Pierre Jodlowski

Srie Bleue

EDITIONS PIERRE JODLOWSKI

www.pierrejodlowski.com
 Srie Bleue
Duration : approx. 14 min. 40

This music has been inspired by Yves Klein blue paintings and thus refers to its strange and hypnotic deepness

Instrumentation
- Piano & stereo soundtrack

Notation
- All effects or specific techniques are notated directely inside of the score
- The notation of electroacoustic part is focusing on most important sounds which can be helpfull for
synchronization. When electroacoustic sounds are notated, the player can also engage body according
to sound gestures in order to improve visual perception of the music

Technicall Requirements
- amplification of piano : 3 static microphones such as KM84 - quite close from board (deep compressed sound)
(one for high register - panning medium left, one for medium register panning center
one for low register - panning medium right)
N.B. : amplification can also be achieved with only 2 mikes (one for low register, one for high)

- one mixer (8 in / 8 out / 4 aux) to be placed in center of concert hall

- 2 main loudspeaker with additional sub bass loudspeaker(s)
- 4 or 6 surround loudspeakers
- one stage monitor

- one professional CD reader with timer - placed near pianist

- one compressor and one additional reverb module for piano

CONNEXIONS :
- the 2 first outputs of the sound interface are connected to Main and surround loudspeakers (1 = LEFT / 2 = RIGHT)
> the surround loudspeakers are used to create additional spatial effects - sound ingeneer controls mixing but
generally the sound must mainly come from the 2 main loudpseakers

PIANO AMPLIFICATION :
- the piano is amplified ONLY on MAIN loudspeaker
- the compressor must be used to slightly compress piano sound.
- Eq can also be used to amplify low freq. on mike dedicated to low register
- the additional REVERB is used ONLY on piano sound and ONLY on MAIN loudspeakers via AUX 2 and 3
(usage of this REVERB is optional and depends on the concert hall's acoustic)
- the level of the stage monitor must be adjusted according to performer's demand

LIGHTS :
- the musician is lightened by standard central light (profiles or PC with COLD white)
- some additinal lights can be conceived in respect of general ambiance of the project
 Srie Bleue
Pierre Jodlowski

START CD ONLY AFTER A LONG SILENCE

A q = 60

noise synth. 2 3 4 5 6 7 8

#w
Soundtrack
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mp
w w w w w w w

A q = 60 very calm and deep

& -J -R w
00'00" 00'08" 00'16" 00'28"
w
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p

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Piano
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# - w # - w w # -

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bass guitar

9 10 11 12 13 (cut) 15 16
j 14 3
Snd.
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(synth in background)

-R
00'40" 00'52" 01'00"

&w
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mp
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17 18 19 20 21 22 23 24

n
5
Snd.
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(synth in background)

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01'12" 01'24"

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Copyright pierrejodlowski.com
 B
5

25 (cut) 26 27 28 29 30 31

Snd.
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01'36" 01'48" - 02'00"

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32 33 pppp 34 35 36 37 38 39 synth. sine waves

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02'08"
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02'32"
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ppp
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40 41 42 43 44 45

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02'44" 02'52" K
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46 47 48 49 50 51

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03'00" 03'12"
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mp pp

Pno.

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52 53 54 55 56

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bass guitar bass

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03'24"
03'32"
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mp

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b3
synth. synth.

57 58 59 60 61

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bass f bass mf bass

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b cut

62 63 64

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04'04" 04'12"
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3 3

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69 70 iq 71 iq iq
3
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senza Ped.

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iq

72 3 iq 73 iq 3 74 iq 75 iq 76 77
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78 79 80 81 82 synth. flute 83

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ppp low synth. pulse
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D
05'08" very calm, introspective 05'16" 05'24"
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Pno.

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pp

84 85 86 87 (synth. flute continues...)

b
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bass
mf

b
05'32" 05'40"
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p
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88 89 90 91
3
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05'48" 05'56"
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pp
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mf
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guitar harmonics - distortion
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93

92 94 95
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mp bass
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06'04" > 06'12"

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f

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mp f

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96 97 98
99
Snd.
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j
06'20" 06'28"

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p

Pno.

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b b b J b b b
crescendo with progressive distortion

100 101 102 103

Snd.
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3

06'44"

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06'36"
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Pno. mf mf

b
f

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104 105 106 2
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06'52" 2
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Pno.

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108 109 110 111 112

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&
07'08" # # w 07'16" 07'24"
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Pno. p
pp
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(Ped. sempre)

113 114 115 116 O 117

Snd.
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07'32" 07'40" # # w
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&
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Pno. mp

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118 119 120 121

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07'48" b w 07'56" w
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10 G q = 108

122 123 124 125 126
piano

Snd.
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bass

G q = 108
08'04" b 08'20" b b
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b b
ww ww ww
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p
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>

synth. PULSATION slowly appearing

128

127 129 130 131 132

#
piano piano
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Snd. & & J w
b b b b
bass bass

#
n
08'22,2" 08'33,3"

& j b b
#
b#wbw
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mf mf mp
Pno.

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piano piano piano

synth. PULSATION constant

133 134 135 136 137 138

Snd.
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b b(bass) b

b

###
b >

b
j b
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08'37,7" Kr
#
&
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mp
Pno.

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f
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(synth. PULSATION constant)

H

. . . . . . . . . .

139 140 141 142 143 144 145

n b b
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Snd. ##w
w-

bass
H

#
very precise, play with pulse

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08'58,6"


08'53,3" #
j
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mp p

Pno.

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bb-
151

146 147 148 149 150 152 153

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w- w
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b#-
09'02,2" -

w

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#bb ww
p
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Pno. -
bb
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&
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w

bb-
PULSE STOP PULSE START

154 155 156 157 158 159 160 161

Snd.
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w- w
w- j ##-
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09'17,5"
-
bbbb- # #bbww
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ww
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mp mf
Pno.

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b w
& bb
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b-

162 163 164 165 166 167 168 169 170

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09'25,5"
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Pno.

& bbb
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PULSE STOP

171 172 173 174 175 176 177
NOISE
? bbw bb- bbw
Snd. w- - nn- w-

09'36,9"
#-
# #
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ww
## ## -
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Pno. f

-
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b- -
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bass distortion

#-

178 179 180 181 182
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Snd.
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bbb- #n# - -

09'47,2"

bbb-
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Pno.

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bass distortion

183 184 185 186

187

Snd.
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188 189 190 NOISE 191 3 3 3
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bass

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10'09,7"
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3 3

192 193 194

Snd.
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10'18,6"

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b
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3
Pno. 9
ff mp
6

mf


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NOISE
195 196 197 198

bass
Snd.
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I q = 108
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10'25,2"
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#
& b
mp fff
mf
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3

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bass distortion

#J>

199 200 201 202 203

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noise

204 205 206 207
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#
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ff mf
Pno.

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211 bass distortion

3

208 3 3 3 209 210

Snd.
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R
b
10'39,4"
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mp

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212 213 214
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215 w 216 w 217 #
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218 220

#
granular noise, big crescendo 219
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#
Snd.

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K
bn# # # bn###> n # ##. Rr?
suddently, extremely wild >.
>
- 11'00,1"

J J J &
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Pno. fff fff cluster signs indicate

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##- ## bb
possibility to play

j
##- ##-
with flat hand, approx. pitch

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221 222

#
?
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Snd.
j

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#b# n#
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f 3
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223 224
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11'07,8" -

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p ff
Pno.
mp
#b# #b#
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225
r 226 n
Snd.
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11'12,2"
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228

#
227 n
Snd.
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11'16,5"

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mf fff
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>. . .
q = 83 L q = 60
reverse cymbal

231 CUT
# wsynth.

229 230 232

Snd.
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R fff
w

L

q = 83
fff
q = 60

11'26"

n
&R
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16
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234

b .
233 237 238
235 236
J J
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Snd. & filtered distorted bass
&
p

b>- ww b>-
synth.

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>
11'30"
b w b
& J bbb
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ff p ff
Pno.

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-> w
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J . .

239 - - 240 - . 241 - - 242 243

Snd. & RJ J J J

11'54" R > R R
& w
ff

#b
mp mp
Pno.

mp

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synth. arpeggio

244
245
Snd. & #
N
12'14" R 7
& b # #

p 14
Pno.

? # #

.
synth. arpeggio 247

246

Snd. &

R 12
12'22"
12
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p
Pno.

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>


17
?

248 synth. arpeggio 249 250 251
& w
Snd.

&

12'30" 7 #
## #
& b b b #
p
Pno. 14 14

? # # # #

252 synth. arpeggio 253

Snd.

&

12'46" 6
#
& b # # # # # # # # # #
p
Pno.
12 12 12 12 12 6
? ## # # #

254 255 synth. arpeggio

Snd.
? &R

12'54" R 12 > 12

& bb ##n ##n bbn ##n #

p
Pno.

256 257

Snd. &
13'02"
>> 12 12 12
12 >
& # bbn ##n ## ## bbnn # # # # bbnn #
Pno.

?


18

258 bass distortion 259

b
Snd. &
ff

13'10"
# b b b b b # b b b b # b b b b b # b
&
mf
5 10 10 12
Pno. N.B. : can be ad. lib. sequence, same global lenght with irregular patterns on same pitches
some accents ad. lib.
?

&

260 261

Snd. ? &
J
bbbb#b bbb #b b bb b bbb #b bbb#bb
13'18" n R
&
6 10 10 6 6 7 5
Pno.

262 263 264 265 bass distortion

b
Snd. &
CUT fff

13'26" R R # b b b b b # b
&
5 10
Pno. N.B. : id.

266

Snd. &

13'42"
bb b #b nb bb b #b b bb b#b b b
&
10 12 6 10
Pno.

?
 19
#

267

Snd. &
b # b b b b b b b b # b b b b # b b b b
13'46"
&
10 6 10 10
Pno.

268

Snd. &
b bb b #b b bb b#b b b b #b b bb
13'50"
&
12 6 10 10
Pno.

269 270

Snd. &

b b b b # b b b b # b b
13'54" n
&
6 6 7 5
Pno.

271 272

Snd. &

14'02"

&
Pno.

?


 quarter tones piano arpeggios
20

O

273

O
Snd. &

14'10" b#n n b#n n b#n n b#

&
6 6 6 6 6 6 6 6
Pno. mf

(senza Ped)

274

Snd. &

b#n n b#n n b#n n b#

14'14"

&
6 6 6 6 6 6 6 6
Pno.

275

Snd. &

b#n n b#n n b#n n b#

14'18"

&
6 6 6 6 6 6 6 6
Pno.

276

Snd. &

14'22"
R
#
bb
& # ## n## # n
## # n
mp
Pno.

? ## bb nn
(senza Ped)
 21

277

Snd. &

> b bn bnbn>
14'26" b n bn n # b
# n
nbbn# n n# #
& # # # ##
n
nbbnnn#
Pno.

? n ##n bb nn

278

Snd. &

14'30" b b n n>
R # n # b b
bb n # n n # # n b
& # # n
nbbnn n#
Pno.

? n ## n bb nn

279

Snd. &

bb n # # R
14'34" n>
# b n #
n # n n
# n b n b R
& bbnn n## # nb
7
Pno.
7 7 7
? ## bb nn n

CUT

280

Snd. &

14'38"
n # n bb n #n bnnbn>
& # b n
# # #
nbb nn n## # nb 6
6
Pno.
6 6 6
? ## bb nn
Wroclaw / Toulouse 2013