ghost study

no.2
cleek schrey
WhileWhile
GhostGhost Study
Study I was
I was an X-ray image of the pipe’s inner workings, Ghost Study II is concerned with the
a kind
vibrating air immediately surrounding the pipes. An instrument incredibly rich with overtones, each individual
pitch emitted by the uilleann pipes offers a very unique timbre and spectra. Combining closer intervals and
overlaying pitches produces a sound territory that is almost electronic in nature.
Each section flows into the next without pause. A breath.

For Stuart Jackson.

Sound setup:

3 speakers, 1 microphone

A performance involves a combination of live and recorded parts. The performer is amplified by a single
microphone with the speaker placed behind them. Section 1 indicates which part goes through which speaker,
with the live material played through speaker 3. Sections 3 and 4 are played live.
 i.

1.

2.

3.

All sound comes from the 3 D drones on the pipes. Play the continuum of the pitch-space between each chord, listening to and playing with the
beating patterns and overtone sweeps that result from combining the drones. Part 3 is played live while 1 and 2 are pre-recorded. Each line
indicates a D drone. The recorded part for section ii. begins during the solo bass drone.

Duration: 4 - 8 min

ii.

An improvisation using different combinations of air streams from various parts of the instrument. A prerecorded stream begins
during the first section’s last drone. Air may be produced by any means, but each air combination should change the color of
the sound. Releasubg
Releasing air through different valves of the regulators produces different timbres. Releasing air from the bag onto
the holes of the chanter also produces different textures, including whistled pitches.

Duration: 2 - 4 min
 iii.
III.
T

treble
tenor
bass

Performed live. The microphone is held in one hand while the other hand detunes the drones. The reeds may be pulled out as far as they go with-
out falling out, producing a low rattle. The performer explores the sounds emitted by the drones by moving the microphone around the instrument,
focusing on certain territories and combinations of pitches. The performer shows the audience where to listen with their hand. “Listen here”.

Sound source: drones Duration: 3 - 5 min

 IV.
iv.

A single stream of air.

Duration: 30” - 1 min

 v.

This section unfolds slowly and patiently, the chords built up by combining live and recorded parts. Each pitch is approached by a slow glissando
(of a major third or smaller). Each pitch enters one at a time and held for a duration of the performer’s choosing. There may be overlap between
adjacent chords. Pitches may be added in any order within each chord, with as erasing
slowly little beating as possible. A pitch should not be subtracted during a
the beating.
glissando. Drones enter during the 4th chord and sustain until the end. The last sound is the drone.

Duration: 5 - 8 min.