My Sweet Latin Lover II
for flute (plugged), e-guitar and live-electronic
(FP:: 2002 Leipzig) duration: 9min

text by Iris ter Schiphorst, Thomas Moore („To…“) and William Blake („The sick rose“)

World-Premiere: 13/11/2002, Concert of the ‚Forums Zeitgenössische Musik Leipzig’ and MDR
Sarah Hornsby- flute, Daniel Göritz, e-guitar

‘My Sweet Latin Lover’ is a tender-ironical tribute to love - and it’s perfidy…“ I.t.S.

„ A copy of the recording of the whole piece is available on request. (Strictly for promotion only)“

Latin Lover II advices

Both instruments are to be amplified in a manner suitable for the venue. It is best if the flutist uses a contact microphone directly on the flute and a second microphone on a stand for the vocal passages. The flutist additionally needs an effects unit (for example, a guitar effects pedal) with a foot-operated switch and a volume pedal. The guitarist likewise needs a multiple effects unit with a volume pedal or individual components for the three basic sounds: clean, distortion, and wah-wah.

The setup outlined below for the flute represents an ideal solution, but slightly modified variants are also possible. For example, assuming sufficient comprehensibility, the flute’s contact microphone can also be used for the vocal passages, and the stand-microphone dispensed with. The electric guitar’s sound can either be mixed together with that of the flute through the hall’s sound system or heard exclusively over a compact amplifier directly on the stage.

Effect settings for the flute:
1 = pitch shift one octave lower (and tuned ca. 30 cents higher) + a little distortion
2 = pitch shift a minor second higher (and tuned ca. 20 cents higher)
3 = pitch shift a minor second lower (and tuned ca. 10 cents higher)
4 = pitch shift an octave lower
5 = pitch shift an octave lower (and tuned ca. 20 cents lower) + chorus (ca. 50% speed, ca. 33% depth)

Effect settings for the electric guitar:
1 = clean (possibly with a bit of chorus)
2 = wah-wah (wide frequency response)
3 = distortion (controllable by the player)
(the three basic sounds are also to be employed with variations and in combinations)

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