Composed by Scott Miller (2011)
For Kingma System Alto Flute (or Flute) and Electonics
Published by Tetractys Publishing
Includes flute part only
Anterior/Interior was written for flutist Carla Rees. Anterior refers to our initial experience with the sound of the flute – the external shape that we hear, before entering into the sound. The interior can be found in the smaller, quantum level relationships contained within this shape. Real-time digital processing allows for intense magnification and dissection of the flute's sound, revealing beautiful inner rhythms and harmonies, always present but not always easily apprehended.
Anterior/Interior is written to exploit the multiphonic and microtonal potential of the Kingma System Alto Flute. Fingerings for multiphonics are provided, based on Carla Rees' CD-ROM “Composing for the Kingma System Alto Flute.” Microtones are notated using Tartini 1/4-tone sharps and flats, and ↑ and ↓ to indicate slightly – but indefinitely – higher and lower pitches.
Performer decisions will radically impact electoacoustic timbre; the influence of different inflections and articulations of multiphonics should be explored in rehearsal. Electronic sound is a mixture of live processing and fixed-media.
Time is indicated in oval enclosures and always refers to the downbeat of the measure. The timings correspond to the Kyma timeline and so may not reflect the precise time passed, depending on the performance pace between cues.
The interactive version requires a Kyma system [Capybara-320, 12 processors minimum or Panca(rana) with 2 x 2 audio interface] presented with stereo or multichannel diffusion. The flute should be close miked, sent to Kyma inputs 1 and 2 [input 1 mic is near the mouthpiece, input 2 mic is near the foot]. It may be desirable, depending on the performance space, to create a dry instrument mix, summed with the electroacoustic content to achieve a balance of sonic elements. Processing of live input is a mixture of real-time timbral transformation and delayed output. Electroacoustic sound is not notated, but descriptive text is used to refer to some key events.
CUE marks refer to moments in the interactive version that processing is paused in time to allow for greater expressive performance and coordinated response to fixed-media. The electronics technician should press the CUE button on the Virtual Controler Surface [VCS] in the Kyma software to continue the processing timeline at that moment in sync with the live performer. CUE 1 allows the Kyma timeline to be compiled and running so that it may begin immediately.
In the fixed-media version, CUEs indicate when to trigger successive audio tracks, which will overlap in performance.
CUEs are always on the downbeat of the measure, regardless of placement, with the exception of CUE 6.