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Drawing by Tess OrozcoDrawing by Tess Orozco 
 

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How to practice and perform "Minotaur"

Score (pdf)  |  Practice CD  |  Concert recording (2016)

 
 
 

NOTES FOR SOLOIST   |   PREPARATION   |   TECHNICAL NOTES

Each performance is unique.

  • Different skills sets of each performer, exposed in various acoustic environments, create dramatic differences between performances and recordings of "Minotaur".

  • The soloist is given a lot of freedom in choosing ways to interact with the pre-recorded soundscapes and the material written in the score. Several decisions on how to apply ornamentation, articulation and right-hand coloration make each performance absolutely unique.

  • Keep this in mind while listening to concert recordings of "Minotaur" and do not feel obligated to copy any of them (unless you like specific aspects of a particular performance).

Explore the space

  • If possible, spend some time improvising freely, perhaps as part of a warm-up routine, in the space. Find musical ideas that particularly fit the hall. More than any other factor, acoustics should shape the decisions of the performer and how the performer interacts with the tape part.

  • If possible, I would like to encourage you to explore the entire hall or performance space.

  • While performing the piece, you could try walking through the space, looking for acoustically interesting spots other than the stage.

  • At times you could become invisible, haunting the perimeter of the audience and even leaving the area enclosed by the speaker array.

  • If the space does not allow this kind of exploration, the piece should be performed on stage, but with stage lights down or dimmed.

"Minotaur"must be memorized.

  • No score is allowed on stage, especially if you decide to walk around the space and between the audience. It needs to be in your head and in your heart.

Score

  • After listening to the tape part itself, you will notice that the written score is a rough transcription of selected fragments of the TAPE part.

  • For practicing purposes, the piece has been divided into 10 sections. Each section corresponds to a track on a "Practice CD" or its mp3 equivalent).

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