Juan Felipe Waller
"Die sprechende Stummen" (2022)
Research and composition investigating the role of the mutes that the instruments normally use to dampen their sound or change the tone of their instruments. The transformation gives the mutes another layer of participation within their original purpose. This means, that besides dampening, rather contradictory, they will also obtain a sounding role, by means of amplification. The mutes are rebuilt with amplification through the use of speakers and/or transducers. The performer will have the possibility to affect it’s own sound by means of another sound directly into the instruments bell. This will have different implications and consequences to the sound experience, first for the player and ultimately also for the listener. The kind of sounds that are amplified will originate from three different sources:
1) amplifying a fellow musician’s tone live directly into the bell of another player’s instrument.
2) recorded sounds that have as characteristic a similar tone or sound world as the brass instrument itself. Long tones, and in similar register, so that both tones can blend and the player can move with or against the sounds produced by the mute.
3) speech-like and percussive contrasting sounds, different to the sound world of the instrument itself.
Some examples of different mutes created, tested using the three different tone approaches include: harmon mute with exciter / transducer (sound withing bell, the mute becomes the amplifying element, sound is ‘objectified’), straight mute with built in speaker (outward sound from bell of instrument), plunger mute with speaker (inward sound, towards bell of instrument).
Amplification & feedback
Further conclusions and research for the piece focuses the sort of amplification. In the 70’s a special amplification technique designed by Barcus Berry emerged, where a contact mic inserted directly into the mouthpiece. The amplified sound would only pick up the sound directly from the vibrating mouthpiece, resulting in a specific tone colour. Using this amplifying method within the trio will allow them to play through the amplified mutes directly on each other’s bell, providing a particular ‘controlled’ feedback, enhancing each other’s chain reactions.
Harmonic Soundworld
From the beginning, Zinc & Copper characteristic sound and focused has been on Just Intonation, or pure intonation, where the intervallic relationships are strongly based on the harmonic series, which is a source of a brass instrument’s own construction. This piece will delve into this tuning system, aided by Robin Hayward’s Tuning Vine.
Felipe Waller
Mexican-dutch composer Juan Felipe Waller (1971) studied at the CIEM in Mexico City, and further on at the Rotterdams Conservatorium with Klaas de Vries, and at IRCAM in Paris. Some his compositions include Teguala a percussion quartet for 120 ceramic tiles and electronics, Chemicangelo for organ solo, Calumnia for large orchestra (1st prize at NOG Jonge Componisten), Fulminata, Reconnaissances and Plato Plastic Dialogues. His pieces have been widely performed in Europe, Mexico, Taiwan, Australia and the USA, by reknown orchestras, ensembles and performers. His work is published by Donemus as well as his own publishing WM. His music often involves a ‘lens of deformation’ as an integrative ingredient, manifesting the maleabitlity of sound by intervining instruments, harmonies and pre-established sonorities. Most recently he has developed live performances with a self made a midi-ratchet triggering sound and video manipulation. His live improvisations are characterized by hybrid pulsations, and electronic detonations, and are mostly focused on accompanying film or performative acts. He currently uses hand made weevils which are electronic circuitry sound devices which involve intuitive playing methods, resulting in a mutating range of organic rash clusters.