ET VITAM VENTURI (1995) for two Yamaha PSS-480 or PSS-680 synthesizers (one or two performers) Arthur B. Hunkins And I look for the resurrection of the dead. And the life of the world to come. Apostles' Creed And Jesus said to him, "Verily I say to you, today you will be with me in paradise." Luke 23:43 ET VITAM VENTURI is a live performance work for one or two performers (it can be readily handled by one) playing either Yamaha PSS-480 or PSS-680 synthesizers. If PSS-680's are used (one PSS-480 and one PSS-680 is also possible), do not use the 680's top octave (the one the 480 lacks). (Also, take audio from the HEADPHONES jack.) The mono output of each synthesizer is run to one of the inputs of a stereo amplifier. Either mono or stereo mode may be used. If stereo is selected, place the speakers so that stereo imaging is only modest. (If such placement is not feasible, select mono mode.) Preset both synths to the same output level, which remains moderate thoughout. (Only the opening tone of synthesizer 1--BANK 1--is softer than the others.) The instruments are contained in a set of five custom sound banks for each synthesizer; no internal presets are involved. The bank file VITAM1.PSS is loaded into synthesizer 1, VITAM2.PSS to synthesizer 2. Prepare each synthesizer in turn by transmitting its sound file through a MIDI cable and interface using the MIDIEX utility on the diskette. (MIDIEX ; T ; .) As further preparation, set each synthesizer's TRANSPOSE value to +7, and TUNING to 0. Make sure no EFFECT controls are on, and that AUTO ACCOMPANIMENT is set to NORMAL. Performance consists of single, overlapping "bell tones" performed alternately on the two synthesizers. It starts with a performer-selected pitch on BANK 1/synthesizer 1, followed by the same note from BANK 1/ synthesizer 2. The piece concludes with synthesizer 2 playing another pitch on BANK 1, and BANK 1/synthesizer 1 echoing it. In between, sounds from BANKS 2-5 only are played. All banks are sounded at least once; and normally a given synthesizer does not play from the same bank twice in succession. The basic idea of the piece is for each synthesizer to MATCH THE PITCH OF ONE OF THE TWO PROMINENT SIDEBANDS of the previous synthesizer's bell tone. (The synthesizer may occasionally match the MAIN pitch of the previous sound.) Each tone consists of a principal pitch (which corresponds to the key played) and two prominent sidebands--one upper, one lower. The APPROXIMATE intervals of these sidebands from the main pitch are listed in the table that follows. (Unfortunately, depending on the actual main pitch, these intervals can vary up to a m3, especially for lower sidebands more than an octave distant.) VITAM1.PSS Lower Sideband Upper Sideband BANK 2 m6 down P4 up BANK 3 P8 + M6 down M6 up BANK 4 P8 + M3 down P8 + m3 up BANK 5 P4 down M3 up VITAM2.PSS BANK 2 M7 down P5 up BANK 3 m6 down P4 up BANK 4 A4 down M3 up BANK 5 P8 + M2 down m6 up Each new pitch must be pretuned using the TUNING parameter so that the matched frequencies beat as little as possible. **IMPORTANT** Each bank also requires its individual TRANSPOSITION factor to be set immediately prior to use as follows: BANKS 1-4/synth 1 and BANK 1/synth 2--TRANS= +7; BANK 5/synth 1 and BANK2/synth 2--TRANS= 0; BANK3/synth2--TRANS= -5; BANKS 4-5/synth 2--TRANS= -9. Normally a performance is individually prepared BEFOREHAND according to the criteria listed here. Overlapping sonorities should be chosen so as to be euphonious, relatively free of beating, and not "funereal." Best results will be obtained by keeping to the center of the keyboards. Each sonority must die out COMPLETELY before the next can be set up (on the same synthesizer). Exactly HOW LONG the sounds overlap (a minimum of five seconds at sustain level) and sound alone (also a minimum of five seconds) is a matter for personal taste and the attractiveness of particular sounds in their specific transpositions, played separately and in combination. Overall, the timing of tone entry and exit should be varied rather than predictable. Venturesome performers may elect to improvise their realization. (This should not be attempted without substantial rehearsal!) Here TUNING FOR MINIMAL BEATS is crucial, as is an ability to readily identify the sidebands of the sounding tone. The new basic pitch--the one that attempts to match the sounding sideband--fades in before its own sidebands become audible; if it is out of tune it can be instantly cancelled by releasing the key and quickly tapping it again. Several barely audible "tries" may be required to match the sideband adequately-- with different notes and/or tunings. In addition, TUNING may be discretely adjusted during the very early stages of a a note's entry (use this option with EXTREME care). Of course, matching the PRINCIPAL pitch of a sounding tone (an occasional option) is easily accomplished by playing the identical note, with the same tuning, as the other synth. A sample realization used by the composer, which runs through the banks fairly much in order (no main note matching; no bank repetition) is given below. This is the shortest possible rendition; it lasts (at a minimum) somewhat under ten minutes. The C in the middle of the four- octave keyboard is notated as C4. The indicated ORDER OF SETUP for each tone is highly recommended; in case the previous synthesizer tone has not completely died out (it is difficult to be certain unless extra time is taken), changing the BANK FIRST will cancel its sound--a result that is preferable to a change in pitch. SAMPLE REALIZATION: Synth 1 BANK 1 (TRANS= +7) (TUNING= 0) D4 Synth 2 BANK 1 (TRANS= +7) (TUNING= 0) D4 (same pitch as above) Synth 1 BANK 2 (TRANS= +7) (TUNING= 0) D4 (same pitch, tuning) Synth 2 BANK 2 TRANS= 0 TUNING= +7 G4 Synth 1 BANK 3 (TRANS= +7) TUNING= -4 D5 Synth 2 BANK 3 TRANS= -5 TUNING= -15 F3 Synth 1 BANK 4 (TRANS= +7) TUNING= -13 B-flat3 Synth 2 BANK 4 TRANS= -9 TUNING= -4 D-flat5 Synth 1 BANK 5 TRANS= 0 TUNING= -2 G4 Synth 2 BANK 5 (TRANS= -9) TUNING= -8 B4 Synth 1 BANK 3 TRANS= +7 TUNING= -16 C3 Synth 2 BANK 1 TRANS= +7 TUNING= -6 F#4 Synth 1 BANK 1 (TRANS= +7) TUNING= -6 F#4 (same pitch, tuning as immediately above) Following is an overall "guide to realization" that incorporates the main requirements previously discussed. BEGINNING: (overlap all tones) Synth 1 BANK 1 (TRANS= +7) (TUNING= 0) user-selected pitch Synth 2 BANK 1 (TRANS= +7) (TUNING= 0) same pitch as above Synth 1 BANK _ TRANS= __ (TUNING= 0) same pitch as above (2-5) MIDDLE: Continue to alternate synths, using BANKS 2-5, matching one of the two prominent sidebands (occasionally the main pitch) of the previous tone. Set the appropriate TRANSposition factor for each selected bank/synth. Minimize beats with the TUNING parameter. All tones overlap at least five seconds (at sustain level), and sound alone for at least five seconds. Perform each bank at least once. Make sure each tone dies out COMPLETELY before preparing the following tone on that synthesizer. Vary the durations of tones, sounding together as well as separately. Emphasize "euphonious" sonorities. ENDING: Synth 2 BANK 1 TRANS= +7 TUNING= __ matched pitch (previous) Synth 1 BANK 1 TRANS= +7 TUNING= same same pitch as above as above A final performance note: when releasing a key, do it quickly; otherwise the note may retrigger, causing an abrupt cessation of sound. Two other files, TEST1.PSS and TEST2.PSS, are included on the diskette. They are identical to VITAM1.PSS and VITAM2.PSS, except that carrier (audio) attack and release times are immediate. Loading and working with these substitute files while formulating sequences of tones, is highly recommended. They facilitate realizations in two ways: 1) pitch and tuning can be adjusted without waiting for tones to fade in; 2) composite sonorities may be more easily compared and varied (no "retapping" or bank change is required to stop a tone).