Musical suite
in 10 movements
(words : Alomée PLANEL)
Marina, Brise d'aurore,
Ombre & lumière, Le conte du goëland, La harpe magique
#1, Le murmure des vagues, La grotte, La harpe magique #2, Voyage,
Ailleurs
Saxophones :
Jean-Paul Bouvatier
Musical excerpts : Harpe magique #2
(performed with the glove)
[MP3 / 360 ko]
Composition, conception
and réalisation of the sensors and of the interactive device :
ß. MERLIER
Bio
Catalogue
oeuvres
excerpts available on CD
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duet for saxophone and
interactive electroacoustic devices
Several sensors detect
the performer's movements (arm or hand). A computer receives these
informations and manages digital sound generation as well as music
spatialization among the concert room.
In 'Brise d'aurore',
the movements of the arm allow to play with sound patterns, to trig
wind breases and imaginary bird songs apparition. This sensor (not
shown here) reacts to the arm gesture energy.
'La harpe magique'
is another virtual instrument. A home made data glove allows to sense
the performer's fingers flexion and hand inclination. So the performer
can play and spatialize electroacoustic music (on 8 loudspeakers) in
real time on stage, in duet with the saxophon player.
Electroacoustic sounds
are produced owing to a sampler.
Photo PEF
The glove : a new
instrument
Action ! software
- especially realized on purpose - collects and manages several gesture
informations, coming from the glove or from the 'Brise d'aurore' sensor.
Action ! is a
MIDI multi-sequencer (several independant sequencers) : up to 128 MIDI
sequences can be trigged independantly at any time, even with different
tempi ; sequences can be looped, stopped at any time or run to the end.
Several sequences can be chained together. The most important point is
the extreme temporal freedom brought by this software.
Several small MIDI cells
were prepared in studio before the concert. This concert instrument
particularities allow to compose and perform quite complicated sound
textures, with really few compromises. I do not have to write more
simply in order to be able to perform on stage.
performing space live
on stage
Gestures are made simple
and relatively clear for the audience :
- flexing a finger trigs the sounds or controls sound level,
- inclination of the hand (left, right, front or back) controls sound
spatialization : either sound position of an new sound, either its
movements on 8 loudspeakers all around the audience.
Thanks to that new
instrument, I can trig each sound element precisely when I wish, I can
control levels, lights and shades, timbre, durations and rhythm, as
well as space.
Like an orchestra
conductor, I can drive up to 128 zealous performers that are at my beck
and call.
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