bret battey • bat hat media

 

Pater Noster's Tricyclic Companion

for flute and tape (1998)

 

Flautist Sarah Bassingthwaighte commissioned Pater Noster's Tricyclic Companion in 1998. Inspired by her energetic personality and great command over fast passage-work, I wrote a virtuosic display piece emphasizing driving, syncopated rhythms and a dense, layered accompaniment.

Unlike may pieces for instrument and tape, this work's tape part contains "lots of notes." Rather than utilizing washes of transforming sound, I notated the work in a more traditional fashion (in "piano score") and then "orchestrated" it for a mixture of MIDI synthesizer, computer-controlled acoustic piano, and computer synthesis sound sources (via Common Music and Csound).

Much of the rhythmic and pitch character of the work arises from the systematic application of a number series: [3 4 4 5]. Note that these numbers sum to 16. Much of the work could be considered to be in 16/16, which continual rotation of groupings of 3, 4, 4, and 5 sixteenths. Most listeners will be inclined to tap in familiar 4/4, feeling the continuing shift of the groupings as a hint of warped, jazz-like syncopation.

The title has no particular meaning — as far as I'm aware. It came to mind one day while I was working on the piece and I wrote it down, wondering what "Pater Noster" actually meant. The title still sounded apropos two months later, and I chose to use it. It feels to me to be just short of the strangely familiar — matching what I consider to be an essential character of the piece.

Performance Details and Materials

Duration: 7:50

Materials:

In exchange for me providing these materials for free, please contact me if you perform this piece. I would be pleased to add your performance to the list below.

Revision History:

  • 2 Jan 2011
    • Added pickup flz/gliss at end of first measure
    • Corrected accent placements in mm. 7, 13, & 33
    • Edited accidentals in m.97 for consistency
    • Added notation clarifcation comments to the performance instructions

Selected Performances

  • Sep 2013 – Wyoming Flute Day – performed by Linda Antas
  • Jul 2013 – Nonclassical, London, UK – performed by Carla Rees
  • Jul 2012 – Rarescale Summer Concert Series, London, UK – performed by Carla Rees
  • Feb 2012 – From the Soundhouse, Royal College of Music, London, UK – performed by Carla Rees
  • Luminíco 2011 tour (in excerpt) —performed by Alejandro Escuer
    • Dec 2011 – Programa Index MUAC, Auditorio Museo Universitario de Arte Contemporáneo. Ciudad de México, México
    • Dec 2011 – Fonoteca Nacional: Confrontación Sonora y visual entre la Ciudad de Nueva York y la Ciudad de México, México
    • Nov 2011 – Audio Art Festival 201, Kraków, Poland
    • Nov 2011 – Alte Schmiede, Vienna, Austria
    • Nov 2011 – Music, Technology and Innovation, De Montfort University, Leicester, UK
    • Nov 2011 – Creative Music Technology, University of Hull at Scarborough, UK
    • Nov 2011 – WAVES, CBSO Centre. Birmingham, UK
    • Nov 2011 – Festival Punto de Encuentro, Valencia, Spain
    • Nov 2011 – KLEM, Laboratorio de Electroacústica de Bilbao, Spain
    • Nov 2011 – GroundSwell, Winnipeg, Canadá
    • Nov 2011 – Department of Fine and Performing Arts,
      University of Chicago, USA
    • Oct 2011 – IV Festival Internacional Discantus
      Zócalo Puebla, México
  • Mar 2001 – Music, Technology and Innovation, De Montfort University, Leicester, UK —performed by Sarah Bassingthwaighte
  • Oct 1999 — Beijing, China - International Computer Music Conference — performed by Patricia Spencer
  • Dec 1998 — Seoul, Korea - Korean Electroacoustic Music Society
  • Apr 1998 — Meany Theater, Seattle - Seattle Electroacoustic Music Festival — performed by Sarah Bassingthwaighte
 
See the recordings page for available recordings of this work.