t.o.b.a.l.a.t.i.n.o
six.dna.based.mutuations.4.guitar.trio

01 tobaru://mutuation.number.one
02 tobasa://mutuation.number.two
03 tobair://mutuation.number.three
04 tobala://mutuation.number.four
05 tobana://mutuation.number.five
06 tobata://mutuation.number.sex

Please download the MIDI-files by clicking onto the name of the movement!
.

the.making.of.t.o.b.a.l.a.t.i.n.o

After completing of radin.ovir.waltz, a piece for guitar, orchestra and DNA-background-noise and v.i.r.u.s,  a work for guitar solo, Günther Mayer, manager of ARTCULT Vienna asked for a work, based on the DNA-sequence of Nicotiana Tabacum. This music was thought as background of a video presentation regarding tobacco, smoking and  positive lifestyle. So the.nicotants  were born.  24 mutations based on sets of 24 consecutive chains of 24 DNA code characters of Nicotiana tabacum. Eukaryota; Viridiplantae. the.nicotants were designed usung SSEYO KoanPro®  and Cakewalk Sonar®. The last polishing, performance and harddisk recording was done with Nemesys GigaStudio 160® in the v4m studio.

When Karin Schrefl, member of the Wiener Gitarretrio, during the International Guitar Festival Rust in April 2000, where my composition  v.i.r.u.s has his first performance, asked me for a composition for the  trio, it was an easy decision for me. Inspired by a fantastic performance od the  Wiener Gitarretrio during the festival, it was completely clear, that only the mutuation 26.tabalatino from the  the.nicotants would supply a suitable base for a guitar trio. So the suite t.o.b.a.l.a.t.i.n.o, sex.dna.based.mutuations.4.guitar.trio was born.

3D-structure of DNA of Nicotiana Tabacum

 

 

The synthesis between DNA, smoking and lifestyle was achieved using a projection of DNA-code of a tobacco plant  into the hypolidian music space and latin rhythm.  But what I would like to express with t.o.b.a.l.a.t.i.n.o, can be read in the following  part of a letter of Karin Schrefl:  ...besonders freut mich, dass Ihnen unmittelbar aufgefallen ist, was ich mit dieser Komposition vermitteln möchte: Unbeschwertheit, Lebensfreude, Genuss und ein wenig Kopfschmerzen davon.

Der zweite Satz, ein Tanz, ist rhythmisch ein wenig komplizierter, das Tempo ein wenig flotter, aber noch immer heiter genug.

Das Stück besitzt, wie alle anderen, keinen Takt, weil seine Aussage sich nicht in das Korsett eines Taktes zwängen lässt.  Die Taktstriche und die 4/4-Einteilung dienen nur der besseren Orientierung. Auch eine klare Melodieführung durch eine Gitarre ist nicht gegeben. Die Melodien wechseln zwischen Gitarre 1, 2 und 3 wie unregelmäßige Muster. Stellen Sie sich vor, Sie hören in eine fröhliche Menge hinein. Sie werden die Wortfetzen einer Unterhaltung nicht immer bestimmten Personen zuordnen können. ...“

t.o.b.a.l.a.t.i.n.o was designed for 3 prime guitars and/or  . In the original score  only the movements  3, 4 und 5 were written for third, prime and bass guitar, this for applying special moods to the performance. In depended of this fact all movements can be performed only on prime guitars or third, prime and bass guitar. In the last case you have to use capotastos on the third fret of the prime and the bass guitar.

 

Jovan Pesec

Wien, 15th  July 2001 

 

Please download the score of t.o.b.a.l.a.t.i.n.o free at vision4media.v4m.net



a service of

updated: 21. Mai 2004
designed by Judith.P.Fischer