2 h.

para cualquier Conferencia y Sintetizador

for any conference and synthesizer

Sebastin Bauer
 2h
Notas para la presentacin

- No hay relacin ni vnculo alguno entre el tema o motivo de la conferencia y la parte "musical". No obstante,
es preferible que el tema de la conferencia no refiera directamente a la msica o a cuestiones musicales.
- La estructura y modalidad de la conferencia resulta absolutamente autnoma, y los conferencistas no debieran
hacer alusin alguna a la parte musical (como si sta no existiera)
- La nica coordinacin que se establece entre las partes corresponde al inicio y al cierre de la presentacin.
La entrada debe darla una "tercer persona" y el conferencista y el sintetizador deben empezar en el mismo instante.
El cierre de la conferencia lo dispone lgicamente el orador o, si lo hubiera, el coordinador de la conferencia.
Hay 2 posibilidades para el fin de la parte musical: 1. si hay aplausos, el sintetizador interrumpe inmediatamente.
2. si no hay aplausos, el sintetizador interrumpe inmediatamente el orador, o alguno de ellos, abandone
el recinto de la conferencia. Es preferible la opcin 1 pero no es algo que se pueda a priori prever.

- El sintetizador debiera estar visible pero no muy expuesto.

La amplificacin no debe en ningn momento perturbar la inteligibilidad de la conferencia y debe
mantenerse siempre pianissimo.
- Si la conferencia se prolonga ms all de las 2 horas, el msico debe retomar su parte da capo
tal cual est indicado en la partitura.
- El sonido del sintetizador debe ser extremadamente simple, del tipo de la onda sinusoidal pura.
El sonido no debe responder a cambios de sensitividad o velocity.
- Cada redonda ( ) dura 50" y debe ser cronometrada.
las notas entre parntesis pueden ser tocadas todas ellas o slo algunas, y adicionan momentneamente
una 4 voz al acorde junto al cual se hallan. Estas notas duran 7" y el ejecutante puede elegir tocarlas en
cualquier momento dentro de los 50" correspondientes a cada acorde de redonda relacionado.

Notes for performance

- There is neither relation nor any link between the topic of the conference and the musical part.
Nevertheless, it is preferable that the conference topic does not recount directly to music or musical questions.
- The structure and modality of the conference turns out to be absolutely autonomous,
and the speakers must not do any allusion to the musical part (as if this one did not exist).
- The only coordination that is established between the parts fits to the beginning and closing of the performance.
A "third person" provides the entry, and the lecturer and the synthesizer must begin at the same time.
Logically, the closing the speaker or, if it was, the coordinator of the conference arranges it.
There are two possibilities for the end of the musical part. 1. if people applaud, the synthesizer interrupts immediately.
2. If the people do not applaud, the synthesizer interrupts immediately when speaker, or someone of them,
leaves the enclosure of the conference. The option 1 is the preferable but it is not something a priori determinable

- The synthesizer should be visible but not very exposed.

The amplification has not to disturb the intelligibility of the conference, and must be kept always pianissimo.
- If conference extends beyond 2 hours, the musician has to recapture da capo such it is indicated in the score.
- The synthesizer sound has to be very simple, a sine wave type.
The sound must not answer to velocity or dynamic changes.
- Every whole ( ) lasts 50" and must be timed.
The notes in brackets can be played all or some of them, and they add temporarily a fourth voice to the chord
close to which they are situated. These notes last 7" (seven seconds) and the performer can choose
play them in any moment inside the 50" correspondents to the whole concerning chord.
 2h
para cualquier Conferencia y Sintetizador Sebastin Bauer
for any conference and synthesizer
Conf. I
Tempo giusto ( w = 50 sec. )
Sentimentale, legatissimo

U U U U simile U U
(on cue)
50" 1'40" 2'30" 3'20" 4'10"

& b ww ww ww
50" 50" 50"

(b ) ( ) (n ) ww (# ) # ww (# ) ww
Synth. 7" simile

? bw w nw w w bw
7" 7"

(b )
(sine wave)

(p)sempre

Conf. I

U U U U U U
5' 5'50" 6'40" 7'30" 8'20" 9'10"

&w ww ww ww # ww
w (b ) ( ) ( )
# ww (# )

?w bw w w w w
Synth.
(n ) ( )

Conf. I

U U U U U U
10' 10'50" 11'40" 12'30" 13'20" 14'10"

& ww w
w
w
nw ww w bw
(# ) ( ) w (# ) w ( #)

? #w
Synth.
w (# ) w (# ) w w w

Conf. I

U U U U U U
15' 15'50" 16'40" 17'30" 18'20" 19'10"

& w w w bw w
w w w b ww w nw (b )

? bw w w w w
Synth.
(b )
( ) w ( ) ( ) ( )
Conf. I

U U U U U U
20' 20'50" 21'40" 22'30" 23'20" 24'10"

& ww ww ( ) ww ( ) ww # ww b ww ( )

? bw ( ) w nw w w w
# ) (# )
Synth.
(

Conf. I

U U U U U U
25' 25'50" 26'40" 27'30" 28'20" 29'10"

& ww ( ) n ww ( ) b ww b ww ww (b ) ww (b )

w w bw ) bw ( ) nw w
?
Synth.
(

Conf. I

U U U U U U
30' 30'50" 31'40" 32'30" 33'20" 34'10"

& ww ( )
w
w ( )
w
bw
bw
w (b )
bw
bw
w
nw (b )

? #w w w w nw w
Synth.
(# ) (n )

Conf. I

U U U U U U
35' 35'50" 36'40" 37'30" 38'20" 39'10"

& ww w w w
bw
bw
w
bw
w
w ( ) w (b ) (b )

?w w w
Synth.
( ) w (# ) w (# ) w

2
Conf. I

U U U U U U
40' 40'50" 41'40" 42'30" 43'20" 44'10"

& ww (b ) ww (b ) # ww (b ) # ww (b ) n ww n ww

? bw bw w w w w
Synth.
( ) ( )

Conf. I

U U U U U U
45' 45'50" 46'40" 47'30" 48'20" 49'10"

&w ww
w ( ) # ww ( ) ww ww (# ) b ww (# )

?w w w bw bw w
Synth.
( ) (b )

Conf. I

U U U U U U
50' 50'50" 51'40" 52'30" 53'20" 54'10"

& bw w w w ( ) w ( ) w
w w w ( ) w w w
? bw
Synth.
( ) w ( ) bw nw w w ( )

Conf. I

U U U U U U
55' 55'50" 56'40" 57'30" 58'20" 59'10"

& #w w #w w
w w ( ) w b ww ww w ( )

? w
Synth.

( ) w bw (b ) w (b ) bw ( ) w

3
Conf. I

U U U U U U
1h 1h 00'50" 1h 01'40" 1h 02'30" 1h 03'20" 1h 04'10"

& bw ww n ww ww ww ww
w ( #)

? w w w w w #w
Synth.
(b ) (b ) (n ) () ( )

Conf. I

U U U U U U
1h 5' 1h 5'50" 1h 6'40" 1h 7'30" 1h 8'20" 1h 9'10"

&w b ww
w ( ) b ww ww ( ) b n ww ( ) ww ( )

?w w w nw w w
Synth.
(# ) (# )

Conf. I

U U U U U U
1h 10' 1h 10'50" 1h 11'40" 1h 12'30" 1h 13'20" 1h 14'10"

&w ww ( ) w #w w w
w ( ) w ( ) w ( ) w #w
?w
Synth.

w w w #w (# ) w (# )

Conf. I

U U U U U U
1h 15' 1h 15'50" 1h 16'40" 1h 17'30" 1h 18'20" 1h 19'10"

& nw w w w w w
w #w w w w ( ) w ()

? w
Synth.

(# ) w ( # ) nw ( n ) w ( ) w #w

4
Conf. I

U U U U U U
1h 20' 1h 20'50" 1h 21'40" 1h 22'30" 1h 23'20" 1h 24'10"

& #w n ww ww ww ww ww
w ( ) ( ) ( )
( ) ( )

? w w w #w w
Synth.
w (# )

Conf. I

U U U U U U
1h 25' 1h 25'50" 1h 26'40" 1h 27'30" 1h 28'20" 1h 29'10"

& bw ww ww ww n ww ww
w ( ) ( )

? w #w w nw w w
Synth.
( # ) ( # ) ( # ) ( )

Conf. I

U U U U U U
1h 30' 1h 30'50" 1h 31'40" 1h 32'30" 1h 33'20" 1h 34'10"

&w w # ww # ww w
w w (# ) # )
( (# ) b ww w
?w
Synth.
( # ) w w bw w ( ) w ( )

Conf. I

U U U U U U
1h 35' 1h 35'50" 1h 36'40" 1h 37'30" 1h 38'20" 1h 39'10"

&w #w w w w w
w w w #w (# ) w w
?w w w
Synth.
( ) w () ( ) w ( # ) w ( # )

5
Conf. I

U U U U U U
1h 40' 1h 40'50" 1h 41'40" 1h 42'30" 1h 43'20" 1h 44'10"

& w # ww # ww n ww ww ww
w #)
( (# ) ( ) ( ) ( )

? #w w w w w w
Synth.
( )

Conf. I

U U U U U U
1h 45' 1h 45'50" 1h 46'40" 1h 47'30" 1h 48'20" 1h 49'10"

& # ww ) ww # ww ww # ) b ww n ww
(
( # ) (# ) (

? w w w bw w ) w )
Synth.
( (

Conf. I

U U U U U U
1h 50' 1h 50'50" 1h 51'40" 1h 52'30" 1h 53'20" 1h 54'10"

& b ww w
nw
bw
w
w
#w
w
w
w
(b ) #w ( )

? w w w w #w w
Synth.
( ) ( ) (b ) # )
(

Conf. I

U U U U U U
1h 55' 1h 55'50" 1h 56'40" 1h 57'30" 1h 58'20" 1h 59'10"

&w w w bw
(d.c.)
w w
w w ( ) nw w w ( ) w (b )

?w
Synth.
( # ) w w ( # ) w ( # ) bw w
Bs As 2007