21 462

Joonas Pohjonen

For Strings and Hammers

piano (four hands)

2010 / 2016

C o p y r i g h t © b y t h e C om p o s e r A l l R ig h t s Re s e r v e d N o p ar t o f th i s pu b l i c ati o n m a y b e c o p i e d o r r e p r o d u ce d i n a ny f or m o r b y a ny m e a n s w i th o u t t h e p r i o r p e r m is s i o n o f th e c o m p o s e r D i s t r ib u t i on : M usi c F i n lan d M u s i c L i b r a r y U r h o K e k k os e n k a t u 2 C , 6 t h f l o o r F I - 0 0 1 0 0 H e l s i n k i F i nl a nd m u s i c l ib r a ry @ m u s i c f i nl a n d. f i w w w . m u s ic fi n l an d . f i H e l s i n k i , 2 01 7

Joonas Pohjonen

For Strings and Hammers

piano (four hands)

(2010 / 2016)

1. Rainbow Bridge2. Cygnus Loop

3. Metamorphic Rock4. Sevenths' Heaven

For Strings and Hammers

Keyboard

The dynamics refer to the force of execution. The actual sound volume may differ considerablywhen string techniques are used.

The pedal instructions must be precisely followed. The sostenuto pedal is marked . The soft pedal(una corda) may be used occasionally according to the pianist's discretion.

Diamond noteheads ( ) indicate depressing the keys silently. Ties before notes imply the notesmay be prepared in advance.

The trill interval is always a semitone.

For Strings and Hammers is scored for piano, four hands. Yet, the work differs from the standard"piano duet" by the distinct roles of the two pianists. One of the players operates the keyboard while the other stands at the crook manipulating the strings with various techniques. The production ofspecial timbral effects requires precise coordination between the players. The work was first performedby Emil Holmström and the composer on 7 September 2010 at Sibelius Academy Concert Hall, Helsinki.

The Instrument

The work is primarily intended for performance on a Steinway Model D concert grand. Nevertheless, itis playable on most grand pianos equipped with a sostenuto (middle) pedal. Constructional differencesof various instruments may necessitate alterations for which some suggestions are given as ossias.

Preparation for Performance

In order to familiarize with the construction of the instrument at the concert venue, ample time shouldbe given for stage rehearsal. To identify the strings, labels should be placed on dampers and/orbeyond the pins at the bridge. Nodal points for harmonics must also be marked on the stringse.g. with small strips of masking tape. Different colors may be used to help orientation.

Instructions

Strings

Use of earplugs is strongly recommended due to exposure to high sound levels.

Because of the reversed orientation, the upper staff is played with the left hand and the lower staffwith the right hand.

Plucking the strings is marked pizz. The performer may choose whether to use the fingernail or the fleshof the fingertip. The strings should be plucked near the center unless the instruction sul ponticello (nearthe bridge) is given.

s

2

Actual sound:

Table of Harmonics:

Diamond noteheads indicate touching the string(s) at a specified point. Touching at the end of thestring (marked "+") produces a muted tone (étouffé) while touching at a harmonic node (specifiedwith encircled numerals) produces a harmonic (flageolet) when the corresponding key is struck.The nodes are located at fractions along the length of the string, e.g. the node for the fourth harmonicis found at a quarter along the length. Muted tones and harmonics are usually prepared beforehand,as indicated with ties before notes. Double harmonics on separate strings of the same pitch are markedwith numerals grouped with brackets.

Cross-shaped noteheads ( ) indicate dampening the string(s).

Three different objects are needed to manipulate the strings:

1) An object (e.g. a roll of masking tape) used as a weight on the strings to produce a distorted,"overdriven" sound. The object should have a flat surface at least 5 cm wide and be heavy enough to stay on the strings when the keys are struck.

2) Another object used as a weight, relatively heavy, preferably of metal, with a flat surface at least10 cm wide (e.g. an unopened food can), producing a snaredrum-like sound when the correspondingkeys are struck. The pitch should be almost indefinite, free of the fundamental pitch of the string andits harmonic overtones. In addition, a piece of felt may be used to dampen unwanted vibrations.

3) Any object that can be used as a "3rd bridge", i.e. to divide the vibrating length of the string intwo separate parts, such as a chisel or the handle of a table knife. The object is pressed firmlyagainst the string and moved along the string to produce a pitch-bend effect.

⑩⑦⑥⑤④③②

⑪⑩⑤④③

⑩⑨⑦⑥⑤④③

⑩⑦⑤②

⑨⑥③

⑥⑤②

⑥④②

④③

⑩⑦⑥⑤

⑩⑦ ⑤⑥

⑪⑨⑥⑤

⑦⑤

⑦⑤③

⑪⑦③ ③

⑤③

⑨⑥③

④②

④②

④②

Actual sound:

The harmonics in parentheses are found only in ossias.

④②

④②

④③②

④②

⑤②

④②

④③②

④③②

④②

③ ②

③② ② ② ② ② ② ② ② ② ② ②

3

Rubato

1. Rainbow Bridge

Joonas Pohjonen (2010 / 2016)

For Strings and Hammerspiano (four hands)

Actual sound:

Strings

⑪⑦

Keyboard

pp (sempre pp)

3

5 3 3 5 3

3

f

ff

ff

p f

3

Sound:

⑨⑥

pp

3 5

3

5

6 5 3

(pp)

ff

f

4

(sempre pp)3 5 3 3

35

ffp f

Sound:

⑪⑨

pp

3

5 3 3 5 3

5

5

ff

f

ff

p

3

f(pp)

3

gliss. along string

gliss. along string

mp

fff

pesante

simile

5 6 7

5

Allegro

Sound:

⑤

⑤

p35 3

3

3

f

6 5

Sound:

②

gliss. (fingernail)

f

Ossia: *)

Ossia: *)

p

p

3

p p

3

*) The ossia is to be played if a crossbar of the steel frame prevents the execution of the downward glissandi.

s p

rapido

6

*) Snap the fingernail against the string and immediately sweep along the string with the fingernail.

gliss. with fingernail *)

f

**) See previous page.

Ossia: **)

Ossia: **)

3

3

s

ff

Ossia: **)

Ossia: **)

s

7

Rubato

gliss. along strings

gliss. along strings

f

p

3

(non cresc.) fff

pesante

simile

5 6 5

Sound:

⑦⑤

⑩

⑦

p

3

8

Allegro

Sound:6 6 9 9

②

③

mp

p

6 6 9 9

6 6 6 6

3

6 6

9 9

6 6 6 6

3 3

3

6 6

9 9

6 6 6 6

9

Rubato

gliss. along strings

gliss. along strings

( )

f 12 12 12

fff

pesante

simile

5

Sound:

⑦

⑥

⑪ ⑩

p

3

(fff)

6 7 6 5

10

Sound:

⑪⑨

3

pp

3

5 3 3 5

f

ff

ff

p

3

f

3 3

Sound:

⑨⑥

pp

3

5

5 5 3 3 5

f

ff

ff

11

Sound:

⑪⑦

pp

gliss.(fingernail)

(sempre pp)

3

3

3

3 5

p f

f

s

Sound:

f pp fff

②

f

gliss.

rallentando

pp

s

ff fff

pp

12

2. Cygnus Loop

Lento, molto rubato

Lento, molto rubato

pizz.

3 3

3

mp

p

6

5

*) Release the sostenuto pedal and immediately depress the damper pedal. A drumlike sound is produced by all the

s

*)

pp

tremolo with fingernail **)

p f pizz.mf ***)

②

②

gliss. on strings

④ ② ②

Ossia:

②

Ossia:

p f

mp3 3 3 3

***) If any of the harmonic nodes are inaccessible, the chord should be played an octave higher and piano (no harmonics).**) Flick the fingernail back and forth (like a mandolin tremolo)

dampers hitting the strings simultaneously.

s

pp

s

***)

mf

13

*)

②

pizz.

② **)

mp mf

3 3 3 3 3 6 6

s pp

mf

*)

p

f

3

Ossia:

② ② ④ ②

② ② ④ ② ④

**)gliss. along strings

②

gliss. along strings

② ②

Ossia:

p f mf

ff

**) The strings are muted exactly on the beat (i.e. not prepared beforehand).

*) See previous page.

p

pp

14

Execution:

gliss.

pizz.

pizz.

pizz.

mp

*)

gl

iss.

**)pizz.

gliss.

p

p

s

s

mp

pizz.

***) Silently depressed chromatic cluster. **) To create a metallic buzzing sound, bend an adjacent string to touch very lightly the vibrating string.

*) A continuous glissando over the strings is intended. The glissando segments may vary according to the location of thecrossbars. Execution on a Steinway Model D is shown above.

molto rubato, quasi improvvisando, poco a poco più mosso

ppsempre legato3 3 3 3

33 3 3 3

3

***)

s

p 3

15

(sempre pizz.)mf

f

(pp)

p

3

33

s

poco a poco cresc.

mp

3

Ossia:

ff

mp

5

3 35

3

s mf

f

16

Tempo primo

Tempo primo

fff

*) (B )

(quasi doppio movimento)

rallentando

f

pp

5

3 3

s

mf

pizz.

pizz.

pizz.

mp

glis

s.

pizz.

glis

s.

p

p

s

*) On most Steinway models the F natural is accessible at the end of string (having crossed the wound bass strings). Onother instruments the note may be omitted.

s

17

Sound:

Ossia:

pizz. (ord.)

pizz. sul ponticello

④

⑤③

pizz. sul ponticello

ord.

f pizz. (ord.)

mp mp3 3 3 3 3 3 3 3 3 3

s pp

s

pp

Ossia:

② ②

④

② ②

gliss. along strings

gliss. along strings②

mf

p mf

ff3 6 6

p f

p

3

18

Sound:

Ossia:

④ ② ③

② ④ ③

② ③

② ③

p pp

(stand up)

3 3 3

mp

pp

pizz.

②

mp

pp

(come sopra)

f

pizz.

mp

(sit down)

s

19

Allegro molto ritmico

Allegro molto ritmico

3. Metamorphic Rock

place weight (1)on the strings

pp mf

mp

s

remove weight

②

ff

33

ssf

p

20

5 6

3

p

②

ff

(p)3

6

p

(ff)

35 3

Sound:

⑦

p

ff

21

Sound:

⑥

⑩

⑩

Sound: simile

p

ff

22

Sound: simile

③ ④

⑥⑤

p leggiero

ff p ff p ff p ff p

ff p

ff p ff

3

p

place weight (2) on the strings

ff

23

keyboard lid *)

ff

l r l r l r l r

underside of the keyboard *)l r l r

mf

ff

crossbars **)

ff

***)

ff

***) Hit the strings with the palm of the hand. The pitch range is approximate.**) Hit the crossbars of the steel frame with the palm of the hand. The uppermost line represents the treble-most crossbar.*) Tap the keyboard lid (the curved part) and the body of the instrument (the bottom surface) with the palm of the hand.

f

24

remove the weight

ff

pp

poco a poco cresc.

63

6

25

Sound:

ppp *)

③

④

⑤

ff

**)

rall.

3

ff

s

pp

3

Sound:

ppp

③④

⑥

**) Continue when the chord of harmonics starts to emerge.

ff

a tempo

rall.

*) Touch the strings very lightly to make a gradual transition from normal tones to harmonics.

s

pp

3 3

26

Sound:

ppp

④⑤

⑥

a tempo

rall.

ff

s

pp

3 3 3

Sound:

ppp

④⑤

⑦

a tempo

molto rall.

ff

s

pp

3 3 3 3

27

Sound:

simile

Ossia 1:

④ ⑥ ④ ⑥

simile for the next four bars

Ossia 2:

④

⑥ ④

⑥

*)④⑥

④⑥

⑩ ⑨⑦⑦

meno mosso, poco a poco accelerando

mf

p

*) If all the harmonic nodes cannot be reached simultaneously with the left hand, either of the ossia versions is played.The resulting sound is identical in all versions.

(mf)

28

Sound:

④⑤

⑦⑨

(Tempo I)

p leggiero

mp

ff mp ff

mp ff mp ff mpff mp

29

②

②

ff

mf

3

p

3

move to keyboard

(ff)

p

3

(p)

play on keys (while standing)

p

pp poco a poco cresc.

30

poco a poco cresc.

con (poco a poco di più)

move back to crook

ff

ff

senza

cresc.

31

place weight (1) on the strings

*)

fff

**) sff

ffff

**) Dampen the strings by hitting with the palm of the hand. Let the hand stay on the strings.

*) Dampen the string immediately after it has been played to produce a very dry staccato sound.

ff

32

Andante (Tempo di Blues)

4. Sevenths' Heaven

Sound:

(remove weight)

⑦⑤

⑩⑦

Ossia:

⑦⑤

Ossia:

mf

p

3(mf)

(p)

3 3 3

3

pp

s (pp)s

33

Sound:

⑦⑤

*)

⑩⑦

3

*)

3 3 3 3

3

*) For an ossia, see two bars earlier.

s s

33

33

Sound:

⑥⑤

*)

⑤③

3

3

3

s s

3 3

Sound:

⑥⑤

⑥⑤

Ossia:

⑤

Ossia:3

3

3

3

3

*) For the fifth harmonic, it may be more practical to use the node at 2/5 along the string.

s s

3 3

34

Sound:

③(vibrato) *) ②(vibr.)

②(vibr.)

③(vibr.)

③(vibr.)

3

3

sf

Sound:

②(vibr.) ② ② ②

③(vibr.)

②(vibr.)

f

p legatissimo

s*) A vibrato is produced by varying the finger pressure periodically. On some instruments the effect is hardly noticeable and therefore may be omitted.

35

Sound:

②

②

②

②

②

②

③

③

pp

3 legatissimo3 3

3

3

3

Sound:

③

③

③

③

③

p

3

3 3 3 3 33

36

3rd bridge *)

gliss.

pizz. between 3rd bridgeand the pins

mf

3 33

s

pp

poco a poco cresc.

s

vibrato

**)

cresc.

pizz. between 3rd bridgeand the dampers

sfff

*) The 3rd bridge is moved along the string to produce the given pitches when the string is plucked. Considerable pressure

3

**) The 3rd bridge is moved near the pins for a very high-pitched note.

is needed to avoid buzzing. If the entire passage cannot be played on the A flat string, another string may be used instead.

(B )

mp

37

Sound:

simile

gliss. across strings *)pp

poco a poco cresc.

(F , A , B , C ) (F , G , B , D ) (F , G , B , C )

s

ppp

3

(F , G , B , D )

(F , G , B , D )

(G , A , B , D )

(G , A , B , C )

s*) Sweep across strings with three or more fingers. Use the flesh of the fingertips.

38

Rallentando

Rallentando

(G , A , B , C )

(G , A , B , C )

(F , A , B , C )

(F , A , C , D )

s

3

f

*)

*)

(F , G , B , D )

s

*) Beyond the pins, i.e. the "wrong" side of the bridge.

39