Category Archives: Performances

Electronic Ensemble Repertoire – Classics

Performances, ,

Here are three pieces I have presented regularly with the Electronic Music Ensemble of Wayne State (EMEWS). The repertoire’s codes, scores, or DAW project files are available online and are simple to set up and execute in terms of technology.  An ensemble director may make the piece presentable in one or two rehearsals with no extra cost for preparation or concert. 

John Cage, Four6

Four6 is an open-instrumentation piece suited for four electronic musicians. The performer is asked to prepare twelve different sounds before the performance. Then, they play the sounds according to the timeline dictated in the score. There are no tech specifications (any instrument is acceptable), and performers do not need to know how to improvise or read a traditional notation or improvise. 

I learned to play this at a concert organized by the fidget in 2012. Since then, the resulting sound of the quartet has been delightful to both the audience and the performer. In EMEWS concerts, the four parts were sometimes doubled to accommodate a large ensemble. The performers changed their twelve sounds for each practice and performance to keep surprising the other performers. 

I don’t have a link to the score, but they are easy to purchase. A nearby contemporary music performer friend probably has a copy. 

Alvin Lucier, Vespers

Vespers turns the acoustic space into an interesting instrument. I lead EMEWS to play this piece in the first weeks of the semester so the performers learn the musical application of space, resonance, and movement. The instruction asks the performer to walk around a dark room with a device that makes clicking sounds. The performer’s task is to find and share a location that makes the clicking sound interesting. In short, the performers become an organism with echo-location capacity. Any number of performers can play together.

The original instruction asks the performer to use a Sondol, but I don’t know what that is. So, I made a SuperCollider patch that makes clicks with controllable rates and duration. I added a feature to change the background color of the computer screen for an extra visual effect. I also thought a more directed performance might benefit the performers with little experience in experimental music, so I arranged a version with additional guidelines. The resulting scores and media are found here https://joowonpark.net/vespers/ 

Terry Riley, In C

Electronic ensembles can jump on the bandwagon by performing In C, one of contemporary music’s most popular ensemble pieces. For the electronic ensemble performers, I made a Logic patch that uses loop functions. Performers of any notation-reading level can play In C by clicking a loop at a desired pace. 

Pre-programmed melody and rhythm, stored as loops, let the performers contribute different musical aspects. I ask my ensemble members to experiment with timbre. The performers can double the track with a different patch, change the filter settings, add effects, instrument settings, etc. They are to explore the uniqueness of electronic instruments – what can an electronic instrument do that others cannot? 

Visit  https://joowonpark.net/logicinc/ for detailed instructions. I am positive that a similar loop setup is possible on Ableton Live and other platforms. 

The King of Nothing (2023) by Benjamin Damann

Performances, , ,

Here are two versions of The King of Nothing (2023) by Benjamin Damann. It is for any number of no-input mixing boards (NIMB). The first version is for solo NIMB, and the other is for trio. Note that there are intentional silences in the piece.

The King of Nothing – Solo
The King of Nothing – Trio

As a reference, here’s the premiere version of the piece

I wanted to try this piece because the score was well-written. The instructions were clear so that I knew what to change at a specific time. Written instructions were enough for me to interpret and perform. This core function is assumed and expected in traditionally notated scores (i.e., I know what to play and what not to play when I see traditionally notated piano scores). However, such clarity of performance direction is not always the case for electronic music, where instruments and performance practices are undefined and non-standardized. 

When performing The King of Nothing, I was delighted to follow the composer’s decision on form, which dictated when to play, how many parameters to control per event, and the speed of the parameter changes. At the same time, I was free to interpret which knobs and faders to move. The resulting sound is a well-timed sequence of various NIMB sounds with different timbres for each run. The solo version was fun, but combining the three versions gave a distinct texture. I liked both versions. 

I encourage readers to try The King of Nothing. It is a great introduction to the world of no-input mixing. Being able to play and present other people’s electronic music repertoire is a crucial but rarely done musical practice for electronic musicians. I want to do an evening-length concert of solo electronic music performances consisting of pieces not written by me. Damann’s The King of Nothing will certainly be a part of it.

Seq Octet – for electronic ensemble(2023)

Compositions, Performances
Performance by Electronic Music Ensemble of Wayne State (10/25/2023)

Download SeqOctet Logic File and Score

SeqOctet_Oct2023.zipDownload

Preparation

  • Gather eight performers and eight computers with Logic Pro.  It is possible to perform the piece with other DAWs or synths as long as they can make MIDI loops and sequences.
  • Download SeqOctet.logicx. Open the file in Logic Pro X (version 10.7 or higher). 
  • Assign one performer to one of the tracks (Arp1, Arp2, Arp3, Arp4, Pad1, Pad2, Drum1, Drum2). One performer should not play all tracks. If there are fewer than eight performers, some performers can play more than one track.

Notation

  • Triangle noteheads: Improvise the sequence patterns. The number of notes per stem indicates the maximum number of notes per quarter note.
  • Rectangle noteheads: Make the sequence pattern similar to the shape of the notation.
  • Fermata: Continue improvising until the conductor’s cue.
  • Make a gradual, well-paced change when moving from one section to another. Do not make a sudden pattern change. The notation indicates the ideal shape/pattern each part should achieve in 30-60 seconds. 
  • 50% and 100% in sections 8 and 9: Improvise with 50% or 100% of all available notes in the sequencer.
  • Sections 10-13: End the piece by gradually eliminating notes in the sequencer. In section 12, all performers should play one note per measure.

Performance Instruction

  • Designate a conductor who can give a cue. The conductor decides the length of each section. Section 9 should be relatively long.
  • At the beginning, performers press the play button in their assigned track’s loop (the yellow square in the live loop grid). Then, they improvise the sequence pattern according to the score. 
  • Aim for a constant change. Improvise with notes. Improvise with effects and plugins. But respect the number of notes per measure.

Laptop Ensemble Workshop

Performances, Teaching

Use your laptop as a versatile and expressive musical instrument. We are going to learn three pieces written for the laptop ensemble and will perform them in the evening concert. Learn electronic music repertoire that is easy to assemble and fun to play together. Previous experience in electronic music performance is not required. The ability to read simple music notation is a plus but is not necessary. 

Gear needed: a laptop (PC or Mac)

Preparation prior to the workshop: 

  1. download and install SuperCollider (freeware available at https://supercollider.github.io ) 
  2. download files needed for Dubious Toppings, CML Suite, and Singaporean Crosswalk from the below link
EnsembleWorkshop.zipDownload

Elegy No. 2 – live at SPLICE Institute

Compositions, Performances, , ,

I performed Elegy No.2, written in 2018 for violin and computer, with melodica at the SPLICE Inistute 2023. It is not a happy song, but I share what I can express only with music. Sarah Plum recorded the original version beautifully, but I have been playing the song as my solo shows since COVID.

If you own a melodica and want to play this, the score and SuperCollider file are available HERE. You don’t need to know how to use SuperCollider. The instruction to run the code is here. Please use the score as a guideline, and feel free to improvise.