphasize nor hold the indicated pitches)
? ? & & ? V
? & & ?
& B & & ? V
3. Le Tonnerre (Concert Hall)
C’estmoicellequiesthonorée
C’estmoicellequiesthonorée
HIX pt3 snd 01 non vibrato Organ II tuned quartertone
add 1–2 eighths rest at the end of each loop
add 1–2 eighths rest at the end of each loop
add 1–2 eighths rest at the end of each loop
add 1–2 eighths rest at the end of each loop
add 1–2 eighths rest at the end of each loop
add 1–2 eighths rest at the end of each loop
C’est moilamèredemonpère
C’est moilasœurdemonmari,
C’estmoilamèredemonpère
C’estmoilasœurdemonmari,
& ? & & ? & ?
Glass-bottles
& & ã & ?
Synth.
Sprechgesang
Sprechgesang
Sprechgesang
Sprechgesang
Sprechgesang
