ALPHA ET OMEGA (1995) for Yamaha PSS-480 or PSS-680 synthesizer Arthur B. Hunkins "I am Alpha and Omega, the beginning and the end, the first and the last." Revelation 22:13 "That all may be one, even as thou, Father, in me and I in thee; that they also may be one in us." John 17:21 GENERAL ALPHA ET OMEGA is a live-performance work for solo Yamaha PSS-480 or PSS-680 synthesizer. It is a slow-moving, minimal work that consists totally of tone color changes within a single harmonic series. It exists in two slightly different versions: version 1 has clearer and more focussed sonorities, while #2's texture is richer and more diffuse. Performance is improvized according to a set of instructions given below, and duration is indeterminate (suggested length: approximately six minutes). Required during performance, in addition to audio monitor, are an IBM-compatible computer with MPU-401 type interface, and two MIDI cables. SETUP The synthesizer may be either a PSS-480 or 680. Performance instructions are are identical for either model. Connect the output of your synthesizer to a stereo amplifier in MONO mode driving two (or more) speakers. On the 680, take the audio output from the HEADPHONES jack. The IBM-compatible computer (with floppy drive to accomodate this diskette) is connected to the synthesizer via an MPU-401 style interface and two MIDI cables--In and Out. These remain connected and in use throughout the performance (the computer program PERF is running, routing keyboard data into the computer, then after interpretation, back out to synthesizer!) First, switch on the synthesizer and make sure it is in MIDI Mode 99. Do this by pressing the MIDI Mode button and see that the Parameter readout indicates c.99. If it instead reads c.00, press the + Value button once (c.99 should now appear). At the same time, check that the Voice readout is set to anything EXCEPT b1-b5 (bank 1-5) by pressing the blue Voice button. If necessary, make a different Voice selection (two digits required). Next, get to the directory for the floppy drive containing your diskette (a: or b:), and type PERF . Follow on-screen instructions. You are offered a choice of two versions: Alpha_et_Omega1 or Alpha_et_Omega2. Performance for both versions is the same (for differences in overall effect see above). After making your selection, you will notice the custom voice banks being loaded as the Parameter display on the synthesizer blinks several times. If the display doesn't blink, the banks are not loaded and something has gone wrong (check your hardware connections and be sure you FIRST did those things listed in the previous paragraph). **IMPORTANT** DO NOT "hit a key for menu" at this time! Do so only AFTER completing your performance. (The PERF program, which actually "performs" the synthesizer, is not operative at the main menu.) Nothing can be turned off or removed during performance except the diskette, if desired. PERFORMANCE--General The dynamic level throughout is "on the soft side of moderate." During the first event the level is faded from zero to this point and stays there until it fades to soft at the very end. Level can be controled either on the amplifier (probably preferable due to smoother operation) or the synthesizer. Only seven keys "play" on the synthesizer, i.e., have sounds associated with them. For the most part, each triggers a different sonority. The keys are these: C3 (here designated the lowest key on either PSS-480 or 680) and C4, which are played by the left hand; and the white keys C5 through G5, for the right hand. C3 is loudest and represents the fundamental (harmonic 1); it sounds actual pitch (C3 is here MIDI C3--two octaves below middle C). C4 triggers a soft sine wave TWO octaves above the fundamental. C5-G5 produce expanding then contracting sonorities in both volume and richness; each focuses on a different member of the harmonic series on C3. Key C5's sonority is based on the third harmonic, D5 on the fifth, E5 on the seventh, F5 on the ninth, and G5 on the eleventh. One of the two left hand keys remains down throughout the performance. C3, the fundamental, begins; C4 (SOUNDING at C5) inconspicuously joins it part way through and sustains throughout the remainder of the piece, ending alone. In between, the various right hand sonorities alternate and overlap, creating a slowly evolving tone color consisting of C3's harmonics. PERFORMANCE--Specifics Details of performance will be discussed separately for each of the hands, since they are functionally and texturally quite distinct. The left hand both begins and ends the piece. LEFT HAND (LH)-- Performance begins with volume at zero, pressing and holding C3, then fading the sound up slowly to "the soft side of moderate." C3 remains held throughout most of the piece. One-third to one-half of the way through, C4 is pressed and held along with C3. It enters at a point at which C5, D5 and E5 are all being held by the RH, with all three sonorities at their fullest. The entry of C4 is to be as inconspicuous as possible--barely audible. At a point approximately three-quarters of the way through the performance, C3 is finally released. At the time of release, both C5 and D5 (in the RH) must be at full sonority. C4 continues to be held to the end of the piece, for at least five seconds beyond where all other keys have been released and their sound has completely dissipated. The piece then ends by slowly fading the volume down to quite soft (NOT zero), followed by the release of C4. RIGHT HAND (RH)-- Following at least eight seconds of unattenuated C3, which opens the work in the LH, the RH begins its uninterrupted collage of interwoven sonorities based on C3's odd harmonics. For the most part, keys are pressed and released one by one so that each sonic "swell" up or down can have its greatest effect. At the beginning in particular, the five sonorities should be introduced INDIVIDUALLY (though other RH keys may continue to sustain), and generally progress from lower to higher sounds (low keys to high keys). The opening progression should incorporate increasing density of texture (more keys down) as well. The final progression mirrors, in general, the opening. The RH texture thins from high to low. Two of the last three keys down should be from the three lowest, and the group should NOT include the highest (G5); the final two keys should be from the bottom three, and the last from the bottom two. As the final RH key dies away, C4 (sounding C5) is left alone (and soft) in the LH. Most of the time two or three RH keys should be down simultaneously. (At least ONE is always pressed.) The harmonic content of the overall sound should be in a fairly constant state of flux, with much overlap of the "ebb and flow" of the different sonorities. Two specific combinations of keys must be prepared for the "change points" involving the LH: the place (one-third to one-half the way through) where the C4 key enters, and the point (somewhat later) when C3 is released. These requirements are listed above. One suggested performance technique is to let one sonority fade in as another fades out. Since the fade in takes longer to perceive initially than does the fade out, wait to release the held key until the new sound can be clearly heard. Note that it is legitimate to release a key/sonority BEFORE it has reached its full intensity, though doing so severely limits its effect. There are two performance pitfalls to avoid: 1) be sure not to retrigger an event (key) before it has died out completely (this requires keeping track of the dying sounds and when particular keys are released); 2) let each key up CLEANLY, so as not to inadvertently cause keyboard "bounce" (retriggering). Both situations otherwise result in a sonority being cut off abruptly; this is completely contrary to the work's sustained, transformational quality.