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Abbys belongs to a series of pieces I have written for solo performer and electronics. Like in the previous pieces of this series (Elpia II, STRINGendo, Flautando), the playing of the performer is transformed into MIDI data. The MIDI data is processed on four independent layers by a computer program I've written which then control a sampler, playing all sorts of sounds and noises previously recorded from the particular instrument. Pitches and velocity values can be transformed, notes can be delayed, a played note can trigger many other notes etc. Each of the processing parameters can either be exactly determined, or it can be defined as a random interval within which the processing will be carried out. The live performance keeps the piece fresh while the fact that processing is done on four separate layers enables the performer to trigger complex musical textures. Furthermore, „tape“ parts are played back in some sections of the piece.

The piece was developed over a long period of time in working sessions with the guitarist Stefan Östersjö as well as compositional work on and programming of the electronic music in the piece. The working process involved sessions in which Stefan improvised with an without the midi-software under development. The score to the piece could be described as a transcription of the first recording we made of the piece, before the interactive live-version of the piece was yet finished.



		Abbys Abbys belongs to a series of pieces I have written for solo performer and electronics. Like in the previous pieces of this series (Elpia II, STRINGendo, Flautando), the playing of the performer is transformed into MIDI data. The MIDI data is processed on four independent layers by a computer program I've written which then control a sampler, playing all sorts of sounds and noises previously recorded from the particular instrument. Pitches and velocity values can be transformed, notes can be delayed, a played note can trigger many other notes etc. Each of the processing parameters can either be exactly determined, or it can be defined as a random interval within which the processing will be carried out. The live performance keeps the piece fresh while the fact that processing is done on four separate layers enables the performer to trigger complex musical textures. Furthermore, „tape“ parts are played back in some sections of the piece. The piece was developed over a long period of time in working sessions with the guitarist Stefan Östersjö as well as compositional work on and programming of the electronic music in the piece. The working process involved sessions in which Stefan improvised with an without the midi-software under development. The score to the piece could be described as a transcription of the first recording we made of the piece, before the interactive live-version of the piece was yet finished.