Fli VII

For
Amplified string quartet
and live electronics
By
Gunnar Karel Msson

2012

Fli VII
Instrumentation
Amplified string quartet and live electronics (made with Max/msp)

About the piece

Fli VII is, as the subtitle implies, is a look into our perception of improvisation.
Instead of giving the performer complete freedom, the material is instead based on fragments
which sound somewhat improvised.
On top of that there is an semi-improvised electronic part, which is in itself nothing without the
performed material.

Performing Fli VII

The seating of the quartet should be traditional, even though more unconventional seating is not
discouraged. The quartet can even be off stage, partially or as a whole.
Throughout the piece the performers should keep expression to a bare minimum, except for sections/
fragments: C, F and I. They should be as expressive as possible.
Technical aspects
As this is a pice for an amplified quartet, all signals coming from the quartet should go directly to
the computer running the electronics.
To do that there will be a need for a soundcard with at least 4 inputs and stereo output.
The speakers should be on each side of the quartet (right on the stage left side and vice versa).
For controlling the electronic part a Korg nano kontrol will be needed, as all the programming is
based around that controller. If there is a problem finding that particular controller please contact
me at gunnar.karel.masson@gmail.com and we will find another solution.
As to how the controller is mapped, I adress that in detail on the next page.

The controller :

Input channels

Cut off freq.

(0-150)

(0-150)

(0-1000)

Input 1

Input 2

Input 3

(0-2000)

Clear (same for all channels)

Filter on/off

Input 4

Output channels
Metro time interval

Add same signal

w/ reverb

(0-500)

(0-1500)
Upper buttons on channel 5 and 7 start
A metro which turns the filter on/off for
output 3 and 4 respectively.
Upper buttons on channel 6 and 8 stop
the metro.
Lower buttons on channels 5 and 6 reset
the metro value

Output 1

Output 2

Output 3

Output 4

Master fader
Clean signal

Modulated signal

Fli VII

Study nr. 1 in pseudo-improvisation

G. Karel

Violin I &

q = 45

>

ff
Violin II

Viola

&

?
Violoncello

mf

J
ff

pp

ff

mf

ppp

The technical instructions are mere guidelines.

In order for the piece does not become too hectic (if that is not the aim, that is)
then you must be ready to listen and judge according to each situation/fragment how
the electronic part should be played.

"Expression then constitutes indexes, icons,

or symbols that enter regimes or semiotic systems."

B

r
Vln. I &

Vln. II

Vla.

&
B

?
Vc.

ppp

Kr

r
b- -
pp

ppp

pp

R
mf

r

>

mf

-
p

pp

b>
mf

mf

x3

pp

On the first repetition set Violin I input at maximum, and at the 3rd time the cello.
No output yet only input !

On the first repetition set all inputs to maximum.

C

Vln. I &

&

ppp

Vln. II

Vla.

?
Vc.
bw

ppp

b
3

ppp

j
b

ppp

ppp

bw

ppp

ppp

ppp

Slowly introduce the output of the material caught in the previous fragments.
Mute and clear everything before the next fragment.

Vln. I &
&

Vln. II

Vla.

Vc.

B n
>
f
?

sul pont.

pp

j
b
ff

sul tasto

sul tasto

ff

pp

O O
R
p

R
pp

x5

"For it is through writing that you become animal, it is through color that you become
imperceptible, it is through music that you become hard and memoryless,
simultaneously animal and imperceptible: in love."

Vln. I &

&

ord.

Vln. II

ff

Vla.

O
R

O
R

ord.

mf

O
J

?
Vc.

x8

&

sul pont.

pp

On the first repetition leave Violin I at maximum, then at the second repetition it
should be Violin II and proceed until all 4 instruments have been caught.
All outputs at maximum (or less if too loud) for the remaining repetitions.
At the end of the fragment all should be muted and cleared.
Clean slate.

Capture all inputs on the first repetition.

b
Vln. I &

& b

pp

Vln. II

pp

Vla.

Vc.

pp
ord.

Vc.

pp

mf

pp

b
J

mf

pp

pp

Gradually output all captured material in the previous fragment.

Clear and mute before next fragment.

r
n.

& r Kr
.
.
ff
.
B

Vla.

mf

bw

G

Vln. I &
Vln. II

b
J

x ad lib.

ff

. . . .
>

rK

. .
>
. .

ff

x 13

. .
ff

.
R
.
R

"It is a tactile space, or rather "haptic", a sonorous much more than a visual space."

H
pizz.
3

Vln. I & r

&

Vln. II

Vla.

Vc.

pp

pizz.

Kr

pp

? R
pizz.

pp

Kr

pp

x8

Kr

pp

pizz.

R
pp

Keep the inputs and outputs at the same level throughout this fragment.
Mute the inputs at the last repetition.

Only output no input.

& .

sul tasto
arco

Vln. I

pp
sul tasto
arco

& b
.

Vln. II

pp

Vla.

sul tasto
arco

b .

b .

.
b .

pp
sul tasto
arco

b .
?

Vc.

b .

pp

<b>.

<b>.

b .

<b>.

b .

On the first repetition set Violin I input to maximum.

ord.r pizz.
Vln. I &
b
mf

&

Vln. II

Vla.

Vc.

At the end of the fragment mute and clear everything.

mf

ord.
pizz.

bb>O
R
3

b
mf

mf
ord.

x5

Kr

mf

ff

b
R
pizz.
ord.
3

mf

R
mf

"There is rhythm whenever there is a transcoded passage from one milieu to another,
a communication of milieus, coordination between heterogeneous space-times."

K

Vln. I &

Vln. II

Vla.

mf

& . . . .
sul tasto
3

Vc.

(pizz.)

(pizz.)

r
>

arco

ord.

R
&

No input/output !

mf

x3

R
R

mf

9
arco

Vln. I & #
>

All inputs at the maximum level.

No output. Only collecting.

ff

Vln. II

Vla.

&

arco
>
#
B

>

#Kr
>
ff
>

& #> >

ff

Vln. I & <#>

Vln. II

Vla.

Vc.

& <#>

B <#>
& <#> #> >

Vln. I & <#>w
Vln. II

Vla.

& <#>w

B <#>w

Vc. & <#>w

3
3

r
>

#>

>

n>

>
3

>

#
>
>
R

> >

>

>

> > >

#
>

> > > >

>
> >

ff

Vc.

>

>

>
r
>

> >

Kr
>

> >

>

>

ca. 30''

ffff

ffff

ffff

ffff

10

The smooth always possesses a greater power of deterritorialization.

Vln. I &
Vln. II

&

Vla.

Vc.

&

2'30''

Here there is only the captured material from the preceeding fragment.
The timer is embedded in the interface, it only needs to be set off.
When the time is up, everything should be muted, that is the que for the quartet.

11

N
O O
#O
Vln. I & #

#O

pp

Vln. II

r
O O #O #O #Oj

#O

r j
j
#
O
O

& #
O O

j
j
O ##O

B # J
pp
sul tasto

Vla.

ppp
sul tasto

Vc.

j
& -

ppp

Vln. II

Vla.

Vc.

j
j
#
O

& #

B <#>J #

-
J

& -
-

- -

j
O

j
O

- - -

j
O

Kr
O O

r
O

- #- -
J

- - - --

j
j
O #O
Vln. I & ##

Kr j Kr j
O O O # O

j
O

##Oj

mf

#- -

jr
- -

mf

mf

r
O

- -
R J

j j
- - -
3

12

Vln. I &

ppp

Vla.

Vc.

? -

Vln. I &

-
J

-
R

& - - -

Vln. II

Vla.

Vc.

ppp

& -

Vln. II

-
R

- b
-

-
J

- -

ppp

-
-
R

ppp

>-

- -

Kr
-
-

-
R
-

fff

fff

>
>
-
R

fff

>- >-
fff