—————
for solo piano
BETWEEN THE
WHITE & YELLOW
LINES
[you]
j o.l 9————————————————————————————————— 9—
9
—————————————————————————————————————————————
This score belongs to [
]————————————————————————————————— o
———————————————————————————————————————
brusenta.com
... ——————————————————————
music, art, & words* © 2016 Aleksandr G. Brusentsev
—————
score design by Aleksandr G. Brusentsev
—————
ISSUU edition, 2017
*
except dedication by Sherry Mooney
—————————————————
]
—————————————————9
i ——————— published do by dots m u s i c —————
———————————————————————————————————————————————————————————————————————————
9 Between the White & Yellow Lines was commissioned by
Sherry Mooney in honor of the thirtieth birthday of her brother, T. Mooney ————— The music was written in the latter part of 2015 and completed in October.
—————————————
4
This piece was inspired in part by his love of travel and the many winding roads and byways he has known, far better than most of us know our own community. His playful spirit and determined energy are reflected in the lively runs and fleeting, picturesque harmonies that flow from the piano, one of his first instruments. - SM
for Thomas B. Mooney
iv
Program Note —— ——————————————
4———————————————————[ the listener ] In Short Written to honor the thirtieth birthday of Thomas B. Mooney, Between the White & Yellow Lines, for solo piano, is a story of coming home.
Background / how this came to be It is hard to say exactly when or where I wrote this work. Though I received the commission in February 2015 and finished it in October, the pace of my life during that period precluded the possibility of remembering anything in between. This was a time of transition. I had just finished my master’s degree and was coming to terms with the prospect of having to compose my life. I traveled a lot, partially to make sense of my past, partially to plan my future. In short, to process. I’m inclined to say that this is why the piece turned out the way it did: without proper memories, I needed to make a musical one to capture that time. So, while I cannot say exactly where what portion of this work was written, I can say that it was finished at home, a place I have come to appreciate all the more for the wandering.
Music / what you might hear The piece begins with an interruption. As the first chords sound, a stream of sixteenth notes rushes to the foreground and usurps the leading role. Playful yet insistent, these tributaries weave around the slowly-passing verticals and give life to the melodies that are the heart of the music. Though the boundaries between these elements are initially clear, the surging momentum wears at them, eventually resulting in one all-encompassing deluge. When the last bits of energy dissipate, a startling paradigm shift occurs: the once obscured background comes to the fore in a grand chorale, a celebration of the cyclical progression as it completes its journey and heads home. The piece ends with a possibility.
n
v
§ § §
Three primary ideas compose this piece. Much like characters in a story, each idea must always maintain a distinct identity – no matter the context.
}
plucked out melodies
flowing 16-th note threads
{ cycling chord progression
Working Parts —— ———————————————————————————————
4————[ the performer ]
1 2 3
This chain of harmonies is the
Restless
these
Embedded in and derived from
foundation of the music. Three
threads provide the forward
the sixteenth-note threads (2),
sub-phrases make up a seven-
impetus that drives much of the
these melodies are the unadorn-
chord progression which cycles
piece while carrying half of the
ed soul of the piece. Though not
through six distinct transposi-
harmony (the other half is
given their own dynamics, they
tions over the course of the
delivered by the chords (1)).
should ring clearly above every-
piece. While this fact is pur-
Despite these functions, this
thing, allowing their human
posely obscured, the cyclical
material is should take a back
character to shine through.
nature of this element is intend-
seat to both the chord progres-
ed to bring about a sense of
sion (1) and the melodies (3).
new-yet-familiar (think passing road signs). Though they are rarely
given
individualized
dynamics, each of these chords should leave a distinct sonic footprint and sustain from one to the next; often, this requires a louder
dynamic
marked
in
voice(s).
the
than
that
surrounding
and
fleeting,
§ § § § § §
Handling Instructions ————————————————————————————————————————————————
vi
Notation Quirks
. . .
Playing – not sounding – durations are notated for all elements except the plucked out melodies (3). This is done to properly convey color and ensure that harmonies sustain through pedal changes. Octave up ( ) treble and octave-down ( ) bass clefs have been used instead of octava lines to avoid cluttering the score. Solid slur lines ( ) show individual threads (2). Dashed slur lines ( ) show each of the three sub-phrases contained in the iterations of the cycling chord progression (1). Note: In most instances, these marks have been written in shorthand, using a starting ( ) and ending ( ) arrow while omitting the middle (first occurrence: bars 2 – 5).
Dynamics
. .
Dynamic markings apply only to the staff/voice they are next to and carry until they are changed in that staff/voice (i.e. there is an implied ‘sempre’ after every mark). They are always independent. Hairpins connecting to new dynamics should reach the designated level. Hairpins without a destination show fluctuations within the last dynamic. Note: A ‘molto’ label over a hairpin means ‘to the greatest degree possible’, regardless of previous or upcoming dynamic.
.
Dynamics not preceded by a hairpin, ‘cresc.’, or ‘dim.’ should be regarded as ‘subito’ dynamics, with no implied gradation: iq iq iq should be seen as iq iq iq p
Time & Tempo
.
f
p
f subito
Tempo fluctuations (rit., accel., etc.) connected by a dashed line denote a continuous transition from one to the next until a destination, such as ‘A tempo’ or a new metronome marking, is reached (first occurrence: bars 22 – 23). Tempo changes that are not connected signal an immediate shift, with no implied gradation (first occurrence: bar 43). In either case, tempo fluctuations carry until they reach a destination or are negated by another instruction.
§ § §
Performance
.
Hands have been distributed strictly by staves as an integral part of the performance. Slur lines and beaming have been used to separate, clarify, and, at times, muddy, the individual voices. Note 1: Small noteheads have been used to maintain the integrity of the voices where the hands overlap. They should not be played. Note 2: The closing chorale expands to fill five staves. Here, the right hand should take the top two staves while the left hand attends to the lower three. One exception to this distribution is the marked chord in the middle stave of bar 78.
. .
The idiosyncratic fingerings that appear at various points in the score are the composer’s. They are not obligatory (or even necessarily suggested). Pedal markings are meant to be interpreted literally. They are vital for sustaining the harmonies for the necessary durations.
a few more
Handling Instructions ———————————————————————————————
vii
o
Duration: ca. 5'00''
————
——————————————
LED 07.03.2017
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2
for Thomas B. Mooney
Between the White & Yellow Lines
Piano
{
{
Aleksandr G. Brusentsev
#œ # œ #œ œ œ œ œœ œœ ¥ n œ œ œ œ œ œ œ œ œ œ œ #œ œ œ ≈
q = 96, Playful, yet fiercely determined
4 &4
∑
4
Ó
œœ ™™ œ™
‹ ww 4 # & 4 #w
C#
Æ ‰ # ## œœœ ≈ ‰ Œ R
∑
p sempre marcato e luminoso
°
#œ #œ œ #œ 4 œ #œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ b œ n œ b œ n»œ ≈ Œ # œ œ & ¥ ¥ Æ r # œœ ≈ ‰ Œ Ó ‰ ≈œ œ œ œ œ & Ó #œ R ø
{
6
{
8
D#
3
# œer ≈ ‰ &#œ «' & œ œ ø
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Œ œ
Ó œ
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j nœ™ »
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¥ œ œ ‰
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∑ œ#œ œ
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œ
A
œ œ
œ#œ œ
œ œ
œ œ #œ œ œ œ œ œ œ œ œ # œœÆ ≈ ‰ R ø
© 2016 Aleksandr G. Brusentsev
Œ
œ
œ #œ
œ
G#
Ϫ
#œ # œ œ Ó
œ
œ
œ œ #œ
œ œ œ œ œ œ
œ
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{
10
{
$ #œ
p dim.
#»œœÆ ≈ ‰ & R ø
$
j # œ œj œ œ œ
ø
#œ œ œ j œ œ #œ œ œ œ
œ œ œ
Ó
p
$ &
16
$
#˙
œ
» œ œ nœ bœ bœ
œ
+ p dim.
œ nœ & œ -.
#œ œ ¥ œ œ œ œ œ œ f
œ
œ -
œ -
œ
molto
f pesante e sonoro
» # # # œœœœ œ œ œ œ œ œ ≈ Ó & R '
14
{
Œ
œj # œ œ œ œ œ
12
{
œ #œ œ œ œ œ
œ™ #œ #œ œ œ œ œ œ #œ œ #œ p ¥ » #œ œ œ œ œ œ œ ≈ Œ #œ #œ œ J-
œ #œ œ œ #œ œ œ œ
œ
nœ
¥
n˙
œ œ
œ
dim. poco a poco a m. 18+
œ œ œ -.
œ œ œ
œ
œ œœ -. -.
dim. come una campana
œ
œ
œ
œ œ œ
# # œœœÆ ≈ ‰ R ø
œ œ œ œ œ™ œ œ œ œ œ œ Ó
1 ∑ & 4 # ˙˙˙ 8 4 «
Æ œ œ #œ R ø
œ -
œ
œ œ
œ
œ
Œ
œ œ
œ œ œ ¥ ≈ ‰ Œ
Ó
œ -
œ
¥
œj
œ
» #œ nœ 1 4 œ œ œ œ œ 8 œ œ 4 œ œ œ œ œ œ œ œ œ. . œ œ b œ œ œ f -. R. ø ° (Release gradually.) sos. ° fino a * (m. 20)
3
{
4
19
{
∑
& & . œ
œ
bœ œ œ œ œ œ œ™ nœ œ œ œ
A
°
. œ
{
poco rit.
œ œ
1
p
& bœ
œ °
dim.
œ
œ
» œ œ œ œ œ œ œ ≈
œ
p
œ
œ
œ
»Æœ œ ≈ ‰ R ø
Œ
-
œ
œ
œ œ
Œ
poco accel.
œ
œ œ
œ œ œ Œ
œ
œ œ
œ
‰ bœ œ 1
¥ œbœ œ nœ nœ œ
?
^ b œ j œ œ œ ˙ bœ & œ œ œ œ œ e œ e œ e œ »œ #œ œ œ nœ ¥ #œ œ dim. poco a poco a m. 28 ¥ œ e œ œ œ œ œ œ œ œ ? #œ œ nœ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ f . . ° 4
A tempo
23
{
2
r. bœ œ #e
C
j Ær ¥ n œ ˙ 21 œ b œœ œ n œ œ n œ œ œ œ œ œ œ œ # & 3
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-
1
˙ # # ˙˙ v ¥ +
4
. ¥ Æ r œ 25 n œ ? #œ œ œ œ œ œ œ 41 œ œ œ 44 b n œœ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ & œœ œ œ & #œ œ nœ œ œ œ #œ . dim. f » ¥ . œ œ œ œ œœœ œ 1 4 ? œ œ œœœ œ œ œ œ œ œ œ &œ œ œ œ 4 œ œ œ œ 4 molto #œ œ œ œ œ œ œ œ #œ . ø ø 5
2
4
4
3
G#
2
-
{
Ær œ nœ œ œ ¥ 28 œ bœ nœ ≈ œ œ # œœ œœ œœ œœ œœ 43 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ « p cresc. Æœ ¥ » » b œ 3 ‰ Ó b œ ≈ ‰ ≈ Œ & œ œ œ œ œ œ 4 œ nœ bœ œ bœ R p
{
5
ø
°
3 4 3 & 4 # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 4 # œ œœ ≈ œœ ≈ œœ ≈ œœ b œ œœ œ œœ ≈ œ ≈ œ 4 œ œ. cresc. poco a poco a m. 36 œ œœ n b œœ œœ n œ œ n œ œ 3 3 4 ? ∑ œ nœ 4 &4 4
30
{
p cresc. poco a poco a m. 37 (sempre più forte)
poco rit.
r 1 ≈ bœ bœœœ œ œ 3 1 b ≈ ≈ ≈ ≈ ≈ œ œ œ & 4 R #œ œ 8 4 œ œ œ œ œ «' nœ œ œ œ œ œ œ œ œ bœ #œ œ 1 1 ?3 œ œ n b œœ œœ n œ 4 8 œJ 4nœ œ
32
{
°
accel.
1 &8
36
œ
3 4 œ
?1 œœ 3 8J 4 °
» œ œ œ # œ n œ œœ œ b œ ≈ Œ œ R ' »r œ #œ œ œ#œ œ ≈ ‰ œœ œ ø 4
4 4
5
3
q = 22
molto rit.
4 4
≈ r 81 œ œ # œœ œ 1 œœ œ. 8 4 2
1
∑
2 4
∑
2 4
∑
3 8 ∑
2 œœœÆ ≈ ‰ Œ 4 R
4 4
∑
3 8 ∑
2 4
4 4
ø
∑
6
This page intentionally left [
]
{
4 &4
42
{
∑
?4 Ó 4
j < [qp = q = 66, Surreal >
r≈‰ Œ Ó œ # œœ ' f
b ˙˙ b˙
œœ œ
bœ b œœ Ó
7
Ó
r œœ ≈ ‰ Œ œ '
∑
bœ ˙ Œ b n œœ ˙˙
ø
b bb œœœ Œ
ø
sotto voce
¥
&
#œ œ œ œ #œ œ œ G#
nœ
B
r ¥ œ œ œ œ œ œ ™# œ œ 3 4 r Ó ≈ ≈ & œœœ # œ œ œ œ œ 8 # œ œ œ œ œ œ 4 # œ œ œ œ œ œ œ œ œ œ R ' + ¥ » 4 ∑ ∑ œ œ œ b œ b œ n œ ≈ 83 & œœœ 4 œ #œ œ œ œ œ™ # œJ ø ø
46
{
r œ œ œ œ œ œ ™# œ œ 49 #œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ # œ œ œ œ 3 œ œ œ œ œ #»œ 2 & 4 8 4 ¥ »r 2 3 2 Ó & œœ ≈ ‰ Œ 4 ≈ œ œ œ œ œ œ œ 8 œ œ œ œ œ œ?4 œ ' ø
{
4
4
4 Ær ≈ ‰ Œ Ó 4 œ eœ ¥ ? 2 b œ œ œ œ œ 4 ˙ œ b œ œ œ œ œ œ œ œ œ œb œ œ œ 4 4 œ 2 &4
52
œ œ œ
3
1
4
p
ø
3
Ær œœ œ bœ ø
3
3
œ œ œ œ bœ œ œ œ œ œ œ
bœ œ œ
œ bœ ™ J
-
{
8
¥ »œ b œ œ œ nœ œ nœ œ œ œ œ œ œ & œ bœ ≈ ≈ œ œ œ œ œ œ œ œ œ œ cresc. »Æœ # ˙˙ œ œ ™ œ nœ ˙œ n œ œ ˙ # ? œ ≈ ‰ Œ J # ˙˙ ˙J n # ˙˙ R
55 -
{
ø
57
{
sotto voce
dim.
&
œ¥ œ œ œ
œ œœœ
nœ œ™ ? n n œœ œ œ n œ œ œJ R ' ø Ær & œ
{
œœ œ # œ œ œ œ œ ? œ œ œ œ œ #œ œ ø
1 8
œœ
4 4
» œ œ œ œ œ#œ œ#œ R≈‰ 4
p
1 4 8 ∑& 4 œ
œ
60
œœ
3
2
1
Œ
4
Œ
¥ œ œ œ œ œœœ ?≈ p
rbœ
œ #œ œ r #œ #œ # œœœ + «' œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ ø
A tempo ¥ r n œ œ œ ?œ nœ œ œ œ œ bœ n œ œ b œ ‰ ≈ b œ 41 œ & bœ œ & œ œ œ bœ œ œ œ œ bœ œ œ J cresc. Ær œœ œ œ œ œ œ œ b œ œœœœ 1 ? œœ n œ œ b»œ ≈ œ˙ 4 œ œ œ œ™ p dim. poco a poco a m. 66 ¥ ø
62 -
poco rit.
1
3
4
5
1
4
{
» 1 4 œ b œ œ œ r≈ ‰ Œ œ œ œ œ œ ≈Œ &4 4 nœ œ œ œ œ œ œ œœœœœ œœœ # œœ ' ¥ ¥ œ œ œ œ œœ œœ œœ œ ? 1 œ œ œ œ 4 # œœœ b œ œ n œ œœ œ n œ œ e œ œ œ œ œ œ œ ™ n œœ œ œ œ œ ™ œœ œ œ bœ ™ 4 4 R R «' R : ; ø ø
64
{
-
4
4
1
A tempo
67
{
&
2 4
∑
6 4
∑
rit.
2 4
∑
» œ ? œ œ œ œœ œ ™œ œ œ˙ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ 4 4 R 2
1
2 4
Œ
°
2 &4
70
{
9
poco rit.
∑
#»˙˙ ?2 ˙ 4
w 4 ww 4
q = 46, Vivid
? b ww bw
72
?
b œœÆ ™™ œœÆ 4 ‰ $ b œ ™ bœ ≈ Œ 4
œœ ™™ œ™
∑
?
con fuoco
rit. poco a poco a m. 84
luminoso + + sempre marcato e +
# œœÆ ™™ œœÆ # ≈ œ ™ nœ ≈ Œ
Æ ‰ bb œœœ ≈ ‰ R f
Ó
‰
°
ø
Œ
q = 42
9 8
∑
9 r ‰ ≈ r 8 ‰ ≈ r ‰ Œ™ # œœ# œmolto
5≈
f sempre pesante e sonoro
?
Ϊ
4 4 4 4
{
q = 38
10 Composite rhythm
4 &4 Ó
75
{
e
j b œ b b œœ v
Œ
e
‰
Œ ¥
sempre con fuoco
?4 4
. b bb œœœ J
∑
?4 4
∑
Ó
54 4
∑
Ó
77
e™
$ ‰
e e™
-œ. ≈ R ‰
e e
-œ. ≈ R ‰
e e ‰
-œ. ≈ R ‰
molto
‰
& Œ
. b œœ ? œ ‰ J ? ?
Œ
œœ^ b ‰ bœ J »œœ. œ ‰ J
r ≈ e
-œ. ≈ R
∑ ∑
&
œœ^ œ J
‰
Œ
e
e
j œ bb œœ. »œr bb œœ ≈ ' # -œ ≈ R
-œ. ≈ R ‰
ø
‰ ¥ ‰
¥
e
‰
Æœ ¥ Œ bb œœ ≈ ‰ R ? ≈ # œr ≈ œr ≈ œr ≈ œr -
e e e e ≈ e
r.h
œœ^ bœ J
e
Ó
q = 34
‰
e
‰
ø
n œœ^ b ‰ bœ J
Œ Œ
b œœ^ œJ
e
sempre sotto voce
sempre come una campana
»^œ bb œœ ‰ J
e
molto
e e e
e ≈ e e
-œ. ≈ R Ó
Œ
b œœ^ bœ J
Œ
Ó
Œ
Ó
‰
‰
œœ^ bœ J
-œ -œ -œ -œ -œ -œ ≈ R ≈ R ≈ R ≈ R ≈ R ≈ R ‰ molto
{
e e e
e ≈ e
eee
# -œ^ -œ -œ $ ‰ ≈ # œ œ œR ≈ ‰ Ó
79
{
e™
e
q = 30
e e
& Œ j & b œœ ‰ b «œ.
(l.h.)
Œ
? Ó
e e
j ‰ œ bb œœ.
Œ
& Ó
e e e™
e™
^ # œ # # œœ J ‰ Œ
? b œr ≈ ‰ Œ b b œœ «' ? ø
e e e
e e e
Œ
j Œ b n œœ ‰ b œ.
f
œ^ œœ ‰ J
e e e
Œ Ó
r œ bœ ≈ ‰ Œ œ + '
e ≈ e
e e™
e
Œ
# œœ^ œ ‰ J
Œ
j ‰ Ó œ bb œœ.
Ó
p
f
∑
≈ r‰ ≈ r‰ ≈ r‰ Œ # œœœmolto p
-œ. R
-œ. ≈R
j e ≈ e™
-œ. ≈R
-œ. ≈R ‰
Ó j bb œœ ‰ Œ œ. Ó
molto
^ œ # œœ ‰ Œ J
molto
e ee
‰ ≈ # œ-r ≈ œ-r ≈ œ-r ≈ œ-r ‰
Œ
-œ. -œ. ≈R‰ ≈R
p
5
# œ^ # # œœ J ‰
-œ. -œ. -œ. ≈R‰ ≈R≈R
molto
j‰ Œ œ bb œœ.
∑
molto
ø
e ≈ e
e e e
-œ. -œ. -œ. -œ. ‰ ≈R ≈ R≈R≈R≈
^ œ^ # # œœ^ œ # œœ ‰ œœ ‰ œ ‰ J J J
Ó
molto
molto
& Œ
e™
Œ
-œ. -œ. -œ. -œ. -œ. -œ. -œ. $ ≈ R≈R≈R‰ ‰ ≈R≈R≈R ≈ R
82
e
r œ ∑ b œœ ≈ ‰ Œ Ó ¥ +f ' # -œ -œ -œ -œ # -œ -œ -œ ≈ R≈ R≈ R≈ R ≈ R≈ R≈ R‰ Ó
?
q = 26
œœ^ nœ ‰ J
e e e™
Ó
molto
# œœ^ # ‰ œ Œ J
11
¥
q = 22
∑ ∑ ¥
. b œœ Œ ? œJ ‰ Œ ∑ ∑
œœ. œ ‰ J
12
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ® √Ó ® & molto accel.
85
r.h
¥
(lunga)
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