{"id":9623,"date":"2013-11-30T15:09:13","date_gmt":"2013-11-30T14:09:13","guid":{"rendered":"http:\/\/blogs.nmz.de\/badblog\/?p=9623"},"modified":"2013-11-30T15:09:13","modified_gmt":"2013-11-30T14:09:13","slug":"i-have-to-write-a-text-about-my-new-piece-123","status":"publish","type":"post","link":"https:\/\/blogs.nmz.de\/badblog\/2013\/11\/30\/i-have-to-write-a-text-about-my-new-piece-123\/","title":{"rendered":"I have to write a text about my new piece „1,2,3“"},"content":{"rendered":"

\"\"<\/a><\/p>\n

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\u00a0Dear Mr Eggert,<\/em><\/p>\n

Our Communication Department ask for documentation. We need very quickly a short notice on \u00ab\u00a0your new work for big Ensemble\u00a0\u00bb will be played on February 22th 2014<\/a>.<\/em><\/p>\n

\u00a0Thank you for your quick answer and to send us by return mail.<\/em><\/p>\n

\u00a0Kind regards,<\/em><\/p>\n

\u00a0Caroline de Saint L\u00e9on<\/em><\/p>\n

Direction de la Musique<\/em><\/p>\n

Bureau de la Cr\u00e9ation Musicale et de la Musique de Chambre<\/em><\/p>\n

Dear Caroline,<\/span><\/p>\n

This is my text for the piece (attached), which is called<\/span><\/p>\n

1,2,3<\/span><\/p>\n

For sampler and ensemble.<\/span><\/p>\n

\u00a0I’m nearly finished and the score will be available from roughly December 10 on.<\/span><\/p>\n

\u00a0All the best,<\/span><\/p>\n

Moritz<\/span><\/p>\n

\u00a0<\/p>\n

\n

1,2,3<\/span><\/strong><\/p>\n

For sampler and ensemble<\/span><\/em><\/p>\n

By Moritz Eggert<\/span><\/p>\n

The basic idea for this piece is very simple. The sampler (played by the composer) uses 3 different sounds for the most part of the piece. These sounds are the spoken numbers \u201c1\u201d, \u201c2\u201d, \u201c3\u201d, \u201c1?\u201d, \u201c2?\u201d, \u201c3?\u201d, \u201c1!\u201d, \u201c2!\u201d, and \u201c3!\u201d<\/span><\/p>\n

\u201c1\u201d switches \u201cmelody\u201d on.<\/span><\/p>\n

\u201c2\u201d switches \u201charmony\u201d on.<\/span><\/p>\n

\u201c3\u201d switches \u201crhythm\u201d on.<\/span><\/p>\n

\u201c1!\u201d stops melody (or a layer thereof).<\/span><\/p>\n

\u201c2!\u201d stops harmony (or a layer thereof).<\/span><\/p>\n

\u201c3!\u201d stops rhythm (or a layer thereof).<\/span><\/p>\n

This has to be taken quite literally: a melody starts in EXACTLY the moment that \u201c1\u201d is pressed, and it stops EXACTLY the moment when \u201c1!\u201d is pressed (for example). <\/span><\/p>\n

\u201c?\u201d means a variation of the corresponding parameter, for example an embellishment (melody), a transposition or modulation (harmony) or a change of speed (rhythm).<\/span><\/p>\n

These simple rules never change throughout the piece. Therefore the sampler becomes an audible catalyst for musical processes that are very similar to the electronic live mixing used by DJ\u2019s, but in a much purer and recognizable form.<\/span><\/p>\n

We are all used to \u201cswitch on\u201d and \u201cswitch off\u201d devices in real life. We use the lightswitch, we switch on and off computers, phones, tablets etc. Our world has therefore become digitalized, not only because of our use of binary computers but because our perception of reality has become increasingly rigid in the sense that we constantly encounter a \u201cno\u201d (= 0) and \u201cyes\u201d (=1) state. This also creates an increasingly materialistic way to view reality \u2013 things either have a value (they \u201cwork\u201d) or they don\u2019t. There is nothing in between. On one hand our life has become more complex, but with this new world view we make it actually much simpler than it was before. Probably too<\/em> simple.<\/span><\/p>\n

Music in the past has used techniques like general bass or harmonic sequences to create a superior layer that all the notes have to relate to. This relates to the old belief in a \u201chigher order\u201d which has increasingly vanished in our times. The possibility to switch \u201con\u201d and \u201coff\u201d nodes inside the system<\/em>, to create musical sequences where tones are not reacting to a superior layer but to commands inside the piece that form their own layer of meaning (with their hierarchy exposed) is something new and something I would like to explore.<\/span><\/p>\n

Moritz Eggert, 29.11.2013<\/span><\/p>\n<\/blockquote>\n

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