from nothing, to something, through everything. by Alan Jpb

for flute and violin

Alan Perrin

2019

from nothing, to something, through everything Alan Perrin 2019 Instruments Flute Violin Duration: ca. 6’00”

Performance Notes This work is preceded by an introductory piece, which must be performed first and leads directly in to the principal work. Programme Note from nothing to something, through everything is a reflection on growth. This growth is carried out on two levels: pitch and rhythm. The work begins with air sounds on the flute and bowing of the violin wood. These sounds move between noise and tone in a limited range; initially, the pitch change is in a microtonal sound world; based on a system of resonances. As the work grows, its rhythmic complexity and tempo also increase. Temporal growth is accompanied by an expanding range of instruments —finally, the entire range of each instrument employed before it disintegrates and returns to nothing.

Notation Flute

Violin Bowing on the instrument.

Breathy, diffused sound production (pitch scarcely audible).

Mixture of normal and breathy sound.

A lip-Pop but with subsequent prolongation of attack by normal breath action.

Tempo Marking Below are the examples of tempo markings that can be found in the current work. This is how a tempo marking is represented within the score. The line below indicates the moment in which this marking takes effect.

This is an indication to gradually increase the tempo. The tempo which the current tempo is to increased to is in brackets with the duration of an accelerando marked by the horizontal line. This tempo marking is an indication to gradually decrease the tempo. The length of a ritardando is extended by the horizontal line.

Microtonal Pitches Microtonal accidentals are based off of The Extended Helmholtz-Ellis JI Pitch Notation designed by Marc Sabat and Wolfgang von Schweinitz. It introduces new accidentals, which raise and lower pitches by specified microtones. Below are examples of the accidentals which are featured in this work: Equal temperament Indicate equal temperament semitones. Indicate equal temperament quarter tones. Just Intonation Indicate an alteration by one syntonic comma (81/80): ± 21.5 ¢s. Indicate an alteration by one undecimal quartertone (33/32): ± 53.3 ¢s. Indicate an alteration by one tridecimal thirdtone (27/26): ± 65.3 ¢s. Indicate an alteration by one 23-limit comma (23/16) : ± 16.5 ¢s.

Using the information provide above we can use the following function to work out the new pitch in Hertz.1

f (x) = x2(¢/1200) If we take use the example pitch on the right hand side: an A4 at 440. The amount by which the pitch is adjusted is going to be 53.3¢s. Therefore in the equation x would be 440 and the ¢s would be 32. Giving us: (440)2(53.3/1200) = 453.757Hz. Figure 1: A4 altered by one tridecimal thirdtone

Custos

The symbol at the very end of the two lines of music in bar 33 is the custos. The custos indicates what pitch is coming up for the first note of the following repeat.

September 2019

Commissioned by Hard Rain Soloist Ensemble Premiered by Joanne Quigley and Aisling Agnew Day Month Year, Belfast, Northern Ireland.

My thanks to Dr Nigel McBride for his help in the preparation of this formula.

Flute

Violin

attacca :

—α—

attacca : x2

120

(

20)

e= 2.

60 (

Flute

Violin

3 4 °

120)

120 (

j nO

3:2e

3 molto flautando 4

≈

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sul. IV

7:4y

30)

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≈ 7:4y

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≈

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(

90)

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3:2e 3:2y

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90 flz.

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3:2x

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3:2x ™ ® #œ œ #œ Ù

3:2e

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nœ œ

3:2y

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nœ

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5:4e

nœ ≈ æ

nœ œ 3:2x

œ R

7:6y

n >-œ

5:4y

# >-œ

j #œ >

#œ æ

3:2y

3:2e

180

æ #œ œ ≈ nœ Ù Ù #œ œ 3:2e

n >œ ™

5:4x

ord.

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7:4x

7:6x

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7:6

3:2e

5:4y

7:4y

flz.

4:3q # >-œ

7:6y

7:4

5:4x

#œ™ J

120

#œ ™

‰

nœ #œ™

7:4

nœ

#œ œ

nœ œ

5:4y

—11—

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nœ ™ æ

nœ nœ™

7:4

3:2e 3:2y 5:4e

nœ™

3:2e

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#œ™

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7:6

n œ3:2e ™

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5:4y

n œ> ™ J

5:4x

n œ. >

120

Fl.

nœ

n œ n >-œ ™

nœ ™

7:4y

7:6y

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3:2e

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n >-œ

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7:6

Vln.

nœ™

3:2e

nœ

5:4x

ord. flz.

#œ æ

‰

flz.

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ord.

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3:2e

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> n -œ ™

7:6

5:4x

nœ nœ ™ œ æ

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nœ œ

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3:2x

3:2e

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nœ œ #œ

nœ ≈ æ æ

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3:2e

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# œ> ™ J

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≈

nœ

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≈

nœ o

r œ

nœ

7:4x

3:2e

D.S.

n ->œ 3:2x

—12—

3:2e

≈

nœ 3:2e

œ R

˙ o