Shovelhead. Commissioned by Matthew Miracle. Program Notes: The
Shovelhead is a notoriously cantankerous, but much beloved V-twin motorcycle
engine.
w n o i fro tho t p m ut rin th pe t e r co mi m ss po io n se r
Steven Snowden
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Shovelhead
For Bass Clarinet and Electronics
Shovelhead
Commissioned by Matthew Miracle
Program Notes:
w n o i fro tho t p m ut rin th pe t e r co mi m ss po io n se r
The Shovelhead is a notoriously cantankerous, but much beloved V-twin motorcycle engine manufactured from 1966 to 1984 by the Harley Davidson Motor Company. The name was derived from the way in which the engine’s rocker boxes resemble the inverted heads of coal shovels. Though prone to oil leaks, hard-starting and over heating, this engine defined the unique Harley sound that many love (or hate) today. Thanks to my friend, Amber Alarcón and my Harley, Fricka for providing all of the source material upon which this piece is based. -Steven Snowden
Technical Requirements:
This piece employs live audio processing techniques via the Max/MSP programming language. The included program files can be executed with Max/MSP Runtime, which can be installed from the included disk or downloaded for free at http://cycling74.com/downloads/ Required equipment: 1 microphone 1 mic stand (unless a clip-on instrument mic is used) 1 Mac or PC with Max/MSP Runtime installed 1 digital audio interface with at least 1 mic preamp (either usb or firewire) 1 set of headphones 1 pair of loudspeakers (powerful enough to compete with the live performer at high dynamic levels) Cables and power supplies to connect and run all of the above items For technical support, feel free to contact me at
[email protected]
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Performance/notation:
Box notation with X notehead swells –
The pitches contained within the box are to be rapidly repeated, imitating the sound of an idling Harley. The x note heads indicate approximate pitches and should be played very aggressively. If the amplitude envelope trigger unit is set correctly, the peak of each swell will trigger a short clip of a revving Harley.
Low C harmonic gliss –
w n o i fro tho t p m ut rin th pe t e r co mi m ss po io n se r
This effect is achieved by applying slight pressure to the reed and adjusting the shape of the oral cavity so that partials above the fingered fundamental pitch are produced, generating an ascending moan/scream. The dotted line indicates a general contour of movement through the harmonic series, but the player can treat this as loose guideline and can take liberties with the rate of ascent and pitch level.
Breath sounds and key clicks –
This effect simply requires the player to breath through their instrument while clattering their keys at a rate roughly corresponding with the spacing of the provided note heads.
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Harmonizer –
Normal note heads indicate pitches to be played, while circular empty note heads the pitches that are produced by the harmonizer.
the the indicate
Live Audio Processing: This piece utilizes a fixed audio track as well as live audio processing. These live processing techniques include: Reverb – The amount of reverb (wet to dry mix) can be adjusted according to the acoustics of the performance space. Fixed rate delay lines – Employed from measure 69-178. The volume of each individual delay line can be adjusted.
w n o i fro tho t p m ut rin th pe t e r co mi m ss po io n se r
Variable rate delay lines – Employed from measures 32-67. This type of delay produces a “glitch” sounding effect and is less predictable result than the fixed rate delay. It will also produce some subtle pitch shifting.
Overdrive – Employed in measures 4-9, 179-195 and 211-228. Much like overdrive effects used for electric guitar, this effect distorts the sound of the live bass clarinet in order to make it more gritty and aggressive. The degree of overdrive employed in this piece can be controlled from the patch. Amplitude Envelope Sample Trigger – Employed from measures 10-27. This unit tracks the performer’s incoming amplitude and triggers four different revving Harley samples once he or she exceeds a specified amplitude threshold. The performer can set this threshold level before performance by utilizing the amplitude threshold tester. To access this feature, click on the “open amplitude threshold tester” button in the Shovelhead patch.
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Real-Time fft Harmonizer – Employed at various points from measures 70-169. This unit receives the player’s incoming audio signal, and shifts the pitch of that signal in three additional independent voices according to preprogrammed harmonies.
© 2011 Talking Rocks Press www.stevensnowden.com
w n o i t fro ho t p m ut rin th pe t e r co mi m ss po io n se r
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w n o i t fro ho t p m ut rin th pe t e r co mi m ss po io n se r
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