· ii in st r u m e n t l ist b ass ßut e b ass clarinet t uba /pi ano (m ea ni ng tha t the tuba...
TRANSCRIPT
granini di luce beccucciati da uccelli di silenziocommento sulle “Variazione sul ‘Tema di lucciole’ di Maria Ginanni” di Sara Davidovics
for chamber ensemble
Mike Solomon
2
this work is dedicated to the women of italian futurist poetry, a group to which i will never belong in spite of my wishes to the contrary
ii
Instrument List
Bass fluteBass clarinet
Tuba/piano (meaning that the tuba doubles on piano)Harp
SopranoPercussion
The percussionist will need the following instruments, listed in perceived order of di!cult to procure for the average percussion studio:Typewriter, Lamp +/- 120W (ideally with contact mic on on/o" switch), Pipette that drips water, +/-50 marbles (shooters and players only – no boulders,
mammoths, or Millenniums), Medium-sized gong (can be Balinese or Javanese), Crotales, Trap set (bass drum, snare, high hat, abbv. Kit), Small singing bowl,Claves, Samba whistle, Tin pail full of coins, iPod or any ai"/wav playback device, Hammer, +/- 1m sheet of uncrinkled aluminum foil, Five pieces of A4 paper.
The percussionist will also need the following implements:Double bass bow (or cello if D.B. bow is not available), Brushes (for jazz), Sticks (for jazz - ideally 5A, but 5B or 7A will do), “Superball” mallet, Hard mallets
(for crotales), Medium-sized gong beater, Pencil.
iii
Figure 1: Layout for the ensemble
iv
Preface
This preface begins by discussing general notational conventions for the ensemble at large. It then gives specific instructions for individual instruments.
Ensemble
Noteheads
Two special noteheads are used throughout the score to denote certain categories of e"ects:
• Triangle notehead ! non-aspirated e"ects
• Slash notehead ! aspirated e"ects
Both of these noteheads will always be accompanied by prose detailing the e"ect that they represent.
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aspirate softly into the tuba
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tap on the bell of the tuba
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The only caveats to the above rule are certain extended techniques that occur frequently enough to they merit their own noteheads:
• Shred ! transparent notehead
• Whistle tone ! transparent notehead
• Key click ! cross (x) notehead
• Harmonics and tongue rams ! harmonic notehead
• Slap tongue ! diamond notehead (harmonic tilted 45!)
• Sung/spoken text for everyone but the soprano ! Petrucci (Renaissance) notehead
• Diverse exotic percussion ! various, see “exotica” section under percussion
All of these e"ects will be discussed in further detail later on, but you may use the above list as an exhaustive catalogue of the exceptions to the generalslash/triangle convention described above.
Ordinario = reset
Ordinario (abbv. ord.) signifies a return to ordinary playing after having played in some non-standard manner (i.e. extended techniques, theatrical instructions,etc.). Many times, the need for ordinario marking is obviated because of a change in notehead and/or layout. However, wherever the issue is not resolved byother notational conventions, ordinario provides the information you need to determine which e"ects you should continue and which ones you should stop.
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with the side
of your mouth
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When there are multiple techniques/instructions in e"ect and the ordinario does not apply to all of them, the ordinario will be preceded by the e"ect that isbeing ordanized.
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support = ord.
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with the side
of your mouth,
very weak air support
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In the above example, the first ordinario applies to the air support, whereas the second applies to the side-of-mouth playing.Lastly, ordinario may accompany another non-ordinario instruction, which means to cease the previous e"ect and begin another.
ord.
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with very weak
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with the side
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In the above example, the ordinario cancels out the side-of-mouth playing while, at the same time, the air support weakens.
Prolonged e!ects
Certain e"ects whose onsets are represented by one of the above-defined noteheads last several measures. Because they are not necessarily sostenuto, I havedecided to represent these durations with horizontal bars instead of ties. These bars will always have the duration of the e"ect typeset in small font above orbelow their center.
!43" "
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make wind-like sounds with your mouth (but not through your instrument)
Note that the durational indication will always account for the initial written note, thus the x2 dotted minims.
v
Tongued notes
Regular notes for winds (meaning notes that are neither legato nor articulated) should be tongued and connected to the next note. Legato passages should neverbe tongued and will be marked either by a slur or by legato for longer segments. Notes marked portato, staccato, and staccatissimo represent the mild, medium,and hot of tonguing respectively. Slurred portati, staccati, and staccatissimi, by contrast, should be played detache. Other instrument-specific tonguing e"ectswill be discussed in later sections.
Flutter tongue
Flutter tongue will always be represented with the German Flatterzunge (abbv. flz.). The notes will also be marked with demisemiquaver tremoli unless thepassage is subdivided into durations less than or equal to a demisemiquaver.
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Microtones
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tones flat
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tones sharp
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tones sharp
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Of course, these microtones are just approximations of what is really going on in a wind instrument, which is not equally tempered at all but rather just-intonedbased on a particular fundamental. These tones are used more to show variations between very close multiphonics than anything else. Almost always, when theyappear, they will be accompanied by a fingering chart.
Pitch bends
Pitch bends are notated either as falls/doits or, for bends requiring a definite terminus, as zigzag glissandi.
! " "!"
Stringendi, rallentandi, and rubati
Rubato, as in Romantic music, signifies here a momentary suspension of “conducted” time. These rubati should begin and end at their demarcated places in thescore, speeding up and/or slowing down within the rubato passage (so long as, of course, there is a commensurate slow-down/speed-up to get back on “conducted”time). A rubato will always fall under a dotted slur in addition to being indicated textually.
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rubato
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Sometimes, the nature of the rubato will be indicated in greater detail with stringendi and rallentandi. In these cases, the word rubato will be omitted, althoughthe dotted slur will remain.
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Shred
Sometimes, I want you to play many notes as fast as possible following a general contour. Rather than writing these out verbatim, I group the notes (almostalways semidemiquavers) under one beam and put a slash through the left side of the beam. I a"ectionately call this gesture shred, as it reminds me of 1980sheavy metal. To be pedantic about it, shred represents fast improvisation over a given contour, whereas “noodle” (a word I employ as well) indicates a fasttrill/tremolo in a general range without a fixed contour.
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To sustain this contour over the specified duration, you may have to “noodle” in the general range of the contour and/or repeat notes. Almost 100% of the time,I will combine this with noteheadless stems to give you some liberty as to what notes can fill in this shredding space.
Another type of shred notation consists of a gesture similar to the one above followed by a line afterwards. This means that you are to repeat the notes underthe slashed beam as fast as possible for the duration of the subsequent line. Said duration, as previously discussed, will always be typeset in a small font over theline.
44" !""f
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Here, you would play this shred on repeat for the balance of the 4/4 bar save the last quaver.
vi
Boxed notes
Boxed notes represent what is e"ectively a (potentially) more expressively nuanced shred minus the definite contour. A set of notes will be given in a box alongwith an instruction of how to play these notes. The same durational convention used to indicate the lengths of shreds is also used for boxes.
44" !""
using these notes,
play the score to a Japanese tea ceremony
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Noteheadless stems
Noteheadless stems represent a pitch in the approximate region of the stem’s terminus. These indeterminate intermediary pitches are usually accompanied by ane"ect, be it pianississimo, flutter tongue, airy tone, or all of the above.
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flz.
v.a.
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Vibrato
In certain sections of the work, to expand upon standard vibrato terminology in more (poco vib., molto vib., etc...), I will sometimes use a squiggly line over thesta" to represent the intensity and periodicity of a vibrato. By intensity, I mean how far the pitch/dynamic deviates from the central pitch/dynamic, and byperiodicity, I mean the speed of the vibrato. The following example indicates a vibrato of uniform intensity that increases in speed until its terminus.
""molto legato
" "
"" " "
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Airy tones
Airy tones will be represented on the following scale – slightly airy, airy, very airy, or all air (meaning 0% pitch). They are always indicated in the Sans Serif fontabove a pitch as s.a., a., v.a., or a.a. respectively. Sometimes, the indications will be accompanied by an adjective or onomatopoeic adverb
"v.a.hiss-like ""
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Note that, while playing a.a., you must preserve the embouchure of the written note in addition to having the correct fingering (especially for tuba). In spite ofthe fact that there is no pitch in the traditional sense, embouchure colors the air tone substantially.
In certain circumstances, the change of airiness needs to be specified in greater detail, in which case airiness will be represented by a circle whose emptinesscorresponds to the degree of airiness, where all-empty equals all air and all-opaque equals full, robust pitch. For example, the following passage moves from arather airy tone to a rather full tone to something in between (but slightly towards the airy slide).
! ! !!%" !#
One special type of airy tone indication governs attacks and releases of notes. Some notes need to have a rather airy attack (ie a burst of air into the instrumentbefore the pitch comes through) and some need to have a rather airy decay. To indicate this, I use downward and upward arrows for airy attack and airy decayrespectively.
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Key clicks
Key clicks are represented by x’d notehead. Key clicks that are produced simultaneously with an ordinario note will be indicated by a circled x notehead to theleft of the pitch.
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'! (just a key click) key click with air into/across the instrument
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Stage-whispering, speaking, and singing
Any time a performer is asked to stage-whisper, speak, and/or sing (potentially into their instrument), the whispered/spoken/sung notes will be written usingthe Petrucci font (which is modeled after Renaissance printing). If the register of the singing is too low, the performer may raise it an octave at a softer dynamic,which will produce a similar e"ect. The terms stage whisper, spoken, and sung are written above whispered/spoken/sung passages in boldface to indicatehow these noteheads should be interpreted.
. "4"4""4sung
pp
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fun!
vii
Harmonics
Harmonics will always be indicated by an open circle over the note. The sounding pitch will be written as a diamond, and the fingered pitch will be written instandard ligature.
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In one portion of the work, the bass flute is asked to play harmonic glissandi of the following form:
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This signifies fast motion through the overtone series of a note by means of changes in embouchure. The exact pitch content of this gesture is immaterial so longas it follows the written contour.
Multiphonics
Multiphonics will be accompanied by a fingering chart indicating how to achieve them. The only time a multiphonic will not be accompanied by a fingering chartis during passages in which one multiphonic is repeated several times, in which case its fingering will appear once over the first instance.
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Bass flute
Whistle tones
Whistle tones are marked W.T. using the Sans Serif font and will always include both a fundamental and the general range/contour in which the whistledharmonics should be produced in the form of headless noteheads. All whistle tone passages will be marked legato, meaning that you should smoothly transitionbetween all tones.
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W.T. legato
Hollow tones
Hollow tones will be indicated in the Sans Serif font as H.T. and will always contain a fingering suggestion coupled with expressive/imagistic text. I say fingering“suggestion” because di"erent flute models sound di"erent on these non-standard pitches. If you feel that another fingering would better achieve the snippet oftext accompanying the hollow tone then, by all means, use it!
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H.T.distant train whistle"
Tongue ram
Tongue rams will be indicated by regular (fingered pitch) and diamond (sounding pitch) noteheads along with a staccato marking.
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Tongue pizziccato
There is always some ambiguity about where a staccatissimo tongued note ends and a tongue pizziccato begins. For the purposes of this work, a tongue pizziccatois an event that requires preparation and space afterwards. That is, imagine that you are a string player and you need to distinguish between the intensity of astandard pizziccato and a bona fide Bartokian snap pizzicato, which needs to be prepared beforehand and allowed to rebound afterwards in order to achieve thedesired e"ect. The tongue pizziccato corresponds to the latter, and is therefore indicated with the snap pizziccato sign.
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Lip pizziccato, which is very tedious for the bass flute, is never used in this piece.
viii
Aeolean tones
Aeolean tones, which are produced by completely covering the head joint with the mouth and blowing air into the instrument, will be marked using a “slash”notehead. It will be accompanied by the term aeolean in the Sans Serif font as well as <bracketed text> indicating which vowel to use.
" %aeoleanalternate freely between ooo and eee, fluctuating dynamic slightly
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8
Spoken articulations
There are two small sections in the work that require you to use di"erent spoken syllables to produce di"erent flavors of staccati. These passages will beaccompanied with <bracketed text> giving you the proper consonant/vowel combination in the International Phonetic Alphabet (IPA).
( %<tu>
9"><t:"0":"><t:"
f
"<ta>:"<tu>:"
<ti>
Auxiliary percussion
The bass flute player is asked to play the claves for two bars starting in measure 36 (one after rehearsal D ).
Bass clarinet
Slap tongue
Slap tongues will be notated with diamond noteheads and staccatissimo markings.
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High squeaks and squawks
Starting in measure 51 (two after rehearsal E ), the bass clarinet will need to play high bird-like squawks. While these squawks are not too problematic toproduce, controlling their pitch (especially at entrances) can be di!cult. The squawks are e"ectively very high harmonics of a low note (i.e. E!3 or E3) thatcan be connected with glissandi via embouchure. As such, they will always be notated with a harmonic indication (open circle) and zigzag glissandi notationwith the following caveat: because the tone quality and expressive comportment of the gesture are more important than the fundamental pitch you choose, nofundamental pitch will be given (compared to normal harmonics, which always have the fundamental notated). Instead, the instruction squawk will be given inthe Sans Serif font to indicate the commencement of a squawking section. As a default, E3 is always a good choice for the fundamental.
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squawk8va5
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Auxiliary percussion
The bass clarinet player is asked to play the samba whistle for two bars starting in measure 36 (one after rehearsal D ) and again for one bar in measure 109
(two after rehearsal H ). You also have a claves part in measure 108 (one after rehearsal H ). The flute player will be playing the claves earlier in the work, somake sure to place them between you two for easy access.
Tuba/piano
Mouthpieceless playing
Measures 45-47 (starting four before rehearsal E ) require mouthpieceless playing, which produces a giant kiss-like sound. The pitch and rhythm of this gestureis uncontrollable and immaterial, so it will be written as D3 for the duration of the section with ample amounts of prose above the note to describe what to do.
Tuba ! piano ! tuba
Slightly after the work’s 1/3 point, the tubaist will be required to go to and from the piano to play a quotation by Donizetti. The instructions to piano and totuba will be written in the Sans Serif font to indicate when the tubaist should move to the piano. Although the ideal seating arrangement of the ensemble putsthe tuba right next to the piano, the tuba player is given 6(ish) seconds to make this move in either direction just in case. If you need more time, crop the tubapart on either side of the piano section.
Percussion
Physical layout
The percussion should be laid out in a manner that makes transitions between instruments and implements as easy as possible. Because the majority of instrumentsare small, the bulk of the percussion battery can be placed on the “percussion table” marked in the layout diagram. The only non-accessibility-based considerationfor the ordering of instruments on this table is that the light must be on the end facing the audience so that it can be seen turning on and o". The mixer with aline-in for the microphone, iPod, and any contact microphones should also be on this table so that the percussionist can adjust the volume as necessary. However,the loudspeaker(s) need not be on this table, although all recorded material should sound as if it is emanating from the percussionist’s lair.
ix
Score layout
The percussionists score is laid out as such:
!
"Trap Set
Exotica
Crotales
Mouth
Percussion
#
#
"#
Anything on the “exotica” line corresponds to one of the non-standard (and a couple standard) instruments such as the typewriter, tin foil, and paper. Any noteon this sta" will always be surpended with ample amounts of prose to describe what needs to be done when. The exotica sta" almost always contains only oneline, and when it expands to three, an exoticarium will be surpended as an ossia indicating what lines correspond to what instruments.
Mouthed percussion
The sta" for mouthed percussion will be populated with syllables using the International Phonetic Alphabet (IPA).
Pre-recorded material
Playback triggers for all pre-recorded materials will be indicated on the “exotica” sta" with the proper file name and a parenthetical reference to the sound’scontent. The sound files are named in the order in which they appear (sf1.ai", sf2.ai", etc...). You will never have to repeat files, so if you need to play the nextsound on the fly, simply cycling to the next track on an iPod (or playlist) will do the trick.
Harp
Pedaling
Harp pedalings are only provided during fast passages and passages with tunings that are out of the ordinary. Changes in pedaling during these passages will beindicated with a circle around the pedal.
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Soprano
Dramatic comportment
The soprano should rise to sing her solo and be seated when the solo is over.
Auxiliary percussion
The soprano is asked to play the singing bowl from measures 35-45 (starting at rehearsal D ). The singing bowl should be struck once on the rim, after whichthe soprano should drag the beater at a steady rate around the circumference of the rim to sustain the tone until the note is no longer active (the first contactpoint with the rim after the initial strike will always create a bit of warbling, but this subsides rather quickly).
Parting shot
granini di luce beccucciati da uccelli di silenzio is, above all, a study in the rich beauty of timbre and quotation as it magnifies and expands upon theprofound sense of mystery contained in Sara Davidovics’s “Lips” and Maria Ginanni’s original “Tema di lucciole”. Unfortunately, our notation system requires asmorgasbord of modifications in order to accurately express these timbral distinctions. However, once you get past the hurdle of notation, you will find that mostof these extended techniques are not di!cult and, if anything, will allow you to develop a richer and more expressive bond with your instrument.
x
1
granini di luce beccucciati da uccelli di silenziocommento sulle "Variazione sul 'Tema di lucciole' di Maria Ginanni" di Sara Davidovics
Mike Solomon
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