鋼琴組曲No.1-5 (2015-2016 )
給鋼琴與即時電聲
首演：鋼琴/鄭伊里，2016年3月15日，阿姆斯特丹音樂院，荷蘭
Piano Etude I - V (2015- 2016)
for piano solo and live electronics
Premiere: piano/I-lly Cheng, 15 March 2016, Conservatorium van Amsterdam, Netherlands
鋼琴組曲I-V是2015年在荷蘭求學時所創作，當時大量嘗試即時電聲(live electronics)的創作，累積了許多樂器合作的經驗，也接觸了各類電聲效果與互動可能性。在密集的學習後，我開始思考即時電聲除了展現聲音的變形外，在音樂語言上是否能有不同面向的意義。電聲的使用很容易被視為華麗的存在，而在此鋼琴組曲的創作理念上，我想從不同的角度切入：單純，卻緊扣音樂語言。
每首組曲都是簡短的小品，並專注使用一個即時電聲的手法，各聚焦在不同的音樂概念上。每個音樂概念我都希望能打破電聲只是音樂效果的表象，從簡單的概念中，希望能從中找到創意方法，拓展電聲使用的想像力。以下是鋼琴組曲I-V (2015)的內容：
I- 逆行的解決Backward Release
感受和聲的色彩，緊繃的響度走向解決…
此曲現場演奏一開始就按下錄音鍵，當到達結尾的B音時，電聲部分便開始倒著播放先前錄下的演奏。當兩個B因重疊時，時空彷彿倒轉，除了原本和聲導進的方式被逆行外，鋼琴的音色特質也跟著改變了。
II- 交替轉換節奏Cross Fade Rhythm
不規則的循環使用了34562…；然而這些不同拍號的樂句間距，在最後越拉越近。
循環播放是很常見的即時電聲效果，大多是固定拍號作聲部疊加。此曲用到六個不同拍號長度、不同音域以及不同力度的片段作疊加，產生錯位的狀態，並且在最後壓縮各片段，讓節奏越來越急促。
III- 脈搏 Pulse
在穩定的脈動後面，若隱若現的終止式。
全曲左手流動的三度音程彷如固定的脈搏，然而當音高疊加的效果打開時，小三度的重疊便形成了緊繃的減七和弦，隨後接著出現終止式。電聲的效果在這就如疊影般的鬼魅，當減三度出現時就會被吸引出來，解決時就會消失。
IV- 從盧卡斯數列中逃脫 Get Out with Lucas Numbers
盧卡斯數列，費式數列的變形之一。精準地敲下指定次數、指定力度、指定速度，最後的七十六下記得撐住。
此曲電聲使用非常單純的延遲，如追在身後的影子般，當演奏加快，影子也就跟著加快，如無止盡的追逐。而現場演奏與電聲雙方重疊時的拉鋸，更加深精準演奏的難度。
V- 鏡像賦格 Mirror Fugue
聆聽現場演奏的賦格透過電聲效果變鏡像賦格。
此曲與第一首使用的電聲手法相同，同為即時錄音與回播，只是在賦格的音樂織度中呈現出完全不同的結果。
During my studies in experimental electronics in 2015, I had an idea to write some miniature piano pieces to revisit my beloved music language. There have been lots of great pieces involving live electronics, which excel both technically and musically; however, I would like to try some miniature and simple pieces. Technology is sometimes associated with complexity, but in my opinion, it could be simple as well. I used to practice Ligeti’s piano etude a lot, and it has influenced me to come up with this project. With a clear motivation, I developed it into an etude. The most different part from Ligeti’s is that the etudes in this project all engage live electronics. Moreover, I implement live electronics simply and musically. The main idea is about simplicity: simple but strong.
After finishing a few pieces, I fell in love with composing these etudes. I would like to create more of them: find more ideas, and develop them into diverse etudes.
This project is about the study of piano performance with live electronics. Technology is sometimes associated with complexity, but in my opinion, it could be simple as well. I used to practice Ligeti’s piano etude a lot, and it has influenced me to come up with this project. With a clear motivation, I developed it into an etude. The most different part from Ligeti’s is: that the etudes in this project all engage live electronics. Moreover, I implement live electronics simply and musically. The main idea is about simplicity: simple but strong.
Each piano etude starts from the live electronic effects I have known. Then, my music skills are integrated to form different pieces. I would like to get more inspiration from technicians who know more about the possibilities of live electronics, and then transform these ideas to create more etudes. I have written five pieces so far in this project.
I- Backward Release
Feel the color of harmonies, the intense sonority towards the release...
Electronics: In the first section, record the live piano playing. When it reaches the end note B, play backward the live recording. The voice leading and harmony feeling will also be changed by reversing the timeline/ timescale.
II- Crossfade rhythm
groovy loops with 3,4,5,6,2…; however the distance between these phrases is changing gradually, getting closer and closer in the end.
Electronics: live recording on different length samples, six samples, different lengths, different registers, and dynamics. In the end, shorten the fade-out distance between each sample.
III- Pulse
Something behind the continuous pulse, gradually leading the phrases toward to temporary cadence…
Electronics: by switching on pitch shift to create diminished 7th and switching it off for triads
IV- Get out with Lucas Numbers
Lucas Numbers, the variation of Fibonacci numbers. Count numbers, control the volume precisely, especially hold on to the last hits seventy-six times.
Electronics: the faster you play, the faster electronics become always with a simple 2-second live delay. Stay your pulse stably even though there is an extra layer that is created by you always behind you.
V- Mirror Fugue
Listen to the differences between the original fugue, and the backward one.
Electronics: record the live playing in the beginning, then play backward.