Radiance for Bassoon and Live Electronics

Radiance
For Bassoon, Live Electronics, and Lights
Jon Paul Mayse

Program Notes
Radiance for Bassoon, Live Electronics, and Lights depicts moments in scripture in which God’s presence is made manifest.
The first movement, Genesis, refers to Genesis 1:2, in which His Spirit came over the deep. The bassoon moves between it’s lowest Bb, a
fundamental note, and mutliphonics while the program refracts the sound into four harmonies, emanating from each speaker. The lights create a
sun rise over a sea, with occasional amber bursts as reflections from the waves.
The second movement, Elijah is a meditation on Elijah as he waits by the brook (1 Kings 17). The bassoon moves between three musical materials: a
repetitive note (time passing); low, manic outbursts (despair/psychosis); and a high, lyrical line (hope/calling out). The lights and electronics react to
each register of the bassoons sound; obscuring, granulizing, and distorting the sound.
This movement moves directly into the third, Prayer. Here is Christ praying on the mountain (Luke 9:28-36). The bassoon alternates between
multiphonics which emerge from the lowest and the highest notes of the instrument. This metaphor works on two levels: us/Christ reaching up
to the Father and him reaching down to us, and Christ’s literal transformation on the mountain top in Luke 9. The electronics are mapped to the
register of the bassoon, partitioning the sound to visually illustrate the dialogue between low/high, Father/Son.
The fourth movement depicts the appearance of the New Jerusalem (Revelation 21:19). The bassoon plays a fanfare, with each staccato note
triggering a building harmony and a jewel color from the lights. This builds in anticipation until the glory of the New Jerusalem is fully revealed in
large masses of harmony and unrestrained fanfares.
The piece ends in a reflection on His Glory as revealed Exodus 34:35. The bassoonist, bathed in golden light (as Moses was when he descended
from the mountain), moves between multiphonics, tremolos, and frenetic, upwards scales. This builds towards an ecstatic climax before meditating
on some final multiphonics.
The electronics were written in Max/MSP and use DMX-512 protocols.
Each sound and visual element is derived or controlled by the incoming sound of the bassoon.
Radiance was premiered by Dominic Panunto on July 26, 2018 at the Live/Wire Opera Festival in Philadelphia.

Technical Notes
- The software is written in Max/MSP, with the Zsa.Descriptors external for spectral analysis. The lights are controlled via the DMX 512 protocol, which is
programmed in the Max patch for the piece.
- The piece requires 4x wash stage lights and 4x speakers. Ideally, they would be positioned as follows:
LAPTOP
DMX USB Adapter
DMX Cable
LS 1
(Speaker/
Light)
DMX Cable
LS 2
(Speaker/
Light)
4-Channel
USB Audio Interface
OUT to each Speaker
IN from mic on bassoon
Bassoonist
LS 3
(Speaker/
Light)
DMX Cable
LS 4
(Speaker/
Light)
- The spatialized speakers are ideal, but not necessary. Experiments with spatialization are encouraged.
- The DMX Protocol allows for daisy-chaining lights along, so it is easier to have a cable moving from light to light. This piece uses an 5-channel DMX protocol
for each light (Brightness -Red-Green-Blue-Alpha). When setting up the lights, make sure the light is set to the correct channel in the series:
-LS 1 = D001
-LS 2 = D006
-LS 3 = D011
-LS 4 = D016
If your lights use a different channel set up, please alter the "pack" object in the patch DMX_Radiance accordingly, placing the BRGBA channels where they
now belong and allowing zeroes to occupy any channels in between.

Score
Radiance
for Bassoon, Live Electronics, and Interactive Lights
Jon Paul Mayse
I: Genesis
Bassoon
? U
b w
Ø
Œ
5"
b ˙
ḟ
10"
ë
U
Œ
b w
P
Repeat Gesture;
makng crescendo more extreme
long, slow emergences of MP
b ˙
˙ ˙
∏
π
∏
1'30"
U
6
n ˙
œ œ > . œ . œ . œ . œ .
Ï
U
b w
π
1'50"
U
w
Electronics
Harmonies derived from bsn sound emerge from speakers,
Lights begin crescendo, imperceptible
Lights begin decrescendo,
About 20"
Allow lights to
dim completely
II: Elijah
REED OFF
Air Noise
w
Bsn.
Helicopter Tounge
. ¿ Œ ¿ Œ ¿ Œ .
Ø - F, evenly
r
¿ ≈ ¿ ¿ ≈ ¿ ¿ ¿ ≈ J
¿ r
¿
Key Clicks, ad lib.
LS 1: Frequencies < A3 (220 hz); long, shallow reverb
Ad lib, moving between materials,
altering dynamics, tempo, phrasing
R ¿
· r ≈ O ¿ ¿ ≈ ¿ ≈ ≠
R ¿
≈ o
r
Key Clicks/Tongue Ram/Air Attacks
(Any percussive/brittle sounds)
Sim, but adding vocalizations
ad lib.
h ¿ ≈ h ¿ ≈ R
¿ ≈ ≠ ¿ h
TSK
[CK] TSK Pff
Elec.
LS 2: Frequencies F3 - B3; short, deep reverb
LS 3: Frequencies A4 - A6; Mild reverb
LS 4: Frequencies > D7; long, deep reverb
©2018 Jon Paul Mayse

Radiance
5
Bsn.
REED ON
B
Evenly
&
. œ - Œ œ - Œ œ - Œ .
ad lib. melody; altering or fragmenting as desired,
but retaining registration
b ˙.
œ b œ
P dolce
b œ
b œ .
œ œ œ b œ . b œ .
œ .
Ad lib, moving between materials,
altering dynamics, tempo, phrasing
3
œ.
b œ. ˙-
œ
˙
ATTACCA
∑
∑
Elec.
?
Manic, staccato figurations
Ï
LS 1: Frequencies < A3 (220 hz); long, shallow reverb
LS 2: Frequencies F3 - B3; short, deep reverb
LS 3: Frequencies A4 - A6; Mild reverb
LS 4: Frequencies > D7; long, deep reverb
either/or
Ad Lib. Multiphonics
# b ‚œ n œ ‚ # œ ‚ œ ‚ # œ ·‚ ‚· œ ‚ œ ·‚ ‚·
b ‚
·w
Ï
Bsn.
?
b ‚
·œ
Î
Œ
Alternate between boxed materials, repeating each 3-9x before switching
Long, slow emergence of multiphonics, ad lib. pauses in between each gesture
w
∏
w
p
&
III: Prayer
b w
∏
w
p
?
Filter through multiphonic harmonics,
reaching up to final note
w
π
w
F
b w
&
p
?
solemn, searching
LS 1: Frequencies < A3 (220 hz); long, shallow reverb
Elec.
LS 2: Frequencies F3 - B3; short, deep reverb
LS 3: Frequencies A4 - A6; Mild reverb
LS 4: Frequencies > D7; long, deep reverb

Bsn.
6 Radiance
1
?
q = 60
Ad lib. triplets, like a fanfare, using scale in box
b œ
œ œ œ b œ b œb œ œ b œ∫
œ
f
3
Royal, like a fanfare
2
IV: New Jerusalem
Electronics respond to note onsets and endings. Each onset triggers a note from the
3
harmony below, as well as a light. The mechanism is reset after 100ms and silence. This means
there needs to be very intentional space between each triplet so the program can register the silence.
Not long space, but make sure there is space between. 5 second pause after each harmony fades
4
b œ .... Œ œ Œ œ Œ . Light articulation of triplets with tongue
fade out until harmony fades
Elec.
&
?
.
.
..
For 1-5.5:
Lights are paired with tones from harmonies below.
Each triplet from bassoon activates a note/light.
Repeat #1 3-5 times
b à
P
b à
b à
b à
b á
á á b á
œ œ œ
œ œ œœ
.
.
..
For 2:
Note/Lights are random in order
and number. There may be 1
note/light or a full series.
b œ œ
b bb œœ
b
œœ b
P
Œ
For 3:
Same as 1, play only one time and move on
b Ñ
P
b Ñ
b Ñ
b Ñ
b É
Ñ Ñ b É
œ œ œ
œ œ œœ
t
Ñ
w
b É
É
∑
˙˙
˙
Bsn.
5
?
b œ
œ œ
F
3
10"
b b ∫
œ b
œœ
For 5 until 7:
Chords are built automatically, from bottom up.
Lights change with each new tone
; : …
8"
Expand range, still playing scale
6
f
5" 10"
∑
b œ œ œ
F
3
12.5"
Play triplet figures on prior Gb scale, using whole range
ad lib. increasing in volume, density, and
interval distance between notes
Elec.
&
?
É
b É
b Ñ
b Ñ
Ñ Ñ É É œ œ
œ
œ
∑b
œ
b œ
n œ
b œ
œ
˙˙
˙
˙
5"
∑
∑
b b
ww
b w w
w
10" 12.5"
bbb
w
.
bb ww w ..
w
.
t
œ
b w
˙
b ˙
b ˙
˙˙˙ b
w
w.
w.

Radiance
7
Bsn.
?
MP
b ˙
Ï
15" 5"
Play boxed melody once, then improvise with materials
and triplet fanfare from before
&
b ˙
œ b œ
ƒ
b œ
b œ .
3
œ œ œ b œ œ.
. b œ .
œ .
b œ ˙
j
œ ˙ ∑U
?
7
Rpt. until chord builds and fades away.
The high B will remain.
....
b ˙
. P
Elec.
&
?
b W
bb WW
b
b W
W
WW
W W
20"
b É
b É
b É
b œ
b Ñ
É É b É
Ñ
w
w ww
w w ww
t
W
W
W
W
WW
w
w
w
∑

Bsn.
8 Radiance
q = 72 Ecstatic, Wild
?
10"
Rpt. 5x
.... . œ
b ‚ b
œ œœ
. . . . . . ·w b
œ œ œ œ œ Ad lib. ascending scale
Tremolo between any notes
patterns with given notes
Rpt. 2x
œ œ
b ‚
œ œ œ œ# œ œ
w
b ‚ b
w ww b ‚
·w
p
p
P
·w b
·w
p
P, evenly
Ad lib.
Tremolo between any notes
Rpt. 3x
P, evenly
V: Glory
8"
Rpt. 5x
P, evenly
Ad lib.
5"
P, evenly
Elec.
Lights glow orange/gold in
response to Bassoon volume
Medium long reverb
Bsn.
5"
Ad lib. ascending scale
?
patterns with given notes
œ œ œ# œ œ œ œ œ
p
f
Rpt. 3x
8" 20"
Ad lib.
Tremolo between any notes
Rpt. 7x
w
.... .... w b ‚ b ww .... b ‚ ....
·w b
·w
P, evenly
p - F
P, evenly
Ad lib. ascending scale
patterns with given notes
building to the high F
œ œ œ œ œ œ œ œ œ œ œ œ œ œ U w
p ƒ b w
p
U
W
Elec.
Lights glow orange/gold in
response to Bassoon volume
Medium long reverb
Jon Paul Mayse
12/27/2018