Wunderkind for toy piano, fixed media, and live processing

T imothy Roy

Commiss ioned by the Kansas Ci ty E lectron ic Mus ic & Arts Al l iance

©2012 Slip Change Music, (ASCAP)

Wunderkind

2011-2012

Awarded F i rst Pr ize in the 2013 !Pr ix Deste l los," mixed media category

T IMOTHY ROY

T imRoyComposer@gmai l .com

PROGRAM NOTE: !Wunderk ind" i s a we l l -known German term histor ica l ly app l ied to a person who possesses an extraordinary ta lent or br i l l i ance (part icu lar ly mus ica l ) at an ear ly age. The creat ive impetus for th is work was the des i re to exp lore the intel lectua l work ings of a deve loping ch i ld prod igy, the e lectron ic component used to expand the pa lette of such a restr icted instrument whi le represent ing the mind #s ear of the ch i ld . The opening cadenza begins clumsi ly as the !ch i ld" seemingly explores the instrument for the f i rst t ime. Mus ica l ideas begin to mature , congea l , and f ind meaning. The f ixed media p layback begins after two minutes of so lo , and a complex and harmonica l ly-saturated sound wor ld emerges from and interacts with performed gestures, meant to be perce ived as imagined musica l structures, aston ish ing ly advanced for a mere ch i ld . A l l of the sounds in the f ixed media were created by record ing and process ing my own toy p iano. I d id in fact s i t on the s ix- inch-h igh bench whi le do ing so. Wunderk ind was awarded F i rst Pr ize in the 2013 !Pr ix Deste l los" Internat ional Compet i t ion of E lectroacoust ic Composi t ion and Visua l-Mus ic, mixed media category.

A NOTE ON THE INSTRUMENT: The toy p iano, or k inderk lav ier as i t i s known in Germanic countr ies , has a long, fascinat ing h istory. A myr iad of mode ls ex ist , produced by count less companies and instrument bu i lders across the globe. Because the status of the instrument fa l l s somewhere in no-man #s- land between be ing a ch i ld ren #s toy and a convent iona l mus ica l instrument, there is no manufactur ing standard to speak of : examples of a l l shapes, s izes, co lors , and ranges can be found. Al though many toy p iano composi t ions a l low for a certa in amount of indeterminacy regard ing the speci f i cs of the inst rument, Wunderk ind has been composed for a specimen exh ib i t ing a part icu lar range. My own instrument is a red Jaymar baby grand with th i rty keys, spanning the fo l lowing range (sound ing as wr i tten):

?==h====&==r== Note : Many mode ls have th i rty or more keys but sound an octave h igher than th is . Whi le i t i s poss ib le to employ such an instrument, i t i s preferable to use one comparable to what has been descr ibed in order to ensure the most sat isfying ba lance between f ixed media and l ive instrument. Whether the instrument is a !grand" or !upr ight" makes no d i f ference, so long as i t has at least th i r ty keys and sounds (preferably) as wr i tten. The Schoenhut mode l 3005 conforms to the speci f i cat ions I #ve enumerated and is , to my knowledge, the most appropriate instrument to use in performance. Schoenhut toy p ianos are ava i lab le for purchase at: http ://www.toyp iano.com

EQUIPMENT LIST: 1 mixer 1 PA or stereo speaker system 1 microphone for ampl i f i cat ion of the toy p iano 1 Macintosh computer with at least 1 GB RAM 1 aud io interface with at least four outputs 1 pa i r of headphones for the performer OPTIONAL: footpeda l for tr igger ing by performer

TECHNICAL NOTES: There are three son ic e lements invo lved in Wunderk ind : the ampl i f ied sound of the toy p iano, the processed sound of the toy p iano (de lay at REHEARSAL G and opt iona l reverb throughout), and the p layback of s tereo f ixed media . The toy p iano should be ampl i f ied by p lacing a microphone under the body of the instrument, near the soundboard . Route the microphone d i rect ly to Input 1 on the aud io interface , which should be connected via F i reWi re or USB to a laptop runn ing the performance patch. Outputs 1&2 from the interface are the f ixed media , le ft and r ight channe ls . Output 3 is toy p iano and l ive process ing, which should be ass igned to the main stereo speaker pai r . Output 4 is the cl i ck track, sent to the performer v ia headphones. Numbers enclosed in squares below the F ixed Med ia staff indicate cues that must be tr iggered. There are two methods to progress through cues in the performance patch. The f i rs t i s by a sound techn ic ian press ing SPACEBAR on the laptop. The second is by the performer us ing e i ther a USB footpeda l set to output a SPACEBAR message (connected d i rect ly to the laptop !s USB port) , or a MID I susta in pedal (th is must be connected to an e lectron ic keyboard , which in turn must be connected to the aud io interface with a MID I cable). The locat ion of the laptop and interface wi l l depend on which tr igger ing method is used (next to the mixer i f the techn ic ian is cue ing; onstage i f the performer is cue ing with a footpeda l ) . E i ther way, i t i s preferable to have a sound techn ic ian monitor ing levels at the mixer. The performance patch and instruct ions for use may be acqui red from the composer . I f us ing a computer runn ing Max/MSP, a Max patch and f i les wi l l be provided. Otherwise a standa lone app l icat ion is avai lable that does not requ i re the insta l l ation of any other software . To acqui re performance mater ia l s or ask any quest ions, p lease contact me at : t imroycomposer@gmai l .com P lease not i fy me of any performances of the p iece .

&

?Toy Piano

5" 7" 3"

œ# œ œ œ œœa œœ œœ œ œ5"

all timings are approximate

œ œ œn œ œnFixed Media tacet until m. 12

UChildlike, with a naive clumsiness…

!ßœ œ œœ

5"

œœ

Up

œ œ œ œ# œ œœa œ œ4"

œ# œn œ

Uß !

&

?T. Pn.

9"3"

4

œ jœ œ œ œ œ œ œ6"

œ œn œ#

Up F

œ jœ# œ œœn œ œnœ œn œ œ

5"

œb

œ œ# œœœb

Up

!

fP

F

P

&

?T. Pn.

7" 10"

cresc. poco a poco

6

œn œb œ œ œ œ jœœ œ œ œ

œ œb œb&

F pœœb œn œ œ

œœn# jœb œ

œb œ œ œ œ œ œn œ œ œ

œœn# jœb œ

WunderkindTimothy Roy

© 2011 Timothy Roy, ASCAP, All Rights Reserved

for toy piano, live processing, and fixed media

commissioned by Kari Johnson and the Kansas City Electronic Music and Arts Alliance 2011-2012

&

&T. Pn.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~9"

(cresc.)

7

œb œ œ œ œ œ œ œ œ œn œ œ œ œ œ

œœn# jœb œ œb

œb y œn œ œ

œ# œn œ jœb œ œb

œb œ œn œb œ6"

?

œ# œn œœ œ# œn ?

Uf

?

?T. Pn.

Ÿ~~~~~~~~~~3"11"

8 œ# œ œ œ# œ Jœ

œn œRamps up reverb

UP p

jœ# œ œb œ

œ œ œ# œ# > œa > œa > jœn œ# > œa > jœ# œœœœ# > œ# y œa œ œ# œ#

œn œn œ œ

œb œb5"4"

&

œn œ# œ# œä œœn#

UF f ƒ

1

pesante

&

?

46

46T. Pn.

3" 8"10

œ# œn œ œ œœa œœ œ2"

œn œ œn œ œn

US !

jœ# œ œn œœnb

œp

2Wunderkind

&

?

&

46

46

46

44

44

44

43

43

43

44

44

44

Toy Piano

Fixed Media

w h

œ œ

12

.wfixed media and click start

n p

Deliberate, somewhat relaxed q = 104

p

2

A

00:00

œ

wwn p

œ

wwÓ Œ œœ

æn

Ͼ

..˙̇..˙̇æ

&

?

&

ã

44

44

44

44

43

43

43

43

44

44

44

44

45

45

45

45

42

42

42

42

44

44

44

44

T. Pn.

F.M.

h.16

w>!

16

wwwwwbb

drone continues to m. 41

Œ ‰ ‰ J¿ Ó3

continues to m. 41

*

Swood attack

irregular reverse texture

F

f...˙˙̇b

>

Œ ‰ œ œ jœ3 3

.....˙̇˙˙̇bb

!

.˙b>

œœ œ œb www

w

˙-

wwwwwbb

!

F

grazioso Pœ œb œ œ

3

!

Ó Œ Œ œb æ˙̇˙˙̇bb .....

˙̇˙˙̇

!

n

Jœb ˘ ‰ Œ

!

æ̇˙̇˙˙̇bb

!

f

3 Wunderkind

*Louder attacks in the texture are not necessarily placed on divisions or subdivisions of the beat.

&

?

&

ã

44

44

44

44

43

43

43

43

42

42

42

42

44

44

44

44

T. Pn.

F.M.

h

!

21

Ó Œ ‰œ œR

jJ

œœœb

Ó ‰ jœ> œ .œ>21

jœb˘

œ(.

œ.

œ.

œ.

œ.

œ.

œ ).

Œ ‰ Jœœ.

Ówwwwwbbdelay

"

S

F

P

f œœœ œb œbR

.œ jœ

"

.....˙̇˙˙̇bb

.˙ C drone continues to m. 41

"

#P

poco

œ œb Jœ œ3

"

˙̇˙˙̇bb˙

"

œb

"

˙̇˙˙̇bb˙

"

&

?

&

ã

44

44

44

44

43

43

43

43

42

42

42

42

44

44

44

44

43

43

43

43

T. Pn.

F.M.

h

!

25

Jœb ˘ ‰ Œ ‰ œ œ œ œ œ

Œ ‰ jœ> œ .œ> œ25

˙-

wwwwwwbb

Œ j¿ ‰ Ócontinues to m. 41

S

key click texture

#

wood attack

F

f.œ jœ# œ œn œb œb

>

‰ ‰ Jœœœb ˙˙˙

3

.....˙̇˙˙̇bb

.˙

.˙nreversed drone

œ œb

"

˙̇˙˙̇bb˙

˙

Jœb ˘ ‰ Œ Ó

"

Œ $ œ œb œ œ œ œ# œb ‰ Œ6

3

Jœœ ‰ Œwwwwww

bb

œ rœ> ‰ . Ócontinues to m. 41

f

Sfhigh shimmer

F #

4Wunderkind

&

?

&

ã

43

43

43

43

42

42

42

42

44

44

44

44

T. Pn.

F.M.

q.q

29

! .Jœ> œ jœ# œ œb œb >

3

...˙˙˙b

29

.....˙̇˙˙̇bb

.˙

"

œ ‰ . rœ œb Jœ>

3

Π!...J

œœœb œœœ

.....˙̇˙˙̇bb

.˙

‰ ‰ j¿ Œ Œ3

wood attack

œ Jœ>

"

˙̇˙˙̇bb˙

"

œ œ œb œ œ œ# œn

"

˙̇˙˙̇bb˙

"

&

?

&

ã

44

44

44

44

43

43

43

43

42

42

42

42

44

44

44

44

42

42

42

42

T. Pn.

F.M.

q

#

33 œb ‰ jJ

œœœb œœœ œœœ

‰ ‰ jœ œ œ œ œ œ jœ3 3

33

wwwwwbbw

Ó ˙reversed drone

n

ƒŒ .œb > rœ

>Jœ

"

......

˙̇˙˙̇˙

bb

‰ Jœœ Œ Œ

rœ>

‰ . Œ ŒS

f

œ jœ œb œ# œn œb œ3

"

˙̇˙˙̇bb˙

"

œ œœœb jJ

œœœœœœœ

b ‰

Œ ‰ . rœ œ œ

wwwwwwbb

Œ ˙ œ jœfl3

$ S

ƒ

5 Wunderkind

&

?

&

ã

42

42

42

42

43

43

43

43

T. Pn.

F.M.

q.37 œb Jœ

!

37

˙̇˙˙̇bb˙

!

fœ œ œb œ œ# œn œb œ6

!

˙̇˙˙̇bb˙

!

œ œœœb J œœœ

Œ œ .œ

˙̇˙˙̇bb˙

!

œb> œ œb > œ# œn œb R

œ jœœfl

6

3

click stops

Œ ‰ ‰ Jœœ˘

3

&

˙̇˙˙̇bb˙

!

ƒ

U

U

&

&

&

ã

43

43

43

43

46

46

46

46

44

44

44

44

42

42

42

42

43

43

43

43

42

42

42

42

T. Pn.

F.M.

Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~~~~cresc. poco a poco

41

‰ . Rœn Jœ .œ

‰ . rœb œb œ œ œ41

!

!

espressivop

U

U

Slower, a piacere

!

click resumes

Ó Ó Œ ‰ jœ?

œb œb œ wA

!

fixed media and click resume

p

Aggressive q = 104

P

3

B

00:00

wœ>

œb .˙

...˙˙˙bJœœœ œ

3

wwwb

w

low rumble

high metallic resonances

n

col "

n

J̇œ .œb

...œœœb jœæ̇

˙˙˙b

n

.œ̇ œb .œ Jœ

...˙˙˙b

.æ̇...˙˙˙b

6Wunderkind

&

?

&

ã

42

42

42

42

44

44

44

44

T. Pn.

F.M.

gliss.

(cresc.)

q.46

œb œ œn œb œn œb œœ# œn œb

œn ‰

46

æ̇ œ>˙˙˙b

˙

Sf

ƒ

Ï

Ï

Reverb tail!

!

!

wæIrregular tremolo

!

q = 120

n

C

00:09

!

!

wæ

!

&

?

&

ã

T. Pn.

F.M.

49

!

!

49 wæ

!

!

!

wæ

!

p

!

!

wæ

!

!

!

wæ ˙Ó

Ó Œ – – – – –5

Low attacks

Rhythms are approximate

ß

p

!

!

wæ

!

w>

!

wæ

Ó Œ ¿ ¿ ¿ ¿"

5

Mid-range attacks

P

p

Ó Œ Œ Jœ3

!

wæ

!

˙ œ Jœ œ3

!

wæ

Œr¿ ‰ . Œ ‰ ¿ ¿ "

3

7 Wunderkind

&

?

&

ã

T. Pn.

F.M.

57 w

!

57 wæ ˙æ̇

Irregular tremolo continues to m. 96

‰ ¿ ¿ ¿ Œ Œ ‰j¿3

‰ œ jœ Jœ Jœ œ œ3

!

Œ .˙

‰ . r¿ ¿ ¿ ¿ Ó

P

w

!

Œ ‰ " Rœ# > œ œ œ#Œ

‰ . r¿ ‰j¿ Œ " . ¿ ¿ ¿ "

F

!

!

!

" r¿ ‰ Œ ÓÓ ‰ . R– J– ‰

!

!

!

Ó " – – – – J–‰

5

Ó Œ œÓ ‰ ‰ Jœ œ

3

!

!

!

œ jœ jœ œ ˙3

w

!

!

‰j¿ Œ Œ ‰ ¿ ¿ ¿

3

&

?

&

ã

T. Pn.

F.M.

64 ˙ Ó

!

64

Œ œ# œ jœ œ3

‰ . r¿ Œ ÓÓ " " – – – – J– ‰

6

p Í

!

Ó .œ jœ#jœ&

www

‰ j¿j¿ Œ Œ ¿

" ¿

P

Í

Œ ‰ Jœ œ œ œn jœ œ

˙ Œ œ# œ3

Ó ˙b

¿ ¿ " " ¿ Œ Ó3 Mid-range attacks cont. sporadically to m. 96

n

w

wwb

w

!

F!

!

œ œ# œ œ# œwcontinue to m. 96

Ó Œ " – – – "

5

n

8Wunderkind

&

&

&

ã

T. Pn.

F.M.

cresc.

col !

69

œb

"

69 œ# œn œ œb œ‰ œ œ Ó5

wadd sporadic amplitude

modulation of D! drone

Œ ‰ # #R– J–

‰ Œ3

f

p

P

approximate placement of notes, ad lib.

œb

"

w

Ó Œ – – # ‰3

œb

"

#

œ œb œ œb œ # # œ œ Ó5 3

w

– – – ‰ Œ Œ ‰ # #R–

5 3

Ó œ œ .œ jœ Jœn

Ó œ œ# jœ3

Œ .˙b

w

Ó jœ ‰ ŒJ– ‰ Œ Ó

?

F

$

"

wwŒ ‰ ‰ . œ œ# œ œ œ ‰ ‰

55

w

Ó Œ jœ ‰

œb

"

wwwwwb

Ó Œ jœ ‰wn

œb

"

Œ ‰ . œ œ# œ# œ ‰ . Œ5

5

wwwww

w

&

&

&

?

T. Pn.

F.M.(cresc.)

col !

w

Drones, textures, and low

hits continue

76

"

œb76 Ó ‰ . œ œ# œn ‰ œb œn5

5

wwwww

Œ ‰ œ Ó3

wf

f

www

wwbb

gggggggggggggggggggggwwwww

w

ƒ

f

D

1:09

"

"

"

4

œœœbb# œn œb œ œ Jœb ‰ Ó5

ramps down toy piano gain

F

f

jœ œ

œ# œ

"

jœ œn

œ# œ

Œ ‰ . œb œ œ œb œ ‰ Œ5

5

jœ œ œ œ œn

œœbb"

9 Wunderkind

&

&

&

T. Pn.

F.M.

Gradually include more gestures per measure

cresc. poco a poco

(drones, textures, low hits)

83

83

Œ ‰ . œb œ œb œ œ œ! Œ

5

5

" ‰ . œb œ œn œb œn ‰ Ó5

5

Ó Œ ! œ# œ œ œb5

Jœn ‰ Œ Ó

&

&

&

T. Pn.

F.M.

simile

(cresc.)

(drones, textures, low hits)

88

88

Ó ‰ . œ œb œ œ œ#‰

5 5

Ó Œ ‰ . œ# œ5

Ó !œ# œ œb œ œ œ œ#

‰5

5

œb œ œ œ œŒ Ó

5

Ó Œ !œn œ œb œ

5

10Wunderkind

&

&

&

T. Pn.

F.M.

simile

(cresc.)

(drones, textures, low hits)

92

92 œ# œ ‰ . Œ Ó5

Œœb œ œ# œn œn œ œ ‰ . Œ R

œn5

5

5

œb œ œn œ#! Œ Œ Œ R

œ5 5

Ó Œ ‰ . œ œb5

œb œ œn œ#! Œ

!

œ œb œ œnJœ ‰

5 5

ƒ

&

&

&

?

47

47

47

47

46

46

46

46

44

44

44

44

T. Pn.

F.M.

h.

Œ Œ Œ Œ œ œb œ œn œb œ

œ# œ œb œb

œb?

96 œ œ œ# œ œb œ œ œn œ œ œbœ œb œ œn œ# œ œ œb œb œn

˙b

œ œ# œ# œ œ œb œ œ œb¿

œ œb œ œb œ œ# œ œN˙

ramps up toy piano gain

& ?

Cut off abruptly!

Aggressive q = 104

f

low thud

5

E

1:47

>̇Ó Ó

"

.w

.w–crossfade with flanged sound

ß

.˙ œ

"

w

w

P

accelerating reverse

envelopes

n

11 Wunderkind

&

?

&

?

T. Pn.

F.M.

q q. q (decelerando) ca. e.

h

h

99

œ œ œ œ œ æ̇ œæ œ>!

99

w

wlow flanged A cont.

thorugh m. 123

&

S

ƒ

Ó ‰œ œ œ œ œ œ

Œ Œ Œ Œ

œ œ œ œ œ œ œ œ œ œŒ œ œ œ œ œ œ œ œ œ œ

Œœ œ œb

.˙bwwwwwbb

drone cont. to m 124

P

P

F

œ œ œ œŒ

Œ Œ Œ Œ

Œ ‰ œ œ œ œ œ œ œŒ Œ œ œ

Ó ‰ jœ œ œ œb œ œb

f P

continues to echo upper

voice an 8ve lower

œ œ œ œ œ œ œ‰ ‰ .

œœ

Œ Œ Œ Œ

‰ œ œ œ œ

Ó ‰ "œ œb œ œ œ3 3

F

&

?

&

&

46

46

46

46

T. Pn.

F.M.

103

œ œ œ œ .œæ jœ>Œ Œ Œ Œ

103

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‰ œb œ œ œ œ œ œ œ œ œ œ Jœ

SfΠ" ...

jœœœ# > ˙˙˙

!

w

Ó Œ ‰ j¿ãßwood attack

fŒ ‰ jœœœ# œœœ

jœœœ# œœœ3

‰ . rœ .˙

!

!

accelerating reverse

envelopes

n

!

Œ Œ jœ œ jœ œ3 3

!

Ó Œ Œjœœ

3

?

P

ß F

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

12Wunderkind

&

?

&

ã

46

46

46

46

44

44

44

44

T. Pn.

F.M.

q.

Œ ‰ jœn Jœ œ œ œb œ œ œb ˙

Œ ‰ jœb œ .œ# Jœn œb ˙3

& ?

107

‰jœ Jœ œ ..œœ# œœ ..œœ œœ Œ Œ

Œ Œ Œ Œ Œ j¿ ‰ßwood attack

F

F

2:16

Œœ# œ œ

œ# œn

œ jœb œ

‰ jœ œn Ó

!

!

Œ ‰ jœœœœbbb ˙˙˙˙

" .jœ .˙

‰ œ œ œ œ

!

" jœ# ...jœœœn# œœœ jœ# ˙˙˙n

!

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

!

reverse envelope

ßn

f

&

?

&

ã

43

43

43

43

45

45

45

45

44

44

44

44

T. Pn.

F.M.

111

Ó " jœn œ œ œb œ œn œ# œn5

Œ ‰ Jœœœb ...œœœ

œ#

‰ œ œ3

111

‰ Jœjœ .œ œœ# ..œœ œœ ..œœ jœ œ

!

œb Œ Œ

œ Œ Œ˙b æ œæ œ

>œ œœ# œb œ œ œb

!

n ß

Œ jœn ˙˙bb Ó

Œ ˙˙̇bn Œ jœ œ jœ3 3

& ?

œb( œ œn œ œ œ )Ó

!

delay

P

...˙˙̇bbb Ó

..˙̇ Ó

!

!

accelerating reverse

envelopes

ßn

13 Wunderkind

&

?

&

ã

44

44

44

44

45

45

45

45

44

44

44

44

T. Pn.

F.M.

115

Ó Œ ‰ jœn Jœœbb

Ó Œ ‰ jœœœbn&

115

œœbn

j¿ ‰ Œ Ówood attack

ß

˙˙ Jœœ jœ# œœn jœn Jœœbb

˙˙̇ jœœœ œ#jœœœbN

!

!

accelerating reverse

envelopes

n

..˙˙ Ó

...˙˙̇ Ó ?

Œ ‰ jœ#jœœœn# ...œœœ

jœ œœœbb Ówith echo

!

ß

˙˙˙bb Œ " .....jœœœœœnbbb

˙̇˙n# Œ œ

œ œ œ œ#

j¿ ‰ Œ Óß

wood attack

Sf ƒ

œœœœœ Œ jœn ˙˙bb

œ Œ ˙˙̇bn& ?

!

!

&

?

&

ã

46

46

46

46

T. Pn.

F.M.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~q.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

120

‰ œb

œœb

œ#œ

œn œb

œ jœ# œœn

œ Œ Œ œ#&

120

!

!

Low, creaky friction

jœn .˙b ¥ ‰ jœœœbbbœbŒ Ó

œœœbn Œ Œ ‰ Jœœ?

Ó ˙b ¥

!

œœœ œœœbbb œœœ œœœbbb œœœ œœœœœ œœ œœ œœ œœ œœ

wÓ Œ œœœbbb

!

Repeat chord an indeterminate number of times with a varying duration between attacks,

ultimately speeding up and cutting off abruptly before rehearsal G

.w ..ww

!

ramps down toy piano gain until it cannot be heard over the fixed media

n

n

6

Ï

14Wunderkind

&

?

&

ã

T. Pn.

F.M.

ca. 40"

124

Mid-range and low attacks fade in

!

ç

G

2:58

jœ# œ

!

activates delay on toy piano

"

7

3:25

jœ# œ œ œ

! ! !

&

?

&

ã

T. Pn.

F.M.

ca. 40"

!

œ œ œ# œ œœa jœ œ œjœ# œn

! !

jœ œ

! ! &

15 Wunderkind

* Repeat gesture intermittently for entire page, attempting to place notes between gestures in the tape. Allow for gaps of inactivity.

Add each new gesture at its approximate placement in time, alternating between all gestures until the end of the page.

*

&

?

&

&

T. Pn.

F.M.

hca. 9-10"

œb œb œn œ œ œn

œ# .œn&

wwæ

ww

deactivates delay

p

F

ca. q = 96

p

8

S

H

4:16 œ œ œ œ œ œ œ œ œ œS !

jœ .œ œ œ œb œ œ œ# œ ˙

˙̇ ..˙̇b ..˙̇b4:27

&

&

&

&

T. Pn.

F.M.

4"128

.œ jœ.œ Jœb

128 wwA wwA

p

–"

low thud

˙ œ œ ˙ w˙n œ œb ˙

?

wwb( ) wwwb( )

triggers high A

!

U

Upn

n

9

16Wunderkind

* Rhythms and durations on this page are approximate;

vertical aligment with the fixed media is most important

&

?

&

&

T. Pn.

F.M.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

accel. into trill

3" 3" 6"

131

œ# œ œ œ œ œ œ œœnœœbb

gggggggggggggg131

P.˙# y

jœ# œ œb œ œ œ œ# œ#.˙# y

triggers soundfile; ramps down toy piano gain10

f

n

˙

w y

wwwbnbF

p

Fn

&

?

&

&

T. Pn.

F.M.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~7"

˙# œn œ#

134 œb œ œb œ œ œ œ œb œn œb œ œb œ#œb œ œb œ œb œ œb œn œb œ œ#w# y

wwwbnb

ramps up toy piano gain

p

11

17 Wunderkind

&

?

&

T. Pn.

F.M.

8" 12"

œ œ# œn œ œ5"

?

œ œb œb

135

œ œ œ œ œ œ œ œ œ œ

triggers B delay

S12

U

U

œ# œ œ œ# œ

œnp

jœ# œ 2"

&

wtriggers D drone

U

Un p13

&

?T. Pn.

ca. 40"

138

œ œ œœ

œœ

Up

œ œ œ# œ œ œ

œ# œ œœ

Ujœ# œ œ œ

Uœœ# œ

œn

May 2012

Mission, KS

audio off

U!

14

18Wunderkind