Ian Mikyska Waves: Performance instructions

Electronic Component

If performed live, there is a playback track that accompanies the piece; conductor A synchronises with this
track. In a recording situation, it is best to record without the tape track.

Stopwatches

Conductor A and all of the players use stopwatches for orientation. The stopwatches are synchronised by a cue
from conductor A; the first 20 seconds of the piece consist of silence.

Basic gesture

All the entries of the musicians and conductors are in the form of a basic crescendo diminuendo gesture. It
should be as smooth as possible, hovering around near-silence at the beginning and end.

Cueing

Except for conductor A, everyones entries are determined by the actions of conductors in lines B and C and by
their own cueing rules. These rules determine where to synchronise with the given conductor, and whether to
keep the duration of the gesture the same or make it longer.

Each player is allocated a conductor in line C (i.e. conductors C1 to C6). They must respond to every cue given
by these conductors.

Certain players (flute, bassoon, horn, violin I, viola, cello) also have the option of taking a cue directly from the
conductors in line B (i.e. conductors B1 and B2). This shouldnt happen too often.

Points of synchronisation

There are two possible points of synchronisation, i.e. when one begins playing in relation to their cue. They are:

mid-point synchronisation and end-point synchronisation

Mid-point synchronisation means starting ones gesture at the peak of the cueing conductors gesture, as
precisely as possible.

End-point synchronisation means starting ones gesture as soon as the cueing conductor has finished theirs.

When you have a choice on which rule to follow, e.g. whether to keep or prolong the duration (see below), take
in mind the possibilities of your instrument (particularly breath), and try to keep a balance if the cue has
already been prolonged twice, it probably doesnt need further prolongation.

Keeping the duration the same and prolonging the duration

Certain players and conductors will have the option to stretch the gesture they were cued by. This means playing
a gesture that is considerably (50% to 100% longer) than that of the cueing conductor. When keeping the
duration the same, the gesture should be the same length as the cueing gesture, as precisely as possible.
 Dynamics

The dynamics are relatively low for the entire duration, but globally decrease over the course of the piece. This
is shown by the dynamic markings (f at the beginning ppp at the end), which marks the approximate dynamics
of the peak. Bear in mind that these figures are for reference, and that the forte at the beginning is still not
particularly loud; rather, the ppp at the end is extremely quiet.

Harmonic regions

The piece is divided into 12 harmonic regions, each lasting one minute. The harmonic regions indicate the notes
to be played when one starts ones gesture within that minute. Never change notes during a gesture; simply
finish the given gesture and then move onto the next harmonic region. You may need to play the note more
than once in each section. The harmonies are given in the score only for the players orientation: C means C
minor, 6/3 and 6/4 refer to chord inversions.

Ending

The piece ends at 12:20 exactly: everyone simply stops (freezes) in the gesture they are doing; the players keep
their eyes on the stopwatch and conductor A alerts conductors B and C to the ending with a hand signal.

Dealing with problems

In the unlikely event that two cues are superimposed (e.g. if you take a cue from conductor B1/B2 and as you are
playing it, you also get a cue from a conductor in line C), simply finish the cue you are playing and then, if
possible, move to the next one. If you have missed your synchronisation point, simply let the cue be.

Diagram for orientation