Mateu Malondra Flaquer
Free Module Study n1
Duration: 12'
Instrumentation details:
saxophone
electric guitar
piano
accordion
live electronics
Free Module Study n1
Translation, reprints and more
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Sample pages
Work introduction
In many aspects, Free Module Study nº1 is rooted in the classical tradition. The sub-piece is structured and constructed around the transformation of a central block. The mathematical definition of a Free Module acts as a contextual element of the compositional strategy. A free module in mathematics is a generative modular set that consists of linearly independent elements. Furthermore, in Free Module Study nº1, time is the element of delimitation, a unit of cohesion of the modularity. The sub-piece deliberately avoids tempo changes. A constant immobile tempo defines the collection of horizontal independent modular cells. It attempts to reinforce the vertical moment defined by the time scale of the diverse modular cells. The consequence of deposing the horizontal time is not evident from the very beginning of the work. The first module starts being very polyphonic to evolve into a sound amalgamation that emerges over the contrapuntal technique followed until that moment. Consequently, it is a transit from a horizontal sequential block development to a vertical block overlapping moment.
Short note on the instrumentation; Almost all my compositions deal with the use of electronic means in one way or another. As part of the instrumentation, I introduce physical or virtual electronic instruments such as electric guitar, amplification, oscillators, synthesisers and sampling, as well as different approaches to the relation of electronic means and acoustic instruments.
What is necessary to perform this work?
Instrumentation
Live electronics
Saxophones (transposed) (one player)
Soprano Saxophone: written in Bb
Baritone Saxophone: written in Eb
Electric Guitar
Piano
Concert Accordion (Eı - c#5: C-system)
Technical rider & sound patch
The Free Module Study no1 audio system is designed to amplify the ensemble, to record and the subsequent play of the live recorded individual instrumental samplers, play the multiple electroacoustic samplers and send the click track to the musicians’ headphones.
Loudspeakers (4+1) and monitors (2)
The two loudspeakers on the stage need to be on tripods at the back of the stage and as close as possible to the instruments.
The two loudspeakers at the back of the audience need to be on tripods and at two meters' distance from the last occupied row of seats. The subwoofer has to be on the floor at the back of the audience and in between the back audience loudspeakers.
The two monitors on stage: One facing the saxophone and piano and another facing the e-guitar and accordion.
Refer to the Stage plan for a more precise location of the loudspeakers.
FOH
Mixer (Allen & Heath SQ-5, Yamaha CL3, MIDAS M32, or similar)
- Digital mixer with compressor, EQ, FX, etc. 16 channels / 8 out
- With a USB connection to a computer for multitrack audio streaming send/return
- Stage-box with 8 sends / 2 returns
Speakers (L-acoustic, Meyer, D&B or similar) Full range quadraphonic PA + subwoofer
- 4 Loudspeakers: Left and right for all the areas with processors, amplifiers and loudspeaker cables
- Subwoofers with independent processors, amplifiers and cables
- 2 wedge monitors
- 4 wireless in-ear monitor systems: Sennheiser (preferred), AKG, Shure or LD. Transmitters and receptors
- 4 in-ear headphones
Microphones
Multi-chord Stage to mixer – Mixer to Amplifiers
- 1 Sennheiser e935 or MD441-U
- 1 Sennheiser e906 or Shure Beta 57
- 2 Neumann KM 184 or U 87
- 2 DPA 4061 (with clip for accordion)
- 1 Direct Box (DI)
- 4 Microphones articulated stands - microphones cables
Electric power
2 x 220-240 V power outlet at the stage with
1 power strip with 2 sockets
1 x 220-240 V power outlet at FOH with
1 power strip with 4 sockets
Backline
1 Guitar amplifier Vox AC30S1 or similar professional amp (30 W 16 Ohm).
Cables and stands for all the above