|
From the inside towards the outside: in Irrlicht, the sounds of the various instruments emerge from the differentiation of their sound articulations, from either the change at the start (attacks, 'impure' transitions and consonance), or the end of the sounds (cuts, sudden or slow disappearances), as well as a specific phrase inspired by the sound and melody of the human voice. Meanwhile, we discover sounds that are complex, atypical and unusual; they are obtained from the preparations and/or techniques of particular games. The wide range of noises forms a significant part in the orchestra; the sounds tend to make the instrumental characteristics disappear. In addition, the targeted placing of microphones induces meaningful fraying or strengthening of the details of the sounds, producing an unusual spatialisation of instruments in the ensemble's tone. During the pieces, some instruments gradually render 'spoken' passages. In this discourse made up of phonemes, the syllables are combinations of vowels and consonants, and take the place of the notes and their articulations. This 'informal rhetoric' material is sometimes organised as a speech, or as a rant, a stammer or a stutter. The piece is organised so that the musicians must put down their instruments and use a variety of funnels,
