SUZANNE CIANI

REPORT TO NATIONAL ENDOWMENT

RE: COMPOSER GRANT

June 19?8
,
Follo,'f1ng ts a.n outline of a "Basic Perfbrmance Pa.toh" which oscillators l and 2 detouring as well through a. frequency
I designed for a Buchla Series 200 instrument, a.nd a brief Shiftor. At times 1n the performance when oscillators 1 and 2 are
description of some of the musical idea& tJ'l.Qt evolved as a result track:tng at a. untson or an octave, the frequency shifter provides
ofvrorking wit.h this patch. a t1mbral enr1chment, as in the ·stnng Pa.toh." for instance,
whtch we will look a.t later.
For t.he sake of clarity, I give each of the mustcal tdoas a dlstlnct
and descriptive name: "Keyooa.rcl Rotations; 'Melodlc-Rhythmlc At other ttmes, non-harmonic sonorities SN! produced, which I
Reliefs,' ·verticaJ Sequencer," and ·String Patch." The Jlrst use percussively. (In some oases, I can get an immed.ia.te cue as
thl'ee or these are concerned prtmartly ,nth permutations of to whether the two oscillators a.re on the same stage oft.he APO,
given oI'<le!'ed sets ot pitches, accomplished either by means of being able to display visually only one at a time, because of the
the sample and hold of t.he po\yphonlc keyooaro, or by means drama.tic difference between shitt.ed untsons or octaves a.nd any
of a matrlx:!ng of t.he sequencer rows by t.he AFG: (Multiple) other Interval$.)
Arbitrary Function Generator. The "String Pa.toh" illustrates a
completely different use of the AFG. All of the slgna.ls are routed through a matrix mixer for
<Ust.Mbutlon to any of three filters or no filter. Stnce t.he filters
Also given are step by step examples of how to go from one of at'e t..ie<l to gat,e postttons, selection of a filter also selects a.
these ideas to another in a performance situation. These ate gate. The envelope control for the gate ts a quad V.C. 284. In a
only rough maps. but they do illustrate the characteristic IMllity performance, I choose freely among trigger sources for each
fbr musioa.l metamorphosis that the instrument oossesses; envelope by having at least three banana patch oords already
and they also ehow the kind or pJa.ytng technlque that one has plugged into the pulse input, and then making the connection to
to develop fOr live performance. In the practiced performer, a t.he pulse output of the AFO, sequencer, or keyb0at'<1 ··0r looptng
kind of instinct comes into pia.y, and making a transition from back to the envelope pulse output -dependJng on the needs or
one musical idea tA:> another ts almost a. matter of reflex ··and t.hat part of the performance.
somewhat dltncult to describe 1n detail.
In ganeral, with th!s patch, I use t.he pulse outputs of the AFG
Also given are a. few techniques for rl\YthJnic i.mprovisa.tton, sertas l and 2 because of t.he rapidJty with whioh they cs.n be
which I generally keep for the "cum.ax~ of a performance, and programmed or"pla,yed." and because of the rh,ythm1C poSsibllittes
some techniques !or discrete spatial rJ\ythms. a.nd combinations available. Sometimes no envelope is used, the
gate simply opened. For quick variation of the envelope, I bridge
1 ftnd that the best performances combine the competence of all o f the cont.rOl voltage inputs and route an offset voltage from
pre-planned and well-rehearsed pleylng with the magic of being the 256 Mcter (which gives me the option of addlng 1n other or
able to follow one's inspiration when inspired by the audience vaeytng control voltages as well). This one offset voltage allows
and the moment. To do the latter, a. performet must be fam.1lla.r me variously to shrink or expand any envelope very quic}Qy in a
with his patch to the point of not having to "think twice• ( at least performance, the clirection and amount inclividua.lly cont.rolled
not more tban once) about ,vhat effect or series ot consequences by each oft.he four oont.rol volte;re input knobs.
will be proctueed by a given a.ctton.
Finally, the signal& are routed to a spatial locator and t.hen out
The "Baste Performance Pa.toh' (see DiS€1'a.m l) outlined to four amplifiers and four speakers. (Use of a voltage·oontrolled
describes the fundamental signal and cont.rel VOitage routing reverbts opttona.l.) I consider the spatial oharaoteristics-where
for a pa.tch which I have used in performance. The following ts a. a sound ts placed a.nd the way it moves ··to be an integral part
general survey of featu.teS or th.ls pat.eh and the constderat1ons of the muslo and I plan and 'play" the space of each part or the
teMn in designing tt.. perfbrmance. In the future, I expect that this wm be one of the
most refined aspects of electronic music; but gtven the present
The signal sources are prtma.rlly two oscillators, with s. third state of elootro-aeousttcs and the deftctenctes of performance
oscillator available for the part of the petfotmanoo called halls 1n th!s regard, I llnd lt most effective to use clearly
"Keyooard Rotations• (described later), and a white notse delineated types of spaces such as t.he following:
source used mainly in~the perousston t.mprovtsatton. One of the
frequency control volt.ate inputs of each of oscillators 1, 2 and 3 1. A continuous curved space. I ~ a. slow conttnuous curved
ts controlled by the keyooa.rcl ··all tuned in unison, diatonically. space for the 'Strtng Pateh; the arc related to the "oowing"
Oscillators l and 2 a.re also frequency controlled by the APO envelope.
248-1602 outpute land 2 roespectively, so that the 11mlted range
intervals a.re octa.ves. These two ose1llators are also controlled, 2. A dlscrete spatial rhythm. (Please see the graphic
vta the AFG "external~ mode, by the 246 16-stage sequencer. desectptton.) In th1S type of space, the sound oomes very
precisely from one speaker at a time. the duration in each
The AFG in •external" mode a.nd the sequencer are a. powertw speaker precisely controlled. Two features of this type of
oombina.tion tor J)itA::hcontrot. .FirSt, the AFG allows quantization space are: firstly, continuous tones can be given rbythm1e
ot the sequencer volt.ates vta the •quantize" mode of the AFG, for impulse defined solely by spatial placement (I use t.h1s with
easy setttng ofpltches. Note t.hat the flrststage ofeach sequencer SeQuencer Row A alt.Grnate, fbr tnstance, where there is
row ts set at the lowest note of the row, or "O" volts, to provide llttle melodlc rhythm); and secondly, there is no masking
a tuning convenience as weU as a stopping poSltion 1n order effect for the audience since the sound is complet.Gty in ol\zy
that the keyooard can take over as sole pitch controller. (To one given speaker at a given instant.
take adve.nta.ge of t.hls, a single pulse from the subsection of the
keyboard can be assigned to both stop the sequencer and select 3. A random disOrete location. In perousstve passages, I route
stage l ). Second, t.he APO allows a totally fiexible matrixed access the trigger pulses to a 266 stored random voltage source
to the sequencer vol~s. horizontally. vertically, and obliquely, pulse input and drive the X andY C.V. inputs oft.he 227 with
and the rows have been designed with thatoonSideta.tJ.on: to v,ork the resultantcontrol voltages.
in any direotion and combination, melodlcally, harmonloally,
and contrapuntally (see MU.SICal Dlu.stratton 1). Thlrd, the AFG 4. A oontinuous random space. Use the 265 eonttnuous
allowe instant octave transposition of any row or any part of random voltage souroe.
any row. The rh,ythmlc poSsibllitles of th!s eombtnatlon will be
OJ.sou.ssed later. 5. Any combination of the aoove. I thJnk of these as spatial
phrases or sentences, and llnd the 267 Dual Control Voltage
All of the osctlla.tors are routed directly to a. matrix mixer, Processor very useful.

- 1-
 •

DiagnLm 1 BASIC PERFORMANCE PATCH

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llusloal
Illustration 1 BASIC ROWS FOR 16-STAGE SEQUENCER

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- 2-
,
D!agram 2 MELODIC-RHYTHMIC RELIEFS

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Illustration 2 MELODIC-RHYTHMIC RELIEFS· timbral. registral

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- 3-
 ..
MELODIC-RHYTHMIC RELIEFS THE
(or "Prism Melody") VERTICAL SEQUENCER
(s,,e D1agn.m 2, llusical Illustration 2) 6,ee Diagram 3, llUBical lllustra t!On 3)

Although a. stnglo row of 16 ordered pitches Is the basis fbr t.hls This Idea is also the product of the AFG a.nd tile SeQuencer. Tile
idea, the constant sh11\tng of emphas1s as it moves along creates fbur pitches at each stage of the sequencer are arpegg!ated by the
an ·aural Illusion· that conceals Its simple origin. A constant AFG, which then adva.nces the sequencer to its next stage, and
pulse Is the basis fbr the rhythm, a.nd larger rl>ythmic units are so on. This produees a reguta.r harmontc rhythm and a musical
created by tlmbral emphasis and regim'al dlspla.cement.. In some texture chart\Cterized by an intel"W'ea.vtng otmelodtc Unes.
ways this musical technique is related t.o seriaJ.ismt however, it
\Vas a.otually born from the seemingly inevitable consequences Tile External Output Voltage Levels of the AFG are d!strlbuted
of an Arbitrary Function Genera.tor meeting a Sequencer. among Ro,vs A. 0, C and D at various octave levels.

A.FO output 1 (Oso. 1) is set on Bxterna.t !l.o" A (alternate) at Aser!es 2 pulse ls program.med at stage 16 oft.he AFG to advance
•Orange. (Usua.lly I would give tilts Simple a.tterna.t1on of pitches tile 246 Sequencer. (The pulse "2" output of AFG l is petched
a •spa.tie.I rhythm" by routing tile pulse output of the 246 to the into the "advance• input of the sequencer.)
265 stored random voltage Input, a.nd the 265 output to a spatial
loco.tor. Or I mlglltg!vo tt a more d!screte and reguJar rhythm by AFG 1 is driving AFO 2 from its "a.II pulSe" output. At ftrst the
ustng a.264 Sample and Hold and a small sequencer, as described two AFG output units track t.he 16 stages 1n untson. Then AFG
In atta.ched Diagram 5.) 2 is ma.nua.lly advanced to separate from AFG 1, produotng a.
<1.iStJJ.-.ctJy separate voice.
APO Output 2 (Oso. 2) IS being strobed by the sequencer pulse
and with an oxu,rnal control voltage from the 265 Uncertainty At each pass of the 16 stages, a <li.fferent set of four pitches from
Source such that a. now stage of the AFG Is Jumped to with ea.ch Rows A, B, C and D of the seQueneer will be played at various
pulse. By driving the AFG In "strobe" mode, I free the "Interval transpcisitions resulting 1n a. harp•llke melod1c·harmon1c
time" output to be used for other tba.n timing control, in this texture.
case, for wavesha.pe control. Since an or the AFG voltage Sliders
except the ftrst one 8t'e set a.t External Row B, AFG 2 will be for Feel free to change the limited range switches a.nd the output
tho most part looklng at a reguJarly recurring pitch sequence: no voltage sliders to different extetnaJ J)O$itions, or to manually
matter whlcll stag& ts strobed to, AFG 2 will see the next pitch advance the AFG 2 output in order to bring outdiffetent melodic
of Sequencer Row B. But other variables can be individually contours in th.is texture.
program.med at each stage, such as octave transPQsition,
wavesb.a.pe, or output pulse. resulting in registral, timbraJ, e.nd
rh,yttunic variations upon the given pttch sequence. The effect ts
to produce an Uluston of several Unes gotng on at once, each one
with tts own perceived continuity.

- 4-
•
Diagram 3 VERTICAL SEQUENCER

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lluaiceJ.
Illustration 3 VERTICAL SE®ENCER

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-5-
 THE STRING PATCH 1. Stop the sequencer at stage one with a oommand from the
sub-sootton of the keyboard. Two of the oscillators (Osc.l
and 2) are Potentlal\y controlled from the AFG. Slnce the
sequencer ls stopped and lt was driving the AFG. the AFG 1S
now stopped, and I can now position the output stages of the
This J)8,.tich J)r'Oduces extremely rich str1ng.1tke tones and a. AFG manually. I can do this even while rve begun to pl,-y
distinct tmpresS1on ot~bo,.,tng." It ts also an example ofa. patch the keyboard ostinato.
that "pla8s" itself.
2. Leave AFG output l atstage I, Externa.l Row A (alternate),
The two AFG outputs work together, at a. unison or an set +2 ra.nge (this will Change U\e range of 91ha.t you·re
octa.ve, being strobed simultaneously by a rapid pulse from playing, but it can be done tastefWly), and note that the
the sequencer, along with a. very slowly changing externa.l "internal time" slider, still controlling \vaveshape, ts all the
control voltage. Since the "sloped• function, however, is at w,-y<1own.
slightly different rates in AFO l and 2, every time there is
a. movement. always to an adjacent stage, left or right, the 3. Dispia.y APO output 2, reset lt, and then advance lt to
frequencies of the two oscillators sepa.rate somewha.t. and stage 2. Ra.ls• the output voltage level sllder to .. External
the fN)Quency shifter fol" a. moment sees two stgna.ls not tn C position, 1n antlclpatlon of future needs (step 8) which
integral rela.tionshtp a.nd pro<1uces a tlmbr'al ot "bowtng· of course results tn no change of pttch since all ro\vs of
lnOectton. the sequencer are t.1le same a.t sequencer stage 1. Hit the
+2 interval, and check tlla.t the "intetval tlme" sllder,
In a performance, I will change the overall range of the controlling waveshape, is dO\vn.
"strings: dndlng ~&t the sound works equally effectively from
bast to violin range. N .B. All thl'OO oscillators are tuned to be at a unison when the
AFG is at a. •2 mngc and sootng "0.. volt& exterruilly.

4. Continue to play t.he keyboard ostinato in untson, \vit.h all

three oscillators sinusoide.l in wave$h.8.pe ... then you might.
develop the idea in the fbllowing W3¥:

KEYBOARD ROTATIONS S. s,.iteh to "two vetoes· on the keyboard. and bring the
new melodic line (see illustr&tion 4) into relief by raising
(aee llusical Illustration 4) 1nternaJ. time" slider of AFG 1 to enrich the wa.veShape.

6. Displ,-y AFG output 2 an(l swit¢h the range of the output

The Black a.nd White Keyboard gives s.n illusion of Po\yJ)h<H\Y down one octave (hit +O) and raJse "internal ttme· slider at
··up to three voices ··by means of a sample e.nd hold Circuit.. but stage tv,o as well.
ra..ther tha.n use uus res.tu.re to pla.y choJ'lds, I prefur to use 1t as
a contrapuntal devtoe, by ga.ttng all three oscillators together, to 7. Switch to "three voices· on the keyboard: the imitations (see
produoe sh1Jt1ng melodic patterns. illustration: the registr&l cha.nge is not Shown) will be clee.r
since there are registreJ and tJ.mbral dlstinctlOns amongst
The basic patterns I show in the illustration a.re pro<luced by t.he votees.
pui.ying s.n ost.ill&lo ftgure on the keyboard, which 1S controlling
the three 5imult.anoous\y·!latod oselllators, and changlllg the 8. Advance the sequencer one stage manually while
"number of voices" to 1, 2 or 3. continuing to pla.y the same notes on the keyt>oaM ano a
completely new set or imitations will tesult, one votce up
In our b&sio Keyboard·4]'G-8equeacer Patch, it the sequencer is a ftt'th.
stopped. on stage one, wher"e au the to'l/tS are conven1ent1y set at.
"O" volts, and the AFG ts 1n ·external" mode, then tb.e keyboard 9. Go to other combinations of sequencer stage and "'number'
alone can control the frequency of the oscillators. By taking of voices" which you choose.
advantage, however, of the potential control of Osc. l s.nd 2 1)y
t:.b.e AFO-Sequenoer oombina.tion (wavesha.pe, tr9J1SJ)0$ition), 10. Return to a unison posttton, as 1n the begtnning and return
further Oevelopment.s or this idea. are easily achieved 1n AFG output voltage level stage 2 to External position B.
a. performance situa.tion. as vre will see in the following
perfbrmance example. 11. Start the sequenoer (perha!)s ,.ith a command from the
subsection of the keyboard). You are now back at the
• ·The Keyboard Rotations ldea could also be accompllshed Melodlo·Rhythmic Reliefs pw:11 and, with the keyboard at
wtth a monophonic keyboard and a sample and hold or With a "'unison" position, you ca.n t..ranspose the Reliefs in Osos. 1
sequencer and a sample and hold. and 2 s.nd the sustained pitch of Osc. 3, which will sound
somewhat Uke a ton!c.

12. Oscillator 3 ca.n be faded out. and you can turn your
attentions to developing the Melodie-Rhythmic Reliefs
idea..

TO GO FROM "MELODIC-RHYHMIC I have said nothing a.bout. the gating and filtering possibilities
ava..Hable tn thts pateh, which ts not. meant to imply that they
RELIEFS" TO "KEYBOARD a.re not an important a.speot of the musical treatment of a.ny
idea. The matrix mixer is a handy routing network t.ha..t I "'play"
ROTATIONS" AND BACK AGAIN constantly to get timbral multiples of individual voices and. a.n
ever-changing variety of amplitude shai)es. These methods
of differentiating a sound sou tee ft'Om itself a.re ln large part
As a perfbrmance example, let's assume we a.re going from the responsible for the illusion that "'so much ts going on" when tn
"Melodlo·l\hyt.hmlo Reliefs• patch to the 'Keyboard Rotations.· fa.et the a.ctuaJ sou nct sources al'& few.

-6-
Dlagr&<D 4 THE STRING PATCH

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r,;,,L • o Hz (p,ob.'ol~ rilft 'K t /...u5e)

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llus1eal
Illustration 4 KEYBOARD ROTATIONS

- ?-

---- --
TO GO FROM "VERTICAL SEQUENCER" RHYTHMIC
TO THE ''STRING PATCH'' IMPROVISATION

l. set the internaJ re.te of the sequencer at .006. (At present.. I .flnd t.hat because or the degree of rhythmlc responsiveness
in the "'vertical sequencer" the sequencer iS being aclva.nced afforded by t.he AFG, both alone and in combinat.ion with the
externally.) seQuencer-, as tn our baste pateh, a. rhythmic improvisation or
"cadenza" will be the climax or a. performance. Basically, one
2. Pa.toh from the sequencer •a.11 pulse" output to the strobe must be complet.el,y la.mlli!ll' with the reythmjc options of a pat.oh
Inputs ot AFG 1 and 2 . This will have no noticeable effect tieti:>ro being able to extemporize. With practice, one oan develop
since the sequencer 1S not on, only a response when a series the mental s.nd physical retlexes to 11s~ on top" tn a performing
2 pulse advances sequencer. Situa.tton a.nd t.o play t.he sound and the space with total oont.rol
and expressiveness.
3. Set. the probable rate of change on the 266 CJneert.eln\Y
Source between .OS and .5Hz. and pa.toh the continuous The foll0\\11.ng ts a Ust of some of the rhythmio possibilities of out
random voite,ge into the ..ext.• tnputs of AFG l and 2, if not AFG-Sequencer pa.t.¢h, v,h10h are so numerous that I mention
already there. • only a few:

4. Tra.nsPOse the sound toan upper range bysweeplngt.hrougb. l. Progrs.m pulses on ti:>ur sta.gesof AFG series l pulse output.:
all 16 st.sges with the •st.sge no" control while holdlng up st.sges l, 6. 9 and 12, fbr instence. Strobe AFG l with a.
tho +6 or +6 limited range switch. And similar\}', add a regular pulse trom the sequencer and. witb a random.ty
'"sloped" function a.ll the way a.cross. These movements changing external oontrol voltage fast enough to ca.use
result in a. birdlike sound which oblitetates pt"OOtse melodic movement on ea.ch pulse. Drive AFG 2 wtth a. regu).ar pulse
shape t.o faoillt.ste moving from the externsJ to the Internal from t.he sequencer by bridging the ·•tai·t· •stop• pulse
ft,,equency control. It ts a transitional device which can be inputs with the sequencer pulse output. The result ~m.u be
musice,l\y interesting if · pta.yed": for Instance, by addlng a regula.rly repeating rhythm1c pattern in one voice with
series 2 pulses. random metrical accents in the othet:

• I fl.nct t.h&t I have to llmtt, the volt.age range of this output AFO l -- -- ---- ---- - --- ---- et.c.
somewha.t~by detouring it th.rOugh an Adder. AF02 ___ _ _______ _ ---- ---- etc.

5. Program "!nterna.l" mode across the AFG by holding down (I separate t.he pulses int.o groups of four only for viSusJ
t.he •internal .. Switch while svroopmg across with the "'stage readability.)
no" oontrol
2. St.robe both AFG l and 2 s!multeneously with the sequencer
6. Romove-aJJ series 2 pulses. pulse output, bOth with the same randomly cba.nging
externa.l voltage fa.st enough t.o ea.use movement on each
7. A<l)ust the output volt.sge levels to s. limited range a.round pulse. (The two outputs will exactl,y track each other.) Put
"0" level to provide a reference from which you can develop the AFG tnt.o •enable' mode by holding up the "onao1e•
the metOdlc shape. Switch while S\veeptng across with the '"stage no" switch.
Take pulses from st.sges 9 and 15, for Instance, of the
8. Check t.he waveshape settings on the oscillators. (The "time" sequencer and patch into the AFG '"start" Ja.eks. It the AFG
output ot the All'G's should not be controlling wa.veshape in haS an internal rate faster than tbe sequencer, for instance
this patohM lt ls In "Molodle-Rllythmlc Rellefll".) .02 vs .5, then the result \v1ll be a rhythm.to ornament.

9. Since the sound will be passing through tho comb fllter, Dtfferent ornamental rates can be set for each oft.he AFO's:
which is tled to gate 3 and envelope 3 , loop the pulse they w1ll always track ea.chotberexcept when receiving the
output of envelope 3 to its tnput, setting a slow attack and "sWt" pulse.
decay, and open gate 3 enough so that the sound does not
completely d.i.se.ppear al\er the decay. 3. Rhythmic tu.notions like the pulse output series can be
freel,y programmed 1n and out. while the A.F'O iS in "<lisplay,"
10. Start. the sequencer a.nd st.op AFG l . AFG land 2 will work or via. the "state no"' mv'ttch. I find that even if I sweep tbe
in unison since their ..strobe" and «ext" inputs are bridged. "stage no" through the 16 stages oft.he' AFG, I am able to
"'pick off" any stage on \vhteh I mtght want to program a
11. AdJust the range down t.o a swt.sble area. These "strlng" pulse ... this can even be done with one hand - or a. "sust"
ttmbres work well from the bass to the violin ranges, a.nd or "'enable."
set the output voltage levels where you want them while
the patoh ts pta,ymg. developing the melodlo cont.ours of this I might sJso a(ld that. the "Sloped" function of the AFG is very
slowl,y ohs.nging line. Other tre.nsltlonat approaches would handy in peroussive pa"88geS for introducing a. t.sbla·llke pitched
be possible, but this one works very smoothly. drum quallty, whether in "'external" or ..internal" modes.

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•
D1a&ram 5 HIGH-LOW COMBINATIONS FOR DISCRETE
SPATIAL PLACEMENT WITH A
22'7 (OR 204) SPATIAL DIRECTOR

•flotc on d1scretc :e.pat1tll lo-

catlon pntterns us1n~ a sm~ll
sequencer. a SamplP. & Hold, ,
and a SpAtlal Local.or, - · ' .

',() ~ .___ _ _ _ _ __ , Y..1 'J

lL-1t..) (,It, i...)

Jl
J •
. r.:
1-{
.~ ·'
L.'.' H-"
-., - --;-,
1+ L
L
H
,, 0,1.,)(pl - - - - - - - ' , t
·,,.'--:>
-> . (11,t)1fl /
! •,'
New ffl)Qtlnl rhvthms can be 911~cklv achieved by chan~ln~ the number
a nd/or level:=i or the sequencer st:.u tes or by chani,:1ni:t the numb'?r or
eta~es or the snmple ond hol d. fo correlate these rhythms wlth key-
board passa«es, for 1notonce, the sequencer could be drlven externally
w1 th a keyboard pulse. ,

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