Chapter 4 Phonetics

  1. You talk and I talk or using friends recordings and transforming them to play an instrument.
  2. The sound and the message behind the language – what does it mean or what would it mean if?
  3. Braking up words and phrases to individual sounds – be my guest! 'Bbbb – eeee mm yyyyy guu-uuuuu-uuu ee – e – eee – eee sss sstt'
  4. Musicalising the word or talking and playing – training.
  5. Tales about phonetics – phonetics in cords, articulation, melody and 'classic' musical problems 'Brahms ok. ok. ok.'
  6. Blowing and talking – moving objects
  7. Synthesis of word sounds
  8. Talking to...
  9. Pass it on
  10. Reading to the clarinet – cat had a fence, nws 1

Transforming sounds that come from the mouth into music reminds me of something.

Transforming sounds that come from the mouth into music reminds me of something. Exactly. The subject of my études that is the inspiration with beatboxing techniques. So we divide. Cut. Cut. Cut and intertwining, musicalizing. As the beatboxers write down their beats so I will also try to divide the syllables spoken by my colleagues to these little 'rhythmitized poems'. Melodeclamation? Rap? To rap one needs to dispose to it by assuming the right kind of position. Start. I try to be a rapper. Again I introduce the subject of modulating by word what will soon be musically developed.

Je suis. I am. Je e e e e sssssss

Je suis. I am. Je e e e e sssssss ui --- ui --- ui s. Now I will be reworking this material, creating in accordance with possibilities development and interpreting through the concept of structure based on a1 from niente [clarinet] – ye ye ye + enters into the clarinet, clarinet sound appears (zooming) – clarinet movement towards the front totally suddenly 16 – in the end clarinet a1(z -) [clarinet] – e e e e – here going back to the initial position - clarinet procession downwards delicately and silently – sssssssss finishes it – ui – clarinet – ui – clarinet – ui – clarinet forte!!! D3 [clarinet] ------ pause ------ s. 'Je suis' means I am. English 'I' French 'je' - bouncing between languages on the basis of changing sounds. I bounce like a ball – language ball. Pum, pam, pum, pam – sideways movement light and ultra straight.

The meaning and the sound of a language are two markers generated by a word

The meaning and the sound of a language are two markers generated by a word (here again the issue of modulating with word). Meaning carries emotions. When we find out that the gasoline price will go up we outrage and so this is how we play the instrument. 'What is this? What is that supposed to mean with this Ga so line!'

Focusing on language doesn't tell us to arrange the meaning of words

Focusing on language doesn't tell us to arrange the meaning of words but allows us to totally open up our imagination. O TR SSSS CH CHSH ui iiiii TR O TR O S O TR TR TR iiiii TR.

It is one of the main missions of 'composed education'

It is one of the main missions of 'composed education'. Setting apart the meaning and the sound so they could coexist parallel to the music and the instrument. The weirdest sound, the weirdest behavior described even with a short 'o! Scratch!' aha can a scratch last long? Last long but at least make sense caused with space. You are here, there and even further [here walking and checking the instrumental scratch].

Jest czymś niezwykłym przyjrzenie się z jakich brzmień składa się nasze codzienne komunikowanie się lub mówienie do siebie.

It is an unusual thing, looking at the components of our everyday communication and talking to each other.

We can look for inspiration in a longer phrase but we can also focus on one word and musicalize it giving it a new dimension.

We can look for inspiration in a longer phrase but we can also focus on one word and musicalize it giving it a new dimension.

'Encyclopedia' is en en ene en cyyyyyyyyy clooooooooooo ppppppppppppp edia! Edia! Edia!

Musicalizing a word means nothing more than interpreting it through various components of a music piece.

Talking, phonetics is also letting air out, making wind.

Talking, phonetics is also letting air out, making wind. Talking with hurricane air we can influence space creating various sound installations based, in a arranged way, on air dynamics. We have to prepare the score in such a way so that it can, more or less, predict this kind of reaction of space. It should not be an inert letting air out, it must be practiced.

SCHOOL – paper movement – the same as a small finger movement, which causes a specific sound performing [inspiring with movement]

The next stage of our search is an intent to synthesize some sounds

The next stage of our search is an intent to synthesize some sounds, which leads us to become aware of how a broad subject we're dealing with and how does it influence the lip mechanics, the search for a new resonance in an instrument. Having resonators like jaw, cheeks, throat, mouthpiece, the wood of the instrument or a bell, in the point where the pronounced syllables meet, there is a different possibility of co - sounds. GR + PS = GPGPGP GPSHSHGPSH. Execution of this kind of experiment is possible with a graphically advanced notation based on tasks.

Adding elements of movement and action into a sound experiment planned this way we can additionally control the effects.

Adding elements of movement and action into a sound experiment planned this way we can additionally control the effects.

'Talking to... ' is a method based on making attempts of directing words to different points and directions in space.

'Talking to... ' is a method based on making attempts of directing words to different points and directions in space. Talking to the bell, talking to the floor, talking to paper, talking to the mouthpiece or talking to a hole in the instrument makes sense in an all round alignment of these ways with the structure of the piece.

To finish the chapter, we look at the subject of reading to the clarinet

To finish the chapter, we look at the subject of reading to the clarinet. Texts I recommend – stories transformed into scores.

'The best fruits are in the orchard. They can be picked straight from the tree if the orchard is yours'.

'Grains of sand fell down. Catch them or else you will have to pick them from the rug and that's really difficult.'

'I can sing a nice song tra la la if multiphone, slap and frulatto will appear in it'.

Stories planned this way can be used to cooperate with the audience on the basis of passed on sounds. We pass on sounds, which should smoothly reach the end of the line.


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The development of these „Études” was partially financed by an Artistic Scholarship granted to me by the Bureau of the City of Warsaw.Urząd Miasta Stołecznego Warszawy

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