an dt wo (2014) for two pianos, tone and pulse
Ryoko AkamaThe piece was commissioned by Kate Halsall and Fumiko Miyachi. It presents two pianos constructing musical relations with both a continual sine tone and a pulse (both at the same pitch) recurring throughout. When the pulse interferes with the sine tone, superimposition occurs and causes micro-tonal pitch bends. Moreover the analogue synth I use possesses an unstable and imperfect nature that disturb the performing pitch of the tone and pulse. Hence, beating frequencies frequently emerge, induced by combinations of two pianos, tone and pulse.
Score:
The graphic score explores moment-to-moment interactions and aids temporal development in performance, embracing both the performer’s individual approach as well as accidents—combinations that I am particularly interested in. I investigate the role of impersonalness and nonsense, even in the form of intentional musical
events. Pianists guess the pitch of the sine tone with which they begin the sequence The notation invokes a simple arithmetic that decides the way the performance is led. The score also introduces a loose goal: ‘Aim to end with the same note as the one at the very beginning’, which enforces a particular environment for listening
and configuring.
Figure 1:
2
0.5
.
0.5
7
7
10
16
Figure 1 shows examples of articulated numbers for pianist a. The above line contains numbers that transform notes by semitones in either direction. For example, if C4 is performed and the next number is 2, the following note is either A3# or D4. Provided D4 is chosen and the next number says 0,5 (meaning 0 and 5), the following is either A3/D4 or D4/G4. Numbers on the line below determine how long, in seconds, note(s) must be sustained.
Listening:
Where nothing is performed is central to most of my work.
In an dt wo, I instruct that:
piano a
almost 1/3 of notes are not performed.
piano b
almost 1/4 of notes are not performed.
piano a&b
play all notes as softly and airy as possible.
Intentional (but not obvious) creation of silence and active listening are critical parts of my sonic practice. I perceive silence not simply as intermediacy between sounds but as pregnant moments. Silence encompasses alive-ness, a state full of potential. My pivotal explorations of motion-in-stasis has led to my compositional interest in emptiness—where (almost) nothing happens. This indicates that the emphasis of my work remains focused on material and nature.
Duration:
an dt wo was originally written as a 5-minute composition but performed as a 4-5 minute piece at Huddersfield Contemporary Music Festival 2014. As a composer-performer-listener, I find it especially challenging to focus on and listen to a field of occurrences in such short duration. In order to appreciate various perceptions in micro events and to experiment with their cumulative textures, I prefer working with longer durations. Therefore, I would extend this piece towards 10-minutes or more in the future. This would result in further listening possibilities, where experience will be suspended in time and space.
In 2015, Wolf Notes invited composers and musicians to write a short text about one of their own pieces. A word count of no more than 500-words was the only guidance given.
Ryoko Akama is a Japanese-Korean working with installation, performance and composition, residing in Huddersfield, UK. Her works sculpt domestic appliances and scrap wastes.