Tone Being (2016)
for Tam Tam and sub woofer
Commissioned by Louise Devenish.
Premiered at the State Theatre Centre, Perth, August, 2016.
Other performances: Book of Daughters, JOLT Arts, 11 November 2016,
Performing Ideterminacy Conference, 2 July, 2016, Leeds, UK; INLAND, Perth, September 2017.
Released on Louise Devenish 'Music for Percussion and Electronics, Tall Poppies CD TP248.
"Physical movement, the trajectory of lines and pressure served to elicit a wide variety of timbres: scrapes for a harsh chirring, brushes for a whispering hush and rubber mallets for vocal-like phrases born out of friction against the metal." Eduardo Cossio, Cool Perth Nites. Read the full review here.
"Tone Being explored the sonic and textural possibilities of the tam-tam (a large gong-like instrument) in conjunction with subwoofer, which served both as an audio striker and another layer of sound, continuing Hope’s long-standing exploration of very low frequencies." Lisa MacKinney, Limelight. Read the full review here.
This is a study that continues Cat Hope’s explorations into low frequency sound as a frame for music structure and textural reflection. It is the second of a series of works for instruments and a sub woofer part. The sub woofer part, which is built into the score, consists of sine tones pitched according to measurements taken from distances between parts in the graphically notated score. This score is made up of ten unique approaches to the surface of the tam tam, that are presented to the performer in a fixed order and duration. The work explores an emphasis on the line as annotation for for timbre, time and harmonic development.
Each colour is a different beater;
Red: Superball (2 different sizes)
Blue: yarn mallet (variety of sizes)
Yellow: hard mallet or sticks
Orange: soft brush/brushes.
Green: mallet or object of performers choice
orange circle - metal bowl to ‘cup’ the sound.
sub part indication is in pink (not to be played)
The circular space indicates the area of the tam tam. Lines indicated a dragged mallet, with no audible attack at the start. The width of the line indicates the pressure/volume applied. Unless indicated, the direction of the line is free. Filled circles are hits, dynamic suggested by size. Take your time between each ‘figure’ on each slide; overlap them at times, vary the time you take between each figure. Move smoothly between slides as they fade over each other. The sub part is roughly indicated on each slide.
The score should be read in the Decibel ScorePlayer app on an iPad, with the a file that needs to be uploaded, available here. It can also be read as a video score, with accompanying sub part, available from the composer. A paper score is also available. The electronic playback comes from the score – and should be amplified through a sub woofer at a volume that balances with the tam tam. The loudest tam tam moment should clearly overpower the sub level. Allow the last sound to ring out as long as possible.
This work makes part of a an ABC Classic FM New Waves Podcast, which can be streamed here