Screen Sketch IV




This piece, conceived as a preparatory sketch of [Custom #1], explores the figure of the performer as a user, taking his/her instrument as an interface between the physical and the virtual. The use of samplers (very short and pre-recorded sounds), which are launched by the EWI, simplifies the sonorous material at its maximum, removing any possible timbre variation and focusing exclusively on the relationship between action and sound.


On the other hand, [Screen Sketch IV] also deals with the different consequences on the musical parameters between digital interfaces, derived from media consumption on several platforms such as Facebook or Twitter. Besides, it was a composition laboratory where simultaneous times and spaces (typical of our online experience) are combined, coming together into a coexisting dialogue taking place at the concert. The fragmentation of the concept of “identity” and “action”, split into thousands of virtual pieces is, therefore, one of the conceptual starting points of [Screen Sketch IV] and the [Custom #X] pieces.


In this case, the composer is the subject himself, directly pointing to his actions and virtual existence. Logically, it breaks a correspondence with the true object: the instrument/interface as an extension of the EWI performer. This feature is a consequence of its function as “show of hands”, finding its visual material at the composer’s studio, recording through his laptop’s webcam and using his own personal pictures.