Christopher Cerrone
Memory Palace
for percussion quartet and electronics
(2012, arr. 2015) Version correct as of: 09/02/2017
Outburst-Inburst Musics Brooklyn, NY
Instrumentation Player 1 Steel String Acoustic Guitar (see movement notes) Marimba 1 (4.3 octave) 5 Suspended Metal Pipes (see movement notes) Kick Drum (doubles with player 3) 5 tuned slats of wood (see movement notes) 4 tuned beer bottles (see movement notes) Player 2 Tibetan Singing Bowl (A4) (can be replaced with bowed vibe) 12 tuned slats of wood (see movement notes) 3 Crotales (see movement notes) Player 3 Vibraphone Marimba 2 (4.3 octave), doubles with player 4 Two Glockenspiel bars (see movement notes) Kick Drum (doubles with player 1) Player 4 Marimba 2, doubles with player 3 5 Mounted Metal Pipes (see movement notes) Kick Drum Musicians may reassign movements by player ad lib.
& '& ' & & & ! !
Non-Standard Instruments by by Movement I.
Harriman
Steel String Acoustic Guitar (a cheap one is fine, even preferred)
Scordatura:
! " %#$ $$ %$ &&$ " %$ $ ! !
10
"
#
#
# #
# #
# #
# #
To create this unusual scordatura, string the guitar using 2 sets of steel strings, strung low to high thus: D, D, G, B, B, E.
$ %$ % $ $ & $ % $ " # # " #%$ # # !! # # Seven tuned slats of resonant wood: $ $ $ $ $ $ $ 20 II. Power Lines
#
#
#
#
# #
# #
'& & '& ! "# # # # # # # # # # # # III. Foxhurst" # # $ $ $ $ $ $& ) & & ! & $) ! ' & & & $ % & '& % 2 Crotales '& %! % % '& & & & (sounding 15ma) 40 19 & ' & ' & & ' &!" # '#& ('&& '&&# " # # !! # $ # # $ # # $ # # $# # $# & & & ' & & $ % 15ma))'&% '& & ) & & % !Bars (sounding & '& & '& %& '&& &'&&2&'Glockenspiel ' & " & !* * * ) % $ $ % '& # '& (& '& & ' & ! $ $ 29 $ $ $ $ $ 9 50 ! & '& ' & "# "& #& #&' &&#&%' &# # '#& &# %# !! # $ #% '&# &# ) & $ ' & # # ' & ' & 5 Tuned Mounted Metal Pipes % ' & " '& & '&# 9 '& '& '& & ' & ' & !" * * * ) %# '& &(&$'& & $ & !!& & $ $ $ $ * '&# * * * ) $ $ $ & $ % '& !& 60& % & % !! $ % '& & )' &% '& & ) ' & 39 & 16 '& & & 9& & " & 5 Suspended Pipes ' & ' & " # $ # #'& #& # # &# # # " #* *# * # ) # '&# ' & ' & & & ' & % #% '&'and & they may be !substituted !% $ % # '& '& '& " * * Pipes $ & & * ) $ $ $ (5 Suspended must be suspended resonant as possible; & % ' & % ' & % ! ! 16 & ' & & & $ $ $ tuned gongs, $ 'tuned $ $ $ $ & & with bell plates, or tuned temple bowls) ' & & & " * * * ) % '& 49 ! $ % '& & '&70& $ $ % 23 IV. L.I.E. " # 16 # " # '#& '&#'& #& ' &#' &# " &#' &# & '#& # # # # $ $ $ $ $% $ $ * $$ '& $ '& & '& '&! * * * ) " * *$ * ) $ 23 $ $ Additional$ tuned slats$of resonant %' &$ wood %$'& & $ ! 10 ' & & ' & 80& '& "59* * * ) $ $ $ 30 % $ * # '& '" ! " # # # ## ## # # # # $$ $$ $ '& &$' & ' & $ $ $ $ $ $ $# $ $23 $ 30 $ $ $ $ $ $ *$ # '& $'& '& " % !* * * ) 69 # $ $ $39 $ $ $ $ $ $ " 30
9
& '& ' & & & & % # '& (&%'&!! $ % '& & ! ) $% '& & $) $ $ $ $ $ % & '& & ' & ! & & & in addition to the wood from Movement II. 9 '& & ' & & ' & # ! $ % '& & ) % '& & ) '& '&& & % $ & & & " ' & % ' & ' & % ! * * * ) $ $ & % 1 Crotale (sounding 15ma) % '& & ! & & & in addition to the crotales from Movement III. 16 & '& ' & & & Drum '& '& '& 1'Kick ' & & & " ' & ' & ' & $ * * * ) $ $ # ' & " & %! * * * %)'& % ! * '& $ $ $ V. Claremont
$ $ $ $ $
$ $ $ $ $
$ $ $ $ $
23
%$ $
$*
7 Tuned Beer Bottles Player 1 (G#3, A#3, B3, D#4) 30 2 Player (F#3, G#3, C#4)
#$ $
# '&$'& '& '&$
#$ $ #$ $
57
66
#
$
$
$ $
$ $
$
$
$
$
$ $
$ $
$ $
$ $
$
$
$
$
$ Electronic $ $ $ $ $ $ $Requirements
$
$
$
$
Condenser Microphones for guitar, wood slats, and bottles (Optional) Mics for all other instruments 1 Audio Interface able to output at least 4 channels 1 Laptop running Max/MSP (free download) 1 Midi Pedal Click Tracks for at least players 3 and 4, wireless suggested Stereo Speakers
#$ $
$
$ $
(May also be played on wine bottles; it may be useful to tune in advance and cork with wine bottles, or mark water levels with a magic marker.) 48
$
$ $
1 Tuned Wine Bottle or Beer Growler (D#3) 39
& '& '& " $!* * * )
$ $
$ $
$ $
$ $
$
$
$
$
$
$
$
$
$
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Suggested Instrument/Mic/Laptop/Speaker Placement The below illustrates the suggested position of instruments for Memory Palace. Both amplification and reverb are essential to a proper performance. They allow the instruments to resonate and to blend with the electronics. The guitar, bottles, slats of wood, and guitar must be amplified and processed with reverb with high quality mics. Other instruments may be amplified similarly; ideally all instruments have some amplification to blend with the electornics. A 2-3 second reverb with a sustained quality is suggested. It’s also suggested player 2 trigger electronics throughout, but any player (or a sound engineer) may. The amplification on these instruments should be brought up to a point where electronics sound as if they’ve organically grown out of the electronics. Consulting the reference recording from the LA Percussion Quartet is very useful.
K D
Mar 1
12 Low/Med Wood TB
K D
Vibes
K D Pedal
Bottles
Mar 2
5 High Wood Gtr
Crot (mvmt IV)
Bottles
Laptop On Stage 5 Pipes
Crotales (mvmt III)
Audience
2 Glock Bars
Gongs
Notes on electronics and amplification Memory Palace is an electroacoustic work. In addition to performing, the percussionists are asked to cue a series of prerecorded samples that blend seamlessly with the live performance. The circled numbers in the score correspond to the cues in the program. These samples are cued with a midi foot pedal in a simple application built in Max/MSP. Click tracks may be used for movements II and III. Players 3 and 4 must use click tracks in Movement IV to coordinate the close Marimba hocket that is more or less impossible without it. The patch includes all the the necessary clicks. The players may optionally select these clicks in the patch provided.
Duration Approximately 22 minutes.
Note on Lighting Ideally, Memory Palace should be performed in a dimly lit hall, with only stand lights illuminating the performer. This kind of lighting situation will help blur the line between live and sounds and electronic sounds, and assist overall in sustaining the mood required for a successful performance.
Updates The score and electronics are correct as of August 2017, but contact the composer (chris@christophercerrone.com) for any information on the most up to date patches or questions.
II. Power Lines
Notation Guide
w = 40; q = 160
(' Rather than notate the pitches, which, during a performance, are irrelevant for the' performer, I ( ' ! ' ) ' ( ' # ( ' " have attempted to make the notation as simple as possible by reducing each movement to a Pitch " kind of tablature. ' ' " ' ' % ' 'PALACE ' " MEMORY
Memory Palace was made possible by a grant from the American Composers Forum with funds provided by the Jerome Foundation
I. Harriman
Low
I have included a “Tab� for the guitar part (as used as used in rock and pop music). Since the Christopher Cerron guitar is only played with open strings, it makes the performance easy even for a non-guitarist. I. Harriman
Sounding Pitch:
Steel String Guitar
" discovering % As if improvising; Kick like Drum a child the &instrument h ="50
!' "
,+ !+# (-.' - $ " + Electronics " " F.**
) (
5-10"
mf poco rubato F.**
String Plucked, low to high
#
! "*
Pitch
C B A G# E C#
1
,+ -$ ,5
+
(
3
9
0
0
0
' ' ' " ' " "% ' '
0
Elec.
17 w = -40; !'(#' - ,)-'$ ('% ' ( '( ' ( '" +" ,+ ! - -$ + q = 160,- + ! # Gtr. . ,- $ . $ " " Pitch " $ " (' 5 !# (' )' (' ' ( ' ' Pitch ' The second movement uses only the Low' staff: " "% Low % ' ' ' ' ' " # ' ' ' ' Low !#% ' ' ' " Elec. !% # % " " " Kick Drum Elec." " *$ "& " 8
0
0
0
0
0
% "
" "
0
Pitch
! Gtr. !' ,+ (' +/ ' $ ('" (' / '
Med.
Elec.
"% ' ' !# "
#
/' 0
!' ,-! 17Elec.
! $ "* "%
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!# (' " h = 55 ca. 7" )!19 ('" (' ,+' ( +' + ( $ " Pitch 9 3 ! mf ( ' ' ' Pitch $ (' (' ca. 7" ' Hi. " % ' ' ' ' ' Med. " % ' ' '
a tempo (',0/
'
" "
/ 0
" "
Electronics
0
0
2
!# !# "" " "
0
! $ 17
+
5
0
% "
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10
('
two soft yarn mallets ' +( ' split mallet roll , + $ & " +$ + "1 ,- - " " "5 5 (' " " N N ' ' " ' '''' " " p " N
N
0
0
0
0
0
Elec. Elec. p
+$
0
" "
0
poco accel.
"+ "
(
The fourth movement uses the Low, Medium, and High Staves. As can be seen, each staff has " Kickregisters. Drum " % almost exactly the!same pitches, just in different & " # (' Electronics " 16
0
p
w = 40; q = 160
9
+
0
tuned slats of wood onto three staves, low, medium, and high. II. Power Lines
rit.
+/ /
!# " Rather than notating the slats as pitches on a bass or treble staff, I have elected to split the 17
0
.
5
0
Med.
" "
Field Crickets
-
! (' " $ (' (' ' (' ' "
0
0
II. Power Lines/IV. L.I.E. ! II. Power Lines Electronics
"
" "
*) This movement can be performed on any wound string instrument: zither, hammer dulcimer, acoustic guitar, etc. **) F = pluck with flesh of fingers. N = pluck with nails. G = pluck with guitar picks.
& "
" "
& "
" "
5 Mounted Metal Pipes
"#
"
36 Windchimes
% # ' !
Electronics
Pitch
The mounted pipes are reduced to a five-line percussion staff to ease reading
Pipes
Elec.
V. Claremont
p
! ' ' " & ' (' ' " 6
III. Foxhurst
' ' ' # ' " '
' '
#
'
'
'
(mp)
plastic mallet covered in moleskine 10 The last movement uses a series of blown tuned ! bottles. I have also reduced these pitches to a simple seven-line staff Glock. & (' '
Bottles: Sounding Pitch:
%' ! % % ' " %Pipes% " # ! % % &% % & % & % ! $ &% &% &%Elec. ! # ! &
pp
'#'
'#'
#'
#
#
#
'
' ' '
'#
#
'
# #
14
9
Perc.
"
$ 19
Perc.
#
#Glock. #
#
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#
$
#
Pipes
Elec.
p
(' '
#
#
#
#
#
#
#
#
#
#'
'
p
"##
' '
#
#
#
#
#
#
(p)
'
#
''
#
' '
#
''
#
' ' ' mp
#
#
#
#
*) The tempi indicated are approximate and onl tempo of q =
"
#
#
#
#
#
#
#
#
$
#
#
#
#
#
#
#
#
#
#
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39
Perc.
#
"
29
Perc.
#
Crot.
"
Program Note: When I was asked by the Los Angeles Percussion Quartet to write a new piece this past year, I realized that between a forthcoming new work for mezzo-soprano and percussion quartet and an existing solo percussion piece—Memory Palace—it wasn’t quite my moment to write a third piece in that medium. However, as I spoke to the quartet and got a sense of their musicality and enthusiasm, the thought occurred to me that perhaps I did have something additional to say. I suggested that Memory Palace, which is originally scored for solo percussionist and electronics, could become a brand new work as a quartet. In the original version, one percussionist makes a series of new instruments out of found objects and performs live with resonant electronic drones. The downside of this is that the result is a oneway dialogue between the soloist and the drones. I wondered if by transcribing the drones acoustically—for vibraphone, marimbas, and Tibetan singing bowls—the work could take on a life as true chamber music, with each of the parts truly interacting with one another. In the process, new connections were made: now that the piece features both found objects and more traditional percussion instruments, the piece becomes about the interaction between “found” and “traditional” instruments as much as anything else. —Christopher Cerrone, Fall 2015, Rome Below is the original note to Memory Palace: Almost every object struck, plucked, or blown in Memory Palace, a 22-minute work for amplified percussion and electronics, has to be made by the percussionist. The rest—a few bars from a glockenspiel, three high-pitched crotales, and the kick from a drum set—have been disembodied from their original context. In the first movement, ‘Harriman’, the performer plucks a re-strung guitar lying on its back—a kind of makeshift dulcimer. The second movement, ‘Power Lines’, is scored for seven slats of wood, carefully tuned by sawing them to the correct length. The third, ‘Foxhurst’, is a forest of bells: tuned metal pipes alongside the aforementioned glockenspiel bars and crotales. The fourth movement, ‘L.I.E.’, adds even more wooden slats, creating polyphony from the homophony of ‘Power Lines’. The last movement, ‘Claremont’, features six blown bottles, tuned to different pitches with varying amounts of water. In each movement, the percussionist also triggers a series of electronic drones using a foot pedal, creating a resonant background aura that enhances the live music throughout. Each movement is titled for a personally important place. Harriman, NY is where I spent a week camping with two of the musicians who have most influenced me. Against the crickets of the woods, I imaged music of simplicity and familiarity. ‘Power Lines’ is a hard grid of glowing high-voltage wires, their intersecting patterns seen from a moving car. ‘Foxhurst’ is named for the street I grew up on, and uses the windchimes which rang throughout my childhood. ‘L.I.E’ (Long Island Expressway) is another automotive movement, evoking the rumble strips on the side of a highway, their rhythmic pulsing playing against the steady drone of the car’s motor. ‘Claremont’ is the street of my college—with another close friend, I had tuned two full octaves of beer bottles where we kept them as a household instrument. By stringing these places together, I wanted to create a memory palace, a virtual series of locations I can “walk” through in my head, remember some important things from my life and how they have shaped me.
Memory Palace was made possible by a grant from the American Composers Forum with funds provided by the Jerome Foundation and is dedicated to Owen Weaver version for percussion quartet commissioned by the LA Percussion Quartet
MEMORY PALACE I. Harriman Christopher Cerrone (2012; arr. 2015)
As if improvising; like a child discovering the instrument h = 50
F.* 10-15"
5
I (Amplified Steel String Guitar)
U ∑
°?
˙
4 ˙ #˙ 4
œ œ™ Ô
œ #˙ œ™ #œ
œ˙ Ô
˙ ∑
˙
œ Ô #œ ™ 58
3 5 mp poco rubato
F.**
-
¢⁄
II (Tibetan Singing Bowl)
° ¢&
III (Vibraphone)
° ¢&
IV (Marimba)
°? ¢
C B A G# E C#
0
0 0
0
0
0
0
0 0
0
1 Field of Crickets
/
Electronics
œ o p
poco accel. 8
I (Gtr.)
°? 5 œ #œ ™ 2 8 4
∑
4 ˙ #˙ 4
œ œ™ œ ˙ Ô
˙™ #œ ™ #œÔ ˙
2 4
∑
˙ œ ˙
4˙ 4 3
5
5
0
0 0
0
¢⁄
0
0
0
0
0
0 0
Elec.
/
*) F = pluck with flesh of fingers. N = pluck with nails.
© 2012 Christopher Cerrone | Outburst-Inburst Musics (ASCAP) All rights administered exclusively by European American Music Distributors Company.
Memory Palace—I—Harriman
2
rit.
a tempo #w-
16
I (Gtr.)
°? #˙
˙-
h = 55 N ca. 7" N
U ∑
4 ˙ #˙ ˙ 4
˙ ˙
œ #˙ ™ R #œ œ 43
4 ˙™ 4
3 Ϫ 3 8 5
5 3
5
mf
N N
-
-
ca. 7" 0
0 0
0
¢⁄
0
0
0
3 5
0
0
0
0
0
varying from 2-4" very so mallets
IV (Mar.)
°? Ó ¢
#U œœ ææ pp
?
˙ ææ o
undulating
2 Elec.
3 5
/ a tempo
poco accel.
poco rit. N N
24 5
˙-
5
I (Gtr.)
˙
°? 3 5 #˙ ™
3 8 Ϫ
2 #˙ 5
4 ˙ #˙ 4
œœ œ R #œ ˙
˙
2 #˙ 4
4w 4
#˙
5
3
3
N N 5
-
5 0
3 5 ¢⁄
2 5
0 0
0 0
0
0
0
0
0
0
Mar.
0
0
°? ¢ very gradual cresc.
Elec.
3 / 5
2 5 a tempo h = 60 N 9"
32
I (Gtr.)
#˙o
°? ˙
w
U ∑
˙ ˙ #˙
˙#˙
œ œ<#>˙Ô
2 #˙ 4
1 œ 4 8Ô 4
3 5 f N
-
-
9" 0 0 12
¢⁄
0
0
0
0 0
motor on (slowest setting) very so mallets
III (Vib)
° æ ¢& ˙æ o °
0
2-4"
U æ #œœæ
4 4 very gradual cresc.
p * undulating independently
2-4"
IV (Mar)
°? #˙˙˙ ¢ ææ
U œœœ ææ p
4 4
undulating independently
Elec.
/ *) The pedal should be secured throughout the piece so that the vibraphone will ring continuously.
Memory Palace—I—Harriman
3
poco accel.
poco rit.
39
I (Gtr.)
˙
°? 4 ˙™ 4
#˙ 6 œ ™™ r 4 #œ ™™ #œ œ œ
1 œ4 8 Ô 4 ˙™
5
˙
œ ™™ r #œ ™™ #œ ˙
2 #˙ 4
4 ˙ #˙ ˙ #˙˙- #˙ 4
5
3
sf
N.
>
-
0 0
0
0
0
0
0
0
¢⁄
0 0
III (Vib)
Mar.
0
0
0
0 0
0
0
0
0
0
U ° 4 œææ ¢& 4 #œœ
°? 4 ¢ 4 undulating independently 3
Elec.
/
Tempo primo. a tempo F 15"
47
I (Gtr.)
°? ˙
#˙o
U ∑
o o ˙ #˙
˙o
œo œo ™ Ô
œo o o #œo #œ ˙ ™
3 4
∑
˙o
4 ˙o ™ 4
˙o
o #˙
2 4
5 f simply, as at the beginning
5 mf
F 15" 12
12 12
12
¢⁄
0
12
12
12
12
12 12
12
singing, rubbing
2-4"
II (Singing Bowl)
° ææ ¢& ˙ o
U æ œæ
2 4
mp
undulating
2-4"
III (Vib)
U ° œææ ¢& #œœ
2 4
mp sim.
2-4"
IV (Mar.)
U °? #œœœ ¢ ææ mp sim.
2 4 (field of crickets fades into two crickets)
Elec.
/
Memory Palace—I—Harriman
4
poco a poco rit. al fine I (Gtr.)
55 °? 2 ˙o 4
4 #wo 4
o o ˙ #˙
˙o
˙o
#˙o
3 4Œ
o Œ #œ
˙-o
#œo 4 wo 4
3 mp p
12 12 12
¢⁄
12
12
12
12
12
12
12
12
2-4"
II (Singing Bowl)
U æ œæ
° 2 ¢& 4
mp sim.
2-4" in time
III (Vib)
U ° 2 œææ ¢& 4 #œœ
ææ w & #w #w w
mp sim. continue irregular swelling.
2-4"
IV (Mar.)
U °? 2 #œœœ ¢ 4 ææ mp sim.
in time
w ?##w w wæ æ continue irregular swelling.
4 (fade out crickets)
Elec.
/
walk to Marimba 1
62 electronic cues fade out drones one by one in time
attacca subito I (Gtr.)
°? ¢
∑
∑
∑
∑
place down without muting and take mallets for II
in time
II (Singing Bowl)
° ¢&
æ wæ
ææ w Ó™
æ wæ
j œ— ‰ Œ
Ó
Œ
continue irregular swelling.
o fade G#
III (Vib)
° ¢&
ææ w w w w
Ó w ˙w w ææ
æ ˙˙æ ˙
ææ o ˙˙
l.v. sempre
æ wæ
o mp sim.
IV (Mar.)
°? w w w ¢ wæ
æ ˙˙˙æ œ æ
Πo
æ ˙˙œæ ææ
æ œ˙™æ æ oæ
o ΠΠo
Ó ∑
mp sim.
(Start click, two bars free)
5 fade out drones
œ œ œ œ œ œ œ œ Elec.
/
5
II. Power Lines* w = 45; q = 180 I (Marimba 1)
° 4 ¢& 4 make sure singing bowl continues ringing
° 4 /4
R.H.
II (Wood Keyboard)
Low Pieces of Wood two so yarn mallets, split mallet roll
4 ¢/ 4 œœœœ
L.H.
o walk to Marimba 2 stand on black key side
III (Vibraphone)
° 4 ¢& 4
?
æ # wæ—
very so mallets no attack throughout normal tremolo throughout
IV Marimba 2 (White Key Side)
°? 4 #œ ¢ 4 ææ pppp
**
Electronics
=
9
° R.H.
/
II (W.K.) L.H.
¢/
œ œœœ p
very so mallets no attack throughout normal tremolo throughout take over roll from Perc IV
III (Mar. 2)
°? ¢
#œ ææ ppp p
IV (Mar. 2)
°? ¢ *) Movement 2 is a solo for Percussion II. He or she should control the pacing, and cue the players on Marimba, who should support and swell under his or her sound. **) With a constant gentle swelling.
Memory Palace—II—Power Lines
6 Low Pieces of Wood two so yarn mallets split mallet roll
19
° œœœœ o
/
R.H.
o
mp
two so yarn mallets split mallet roll
II (W.K.) L.H.
¢ / œ œœœ
œœœœ o
o mp
III (Mar. 2)
°? ¢ Marimba 2 very so mallets no attack throughout normal tremolo throughout
IV (Mar. 2)
°? ¢
?
œ ææ o p poco **
= 28
° œœœœ o
/
R.H.
o
mp
II (W.K.) L.H.
¢/ (
œ) æ
œœœœ o mp
III (Mar. 2)
°? ¢
IV (Mar. 2)
°? ¢
œ æ o p
= 38
° R.H.
œœœœ o
/
o mp
II (W.K.)
L.H.
¢/
(
æ œ)
œœœœ o
o mp
III (Mar. 2)
IV (Mar. 2)
°? ¢
°? ¢
ææo œ
pp
#œ æo **
**) See note page 1
Memory Palace—II—Power Lines
7
poco a poco cresc. peaks of hairpins 46
° /
R.H.
œœœœ o
o
II (W.K.)
L.H.
œœœœ o
¢/ o
mp
III (Mar. 2)
°? ( #œ ) ææ ¢
IV (Mar. 2)
°? ( #œ ) ææ ¢
o œ ææ
p
= 53
° /
R.H.
œœœœ o
œœœœ o
o
II (W.K.)
L.H.
¢/ o
III (Mar. 2)
œœœœ o
œœœœ o
°? ( #œ ) ææ ¢ o œ ææ
°? (#œœ ) IV ææ (Mar. 2) ¢
#œ ææ o
= 61
° R.H.
œœœœ o
/
II (W.K.)
œœœœ L.H.
¢/ o
III (Mar. 2)
°? ¢
(
#œ ) ææ ppp
o æ # œæ IV (Mar. 2)
°? ¢
œ ææ o
Memory Palace—II—Power Lines
8 69
° /
R.H.
œœœœ o
œœœœ o mf
II (W.K.)
L.H.
III (Mar. 2)
œœœœ o
¢/
œœœœ o
°? #œ ¢ ææ pp
mf
o æ œæ
°? æœ IV æ (Mar. 2) ¢
mp
#œ æ o
p
mp
= 77
° œœœœ o
/
R.H.
œœœœ o
II (W.K.)
L.H.
¢/
III (Mar. 2)
°? ¢
IV (Mar. 2)
œœœœ o
œœœœ o
o æ œæ
°? ¢
o æ œæ
#œ ææ o
= 85
° R.H.
œœœœ o
/ œœœœ o
II (W.K.)
œœœœ L.H.
¢/ o
III (Mar. 2)
°? ¢
#œ ææ p
IV (Mar. 2)
°? #œ ¢ æ o
o æ ##œœæ
œ ææ o
Memory Palace—II—Power Lines
9 medium so mallets no attack throughout normal tremolo throughout
94
°? I (Mar. 1) ¢
#œ ææ o
°
œœœœ o
/
R.H.
œœœœ o
II (W.K.)
L.H.
III (Mar. 2)
œœœœ o
¢/
œœœœ o o æ nœæ
°? #œ ¢ æ
mp
p
mp
æ œæ IV (Mar. 2)
°? ¢ o
=
104
I (Mar. 1)
°? ¢ mp
**
° œœœœ R.H.
/
œœœœ o
o
f
II (W.K.)
L.H.
¢/
œœœœ o
III (Mar. 2)
œœœœ o
œœœœ f
o
°? #œ æ ¢ mp
°? IV (Mar. 2) ¢
æo œæ
mf
æ œæ o
#œ ææ o mf
o nœ ææ
Memory Palace—II—Power Lines
10 111
°? I (Mar. 1) ¢ mp
° /
R.H.
œœœœ o
œœœœ o
œœœœ o II (W.K.)
L.H.
III (Mar. 2)
œœœœ o
¢/
œœœœ o
œœœœ o
°? ¢ mp
o æ œæ
°? IV (Mar. 2) ¢
æ œæ
#œ ææ o
o
#œ ææ o
=
119
°? I (Mar. 1) ¢
#œ ææ mp
° R.H.
/ œœœœ o
œœœœ o
II (W.K.)
œœœœ L.H.
¢/ o
III (Mar. 2)
°? #œ ¢ æ mp
°? IV (Mar. 2) ¢
6 Elec.
o œ ææ
Memory Palace—II—Power Lines
11
I (Mar. 1)
127 °? #æœ ¢ æ mp mp
° œœœœ /
R.H.
o II (W.K.)
œœœœ L.H.
IV (Mar. 2)
¢/ o o œ ææ
°? ¢
=
135
° &
æ #œæ o
f
I (Mar. 1)
? #ææœ ¢ (L.H. / R.H. in sync)
œœœœ
œœœœ
° R.H.
/ o
II (W.K.)
œœœœ L.H.
¢/ o
III (Mar. 2)
°? ¢
œœœœ o
œœœœ o
#œ ææ f
o f
IV (Mar. 2)
°? ¢
œ ææ
æ nœæ
7 Elec.
Memory Palace—II—Power Lines
12 142
° I (Mar. 1) ¢& mf
f f
° /
R.H.
f
II (W.K.) L.H.
(L.H.)
œœœœ o
¢/
œœœœ o
œœœœ o
f
III (Mar. 2)
°? #œ ¢ æ f
mf
o æ œæ æ œæ
° & IV (Mar. 2)
? ¢
f
#œ #æœ æ o f
8 Elec.
=
150
° I (Mar. 1) ¢& mf
f
° R.H.
/
II (W.K.) L.H.
III (Mar. 2)
¢ / œœœœ o
œœœœ o
œœœœ o
œœœœ o
°? ¢
° æ & œ IV ææ (Mar. 2) œ ? ¢
ææ #œ
ææ œ œ
#œ 10
9 Elec.
œœœœ o
#œ #œ ææ
Memory Palace—II—Power Lines 157
I (Mar. 1)
° ¢& #æœ æ
o ææ #œ
13 f
° /
R.H. II (W.K.) L.H.
œœœœ o
œœœœ o
¢/
o æ # œæ III (Mar. 2)
f
°? ¢ o œ
° & IV (Mar. 2)
œ æ
? ¢ 11 Elec.
=
f f
164
° #œ I (Mar. 1) ¢& # œ ææ ° /
R.H. II (W.K.)
œœœœ o
œœœœ o ææ # œ °? #œ III (Mar. 2) ¢ L.H.
¢/
IV (Mar. 2)
? ¢
f
f
f
° &
œœœœ o
f
o œ œ ææ
Memory Palace—II—Power Lines
14 172
° #œ I (Mar. 1) ¢& # œ ææ
° /
R.H.
(ff)
II (W.K.) L.H.
œœœœ o
¢/
œœœœ o
œœœœ o
(ff)
ææ # œ ° ? #œ III (Mar. 2) ¢
° &
œ
œ
?
œ ææ o
œ ææ o
IV (Mar. 2)
¢
= æ < Œ > œæ
180
° I (Mar. 1) ¢&
< Ó>
#œ ææ ff
æ #œæ
<Ó
Œ > œææ
æ #œæ
f
œœœœ ° /
R.H. II (W.K.) L.H.
¢/
œœœœ o ff
° & #œ
< Œ> #œ
#œ ææ
< Œ> #œ ææ
III (Mar. 2)
? ¢
< Œ> œ
?
< Œ> œ æ
IV (Mar. 2)
¢
13 12 Elec.
< Ó>
° &
<Ó #œ
< Ó>
<Ó #œ ææ
Œ> œ #œ Œ> œ æ
#œ ææ
Memory Palace—II—Power Lines
15
All percussionists move slowly to offstage stations
æ < Ó > œæ
189
° #>œ I æ (Mar. 1) & æ
>
< Ó Œ > ææ #œ >
æ œæ
æ #œæ >
< Œ > ææ #œ >
>
>r œ— ‰ ™ Œ Ó K.D.
¢/
∑
∑
∑
∑
∑
∑
∑
∑
∑ ffff (tutta forza)
gradually move
> to™ metals ‰Œ Ó R
° /
R.H.
fff ffff (tutta forza)
II (W.K.)
>r ‰™ Œ Ó L.H.
¢/ fff ffff (tutta forza)
° & III (Mar. 2) move to station 1
< Ó> ?
#œ æ
¢
° &
æ œæ >
< Ó Œ> æ #œæ >
æ œæ >
<Œ > æ #œæ >
?
< Ó > >œ ææ
< Ó Œ> > #œ ææ
>œ ææ
<Œ > > #œ ææ
< Ó>
IV (Mar. 2)
>r œ— ‰ ™ Œ Ó K. D.
¢/
∑
∑
∑
∑
∑
∑
∑
∑
∑ ffff (tutta forza)
14 Windchimes and click
œ Elec. attaca subito
16
Memory Palace—III—Foxhurst
III. Foxhurst Always ringing. Ambient. q = 60 Always pushing, moving forward 40" rubber mallets - œ œ- œ œœ ∑ /4 4
cue from electronics to enter:
IV (5 Mounted Metal Pipes)
U ∑
° ¢/
&
4 4
2 4
∑
œ œ- œ œ- œ œ- œ œ- œ œ- œ
Œ œœ R
˙
œÔ
˙ pp (balance with electronics throughout)
5 5
poco
(Cue 14) Windchimes
U / œ o
Electronics
p
poco
-p 7
IV (Pipes)
° œ œœ œ œœ œ ™ œœ œ œœ ™ œ œ œœ œj œœ œœ œ ™ œ œœ œ œœ ™ œ œœ œ œ 9 œ ™ œ ™ œ ™ œ 4 œœ œ ™ œœ œ œœ ™ œ œ œœ 4 ¢/ Œ Œ 8Ó Œ ‰ pp p poco
Elec.
/
ppp plastic mallet covered in moleskine
5
12
5
3
Glock.
° ¢&
∑
‰œ
3
j œ œ œ
œ
Óœ œ Ô 3
5 rœ ‰ œj™ œ ™ œ œ œ œ œÔ œ œ œÔ œ œ 3
3
r5 œ œ œ œÔ œ œ 3
pp
pp
(pulsed, evenly)
IV (Pipes)
Elec.
° œœ œœ œ ™ œ œœ œ œœ ™ œ œœ ¢/
/
œ œœ
œœ œ ™ œœ œœ œœ ™ œ œœ
œœ
œ œœ œ ™
œœ
œ
œœ ™ œ œ œœ œj œœ
17
Memory Palace—III—Foxhurst plastic mallet
16
II (Crot.)
˙-
° ¢&
∑
∑
∑
œ-
Πpoco ppp
pp 5
5
5
5 5
r5 œ œ œ ™ œ œ œÔ œ œ œÔ œ
r Œ ‰ œÔ ™ œœ ™ œ œœ œ œ œŒ Ô p 5
III (Glock.)
œœ œ œ ™ œœ ™ œ œ ˙˙– Ô Ô —
° ¢
3
IV (Pipes)
∑
3
3
° œœ œ ™ œ œœ œ ¢/
3
œ œœ œ ™ œj œœ
œœ ™ œ œœ œ œœ œœ œ ™ œœ œj œœ œœ ™ œ œœ œœ
œ
3
œœ ™ œ œ œœ œj œœ
œœ œ ™ œ
poco
/
Elec.
20
II (Crot.)
˙- –™
° œ ¢&
˙-
œ-
˙-
œ #˙- –™
Œ
œ-
Œ
poco
poco
pp
p
5
III (Glock.)
5
5 ™ œœ œ œ œœ œr œœ Ô
° ¢
3
IV (Pipes)
° œœ œ ¢/
5
5
5 5 r ™ ™ œœ œ œœ œ œ œœ œ œœ œ œœ œ œr œœ œ œœ Ô Ô Ô Ô 3
œœ ™ œ œœ œ œœ
3
3
3
œœ œ ™ œœ œœ œœ ™ œ œœ
5
5 r œœ œ œœ œ œ ™ Ô
5 ™ œœ œ œ œœ œr œœ Ô
3
œœ œ œœ œ ™ œœ œ œœ ™
œœ œ Ô
3
œ œ œœ
3
j œ
œœ
œœ œ ™ œ œœ œ
/
Elec.
push the tempo slightly 24
II (Crot.)
˙- ™–
° œ ¢&
˙-
œ-
˙-
#˙- –™
œ
Œ
œ-
Œ
poco
poco
mp
5
III (Glock.)
5
5
5 5 œœr œ œ œœ œ ™ œœ ™ œ œœ œ œr œœ œ œœ Ô Ô Ô
° ¢
3
3
3
5 œœr œ œœ œ œ ™ Ô
5
5 5
œœ ™ œ œ œœ œr œœ Ô
3
3
œœ œ Ô 3
5
5 5 œœr œ œ œœ œ ™ œœ ™ œ œœ œ œr Ô Ô 3
3
mp
IV (Pipes)
Elec.
° œœ œ ™ œœ œœ œœ œ œœ œ ™ ¢/
œœ
œœ œ ™ œœ œj œœ œœ ™
/ (mf)
œ œœ
œœ œ
œœ œ ™ œœ œ œ œ œœ œ œ™
œœ œ œœ œ ™
18
Memory Palace—III—Foxhurst
push the tempo a bit more 28
II (Crot.)
˙- ™ –
° œ ¢&
˙-
œ-
˙-
#˙- –™
œ
Œ
œ-
Œ
poco
poco
mf
f
5
III (Glock.)
° ¢
5
5
5 œœr œ œœ œ œ ™ œœ ™ Ô
œœ œ œœ Ô 3
3
5
œ œ œœ œr œœ Ô 3
5
5
5 5 œœ œ œœr œ œ œœ œ ™ œœ ™ œ œœ œ œr œœ œ œœ Ô Ô Ô Ô 3
3
3
5 œœr œ œœ œ œ ™ Ô
3
3
f mf
IV (Pipes)
° œœ œ œ œ œœ ¢ / œ œ™
œœ
œœ œ œ ™
œœ œ
œ œ œœ œ œœ œ™
œœ œ œ œ œ œ ™ œ œj œ œ ™
œœ œœ œ œœ œ ™ œœ œ
/
Elec.
a tempo hard yarn mallet or plastic mallet covered in moleskine
32
I (Suspended Pipes)
° ¢&
∑
j 4 #œ-— 4
3 4Œ
∑
œ- ™—
fff cantabile, resonant in the foreground
II (Crot.)
˙- ™ –
° œ ¢&
˙-
œ-
#˙- –
3 4œ
Œ
4 4
poco ff
fff
5
5 5
III (Glock.)
œ œ œœ œr œœ Ô
œœ ™
° ¢
œœ œ Ô
3
5
5 r œœ œ œ œœ œ ™ Ô
3
5 ™ œœ œ œœ œ œr 3 œœ 4 Ô
3
3
Œ œÔ œ
Œ
4 4
œj ‰ Œ œÔ
4 4
3 fff
ff
IV (Pipes)
Elec.
° œ œ ¢ / œ™
œ œ œ
œœ
œœ œ œ ™
œœ
œ
œœ ™
œ œœ œ œœ
3œ 4 œ œ™
/ 35 5
° 4Ó I (Suspended ¢& 4
3 4 #œ ™—
Œ
j œ-— œ—
œ—
Œ
Ó
œ—#œ— œ™—
Pipes) (ff) (ff)
5 5
III (Glock.)
5
j 4 ‰™ ° ¢ 4 ‰ ‰ œ œ œœ
5
œr œœ
Œ 3 Ó œÔ œ 4 œ œÔ œ 3
‰™ œ œ œr œœ œ œœ ‰ œ Œ Ô
3
3
Œ
5 ‰ œj™ ‰ œ
3
3
3 f ff
IV (Pipes)
° 4 ‰ œ ™ œj ¢/ 4 ≈ Ô ff
Elec.
/
œœ œ
œœ ™ œŒ
3j 4 œœ
Œ ‰ œ ™ œ œj œœ œœ ™ ≈
œ
œœ
œœ œ ˙ Œ
‰
œ Ô
19
Memory Palace—III—Foxhurst 38 5
° I Ó (Suspended ¢&
5
Œ
Œ
‰ #œj
Œ
r #œ œ œ œ— œ
œ
œ œ œ™ Ó
r #œ
Œ
œ
œ
Pipes) sim. (ff)
5-
5 5
5
≈ œ- œ œ ™ œ Œ Œ œÔ œ œ œÔ Œ -
5
III (Glock.)
° ¢
rœ œ œ œÔ ˙ ™
œœ
Œ Ó
œ
œ œ‰ œ œ ™ œœ œ ™œ Œ Œ Ô
œ
3
3
Ó
3 3
3
mf mp p
IV (Pipes)
° ‰œ ™ œ œ œœ ¢/
œj
œœ œ ™ œ Óœ
œœ
‰ œ ™ œ œ œ ™œ
˙œ ™œ ™
œ
œœ ™ œ œ˙ ™ œ œ œ
˙™
/
Elec.
42
° I (Suspended ¢& œ
5 ‰ #œj™
Ó œ- œ
5
œ #œj ‰ Œ
≈œ
œ #œ
œ
Ó
Œ
œ- œ
œ
œ
Pipes) (non dim)
œ œœ Œœ œ R Ô
5
III (Glock.)
° ¢
Œ
Œ
∑
5 r œ ˙™ Œ œ ‰ œ Ó
Œ Ó
3
˙
3 pp
p
IV (Pipes)
° ‰ œj Œ ¢/
j ‰ œ ˙œ
Œ
œ œ™ Ô
œ ‰™
Œ œœ R
Óœ œ ™ Œ
œœ œ œ Ó Œ
p
pp
/
Elec.
(mp)
46 3 5
° I (Suspended ¢& #œ
Œ
Œ #œ
œ œj
‰ Œ
œ
‰ #œ
œ #œ
Œ #œ
œ
œ #œ
œ™ œ Œ
œ
Pipes) (f) poco a poco dim.
5 Walk to Marimba 1
III (Glock.)
‰™ œ Œ œ Ó Œ
° ¢
∑
∑
∑
ppp
IV (Pipes)
° Ó ¢/
‰ œÔ Œ
Œ ≈œ‰ ‰
j œ
œœ Ó Ô
≈œ Œ
‰ Œ ppp
Elec.
/ (p)
‰ œÔ Œ
‰ œ ™œ Ó ≈
20
Memory Palace—III—Foxhurst 50
° I Œ (Suspended ¢&
j #œ ‰ Œ
Œ
Ó
Ó
#œ
œ
Ó
#œ œ- œ
œ
#œ œ œ
œ
œ
Pipes) mf
mp Walk to Marimba 2
IV (Pipes)
° ‰ œ Œ Ô ¢/
Ó
∑
∑
∑
∑
pppp
Elec.
/
55
° I #œ Ó (Suspended ¢& œ Pipes)
Œ
#œ ™
j œ
∑
œ
#œ Ó
Œ
œ
jŒ œ
∑
Ϫ
p pp
II (Crot.)
° ¢&
∑
∑
‰ œÔ Œ Ó
Ó
œ– Œ
œ– Ó
Œ
pp
∑ poco a poco cresc.
15 Elec.
/ (electronics fade)
gradually move to slats of wood, carry crotales with you while playing them
q = ca. 72 place down crotales next to slats of wood
61
3x
II (Crot.)
° °™ œ Œ œ Œ ¢& ¢™
#œ Œ Ó
œ Œ œ Œ
œ Œ Ó
™™ ü †
∑
œ Œ œ Œ f
16 Follow Click Elec.
/ ° ¢™™
™™ ü† œ œ œ œ
œ œ œ œ (attaca subtio)
Memory Palace—IV—L.I.E. 21
IV. L.I.E. q = 150 Crotales
I (High Wood + Crotales)
° 4 #>œ &4 Ô ‰ Œ
Ó
∑
∑
∑
∑
∑
∑
∑
ff
Medium Pieces of Wood split mallet roll hard yarn mallets
< Ó> œ œ œ œ II (Medium Wood)
4 /4 o medium hard mallet with click track on eighths on the beat
4 #œ œ œ œ &4
III Marimba (stage le )
(very gradual fade in)
œ œœœ
#œ œ œ œ
mf
>r 4 / 4 œ—
Kick Drum
ff
medium hard mallet with click track on eights off the beat
4 #œ œ œ œ œ œ œ œ œ#œ œ œ œ– &4 ≈
IV Marimba (stage right)
mf
Kick Drum
>r 4 ¢ / 4 œ— ff
4 / 4
Electronics
= High Pieces of Wood butt end of drumsticks, 45 degree angle with wood
9
I (H. Wood+ Crot.)
° &
∑
∑
∑ /
>- ™ > > > ™ > ™ >- > > ™ > ™ >œ œ œ œ œœ œ œ œ œ œœ œ œ œ ‰ Ô
∑
∑
f sharp, incisive, dramatic
II (Med Wood)
œ æ / mf exactly balance with marimbas
#œ œ œ œ III (Mar 1).
&
IV (Mar. 2)
¢&
–œ#œ œ œ œ–
*) Percussion II should generally speaking attempt to line up with the Marimbas, but little variations and occasional phasings are fine.
poco a poco cresc. throughout
∑
Memory Palace—IV—L.I.E. 22 17
> > > > > >> > > > ‰ œ- œœ ™ œ ™ œ- œ œ œœ- ™ œ ™ œ œ œ œœ ™ Ô
° I (H. Wood+ Crot.)
/
∑
∑
>- > > > > >> >> > œ ™ œ œ œ œœ ™ œ ™ œ œ œ œœ ™ œ œ
œ æ
II (Med Wood)
/
III (Mar 1).
&
IV (Mar. 2)
¢&
#œ œ œ œ
–œ#œ œ œ œ–
=
23
° I (H. Wood+ Crot.)
∑ /
∑
Ó Ó
> > > > > > > ≈ >œj™ œ ™ œ œ œ œ œ ™ œ ™ œ œ œ œ œ ≈ Ó > >
>> œœ œ ™ œœ ™ >
> œ™œ Ó
∑
>-
œ / æ
II (Med Wood)
#œ œ œ œ III (Mar 1).
&
IV (Mar. 2)
¢&
–œ#œ œ œ œ–
= 29
° I (H. Wood+ Crot.)
II (Med Wood)
/ ŒŒ
> > > > > > ‰ ™ >œ œ œ œ œ ™ œ ™ œ œ œœ œœ œ ™œ ‰ ≈ R≈ Ó Œ ‰ Ô > >
œ / æ #œ œ œ œ
III (Mar 1).
&
IV (Mar. 2)
¢&
–œ#œ œ œ œ–
> > ™ œœ œ œ >
> œœ ™ œ œœ œ ™ Ó >
∑
Ó
> Œ ‰ œÔ
Memory Palace—IV—L.I.E. 23
> > > >> > > > œ ™ œ œ œ œ œœ œœ œ ™œ œœ ™ œ œ œœ ™ œ œ Œ Œ ‰ Ô > > > >
> / œÓ œ ™
34
° I (H. Wood+ Crot.)
∑
>- > > > > œ™ œ œ œ œ œ™ œ
∑
œ / æ
II (Med Wood)
#œ œ œ œ III (Mar 1).
&
IV (Mar. 2)
¢&
–œ#œ œ œ œ– = >/ œœ ™ >
39
° I (H. Wood+ Crot.)
> > > > œ œœ œ œœ œ ™ œœ œ ™ > > >
rhythmic cue (
Ó
∑
Ó
> >- ™ > > > ™ > - ™ œ œ œ œ œÓ œ œ œœ >
*
Œ) œ œœœ
II (Med Wood)
> > > > œ œœ œ œœ œ ™ œœ œ ÓÓ > > >
œ æ
/ rhythmic cue
Ó
Œ ) #œ œ œ œ
(
III (Mar 1).
#œœ œœ
& poco
rhythmic cue (
IV (Mar. 2)
Œ ) –œ#œ œ œ#œ œ–
Ó
¢& 17
/
Elec.
= 44
° I (H. Wood+ Crot.)
∑ /
> >- ™ > > > ™ > - ™ Œ œ œ œ œ œ œ œ œœ Œ >
> > > œ œœ œ œœ œ ™ > >
œœ >
> œ
Œ
Ó
(always overlap split mallet rolls between hands as in mvmt II)
œ œœœ II (Med Wood)
/
III (Mar 1).
&
IV (Mar. 2)
¢&
*
*
#œœ
–œ##œœ œœ
poco
18 Elec.
/
œ
œ œ
œœ œœ– —
Ó
> > Œ œ- ™ œ
Memory Palace—IV—L.I.E. 24
> > >™ > - ™ > > >™ > œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ Œ > > > > < Ó> œœœœ
49
° I (H. Wood+ Crot.)
/
II (Med Wood)
/
∑
> >- ™ > > > ™ > - ™ > > > ™ Œ œ œ œ œ œ œ œŒ œœ œ œœ œ œœ œ > > >
< Ó> #œœ œœ III (Mar 1).
œœ œœ
& < Ó> –##œœ œ œ
IV (Mar. 2)
¢&
Elec.
/
œ œ
19
= > œ Œ
54
° I (H. Wood+ Crot.)
/
II (Med Wood)
/
œœ >
Ó
∑
>> > >- ™ > > > ™ > - ™ > > > ™ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ > > > > sf Œ ‰> œ œ œ œ <Ó
∑
œ œ œœ mf
Œ
<Ó III (Mar 1).
#œ & œ
œœ œœ œœ
Œ
<Ó IV (Mar. 2)
—–œœ ##œœ œœ œœ œœ– — & ¢ 20
‰> #œ œœ
#œœ œ
œœ œœ œ œ
‰> –œ #œ œ#œ œ œ– —œ
21
/
Elec.
= I (H. Wood+ Crot.)
> >- > ™ > ™ > > > - > ™ > ™ > ™ > >œ / ‰ œÔ œ œ œ œ œ œ œ‰ œœÔ œœ œ œ œœ œ œ œœ œ œ Ô > > > > sf
II (Med Wood)
/ œ
59
°
‰ Œ
Ó
œ œ œœ Œ
Ó
(continue cresc.)
III (Mar 1).
&
IV (Mar. 2)
¢&
#œœ œ – œ##œœ #œ 22
Elec.
/
œœ œœ œœ œœ œœ œœ– œ œ œ– —
> > > > Œ ‰ œ- œ œ ™ œ ™ œ Ô
Memory Palace—IV—L.I.E. 25
> > >- > > > >> œŒ œ œ‰ œœ œœ œ ™ œ œœ ™ œ œ œœ ™ œœ œÔ Ô > > > > sf
63
° I (H. Wood+ Crot.)
/
‰
Ó
Ó
> >>™ >™ > > > Œ ‰ œ œ œ œ œ œ œ œ œœ Ô Ô >
< Œ> œ œ œœ II (Med Wood)
/ < Œ>
III (Mar 1).
#œœ œ &
œœ œœ œœ œ œ œ
< Œ> —–œœ #œ
IV (Mar. 2)
¢&
Elec.
/
œ œ œ–
23
= > ° œ œ™ I / œ œ (H. Wood+ Crot.) > <Ó II (Med Wood) /
> > >> œœ ™ œ œ œœ ™ œœ œÔ ‰ > > sf Œ> œ œœœ
67
Œ>
<Ó III (Mar 1).
#œœ œ
& ¢&
Elec.
/
œœ
#œœ
œœ
Œ > –œ #œ œ œ #œ œ– ##œœ œœ œœ##œœ œœ– —
<Ó IV (Mar. 2)
∑
>-j > > > > > ‰ ≈ > > > Œ ‰ œ œ œ ™ œ ™ œ œ œ œ œ œ œ ™œ œœ ™ œ œ Ó Ó Œ ‰ Ô >> >
24
>
= 71
° I (H. Wood+ Crot.)
/
> > œj œœ ™ œœ œÔ ‰‰ ÓÓ > > sf < Œ>
II (Med Wood)
<Ó
IV (Mar. 2)
>> œ œœ œ œ >- sf> ‰>
/
œ œœœ
&
<Ó #œœ œ
œœ œœ œœ œ œ œ
< Œ > –œ #œ œ œ œ– – — œœ ¢&
<Ó
‰> #œ œœ
26
/
œœ
‰> –œ #œ œ – — œœ ##œœ œœ
25 Elec.
Œ Œ
œ œœœ < Œ>
III (Mar 1).
Ó
> > > ‰™ > > >- ™ > ™ Œ œ œ œÓ œ œ œ œŒ œ œ œœ œ œœ œ ™ >>- >-
œœ
œœ– œ– —
Memory Palace—IV—L.I.E. 26 75
° I (H. Wood+ Crot.)
/
II (Med Wood)
/
Ó
Œ
> > > > > > > > > > œj >‰ œ œ œ ™ œ ™ œ œ œ œ œœ œœ œ ™ œ œœ ™ œ œ œœ ™ œœ œÔ ‰ Œ ‰ Ô Ô Ó > >> > > sf Œ> <Ó œ œœœ Œ>
<Ó III (Mar 1).
#œœ œ &
¢&
Elec.
/
œœ œ
Œ > – œ #œ œœ
<Ó IV (Mar. 2)
∑
#œœ œ œ œ#œ
œœ œ œ–
27
= >- > > > > / ŒÓ œ ™ œ œÓ œ œœ ™ œŒ Œœ >-
take hard plastic mallets
79
° I (H. Wood+ Crot.)
Óœ œ >- >-
œ œ
Œ Ó
∑
< Œ> II (Med Wood)
<Ó
∑
Œ>
Œ>
<Ó œ œœœ
/
œ œœœ
œ œœœ œ œœœ (continue cresc.) f
q
III (Mar 1).
IV (Mar. 2)
q
< Œ > #œ œœ &
q q
<Ó œœ œ
< Œ– > #œ œ œ ##œœ œœ
¢&
#œœ œ
œœ œ
<Ó –œ #œ œ —–œœ ##œœ œœ
Œ > #œ œœ
Œ>
<Ó œœ œ
#œ œ #œœœ œœœ
Œ > –œ #œ œ < Ó – œœ # œœ œœ
Œ > –#œ œ œ – —# œœ #œœ #œœ
28 29
/
Elec.
= 84
<Ó
Œ>
< Ó>
< Ó>
< Ó>
° II (Med Wood)
œ œœœ /
œ œœœ œ œœœ <Ó
III (Mar 1).
&
<Ó IV (Mar. 2)
¢&
Œ > #œ œ #œœ
œœ œœ
Œ > #œ œ œ– # œœ ##œœ œœ– —
œ œœœ < Ó > #œ œœ
œœ œ
< Ó> œœ ##œœ œœ œ œ œ
< Ó > #œ œ #œœœ œœœ
< Ó > #œ œ #œœ
œœ œœ
< Ó > #œ œ œ– < Ó > #œ œ œ # œœ #œœ œœ– ##œœ ##œœ œœ —
Memory Palace—IV—L.I.E. 27 (Pieces of Wood)
89
>™ > > œ œ œœ
° I (H. Wood+ Crot.)
∑
∑
∑
∑
∑
Ó
/ (ff)
<Ó II (Med Wood)
Œ>
Œ>
<Ó
œ œœœ
œ œœœ œ œœœ
œ œœœ œ œœœ
& <Ó
IV (Mar. 2)
<Ó
/ <Ó
III (Mar 1).
Œ>
¢&
Œ >#œ œœ
œœ < Ó œ
Œ > œ #œ œ < Ó œœ # œœ œœ
Œ > #œ #œœœ
Œ > #œ œ #œœ
œœ < Ó œœ
Œ > #œ œ # œœ #œœ
œœ œœ
#œœ œ
Œ > #œ œ œ ##œœ ##œœ œœ
<Ó œœ– – œ—
œœ œ
œœ ##œœ œœ– — œ œ œ–
#œ #œœœ
œ œœœ
##œœœ #œœœ
œœ– œ– —
=
Crotales
95
‹> Œ &œ
° & I (H. Wood+ Crot.)
> / œ œ™
> œ
– Ó
Ó
> Œ #œ –
ff
ff
> > > >œ œ œ œ
> ™ > > > ™ > > > > >œ œ œ œ œ œœ œ œ œ œ
Ó
∑
(ff)
II (Med Wood)
/ #œ œ œ œ < Œ> œ œ œ œ
<Ó
Œ> œ œœœ
II (Low Wood)
/
< Œ> III (Mar 1).
IV (Mar. 2)
#œ & #œœ
œœ œ
–#œœ ##œœ œœ & ¢ œ #œ œ
<Ó œœ œ
Œ>
œœ œ
< Œ >–#œ ##œœ #œ#œœ œœœ
œ #œœ
<Ó
Œ> – #œœ #œœ œœ– — # œ #œ œ — 31
30 Elec.
/
œœ œ
Memory Palace—IV—L.I.E. 28 100
°‹ &
>œ – Ó
Πff
I (H. Wood+ Crot.)
∑ /
II (Low Wood)
> ™ > ™ > > > ™ > > > >œ ≈œ œ œœ œ œœ œ œ œ Ô Œ> œ <Ó
Ó
Œ
> ≈ œ™ Ô
œœœ
/ <Ó
III (Mar 1).
∑
Œ> œœ œ
&
<Ó IV (Mar. 2)
¢&
Elec.
/
œœ œ
Œ> – — #œœ ##œœœ œœœ– — #œ 32
=
105
°‹ &
#>œœ—–
> Œ Œ #œ –
Œ
Ó
Œ
ff
I (H. Wood+ Crot.)
/
> ™ > > > ™ > > > >œ œ œ œ œ œœ œ œ œ
Œ
< Ó>
Œ Ó
>™ > > >™ > > > > œ œ œ œ œœ œ œ œ œ
Ó
< Ó> œ
œœœ
œœ œ
œœ œ
œ œœœ II (Low Wood)
/
< Ó> III (Mar 1).
< Ó> œ #œœœ
&
œœ œœ
< Ó> IV (Mar. 2)
¢&
Elec.
/
< Ó> œ œ œ ##œœ ##œœ œœ 33
–#œœ #œœ #œœ # œ # œœ # œœ 34
Memory Palace—IV—L.I.E. 29 110
°‹ &
> ##œœ Ó
—–
Œ
ff
I (H. Wood+ Crot.)
Ó
>™ > > > > > > > œ œ œ œ œ œ™ œ œ œ œ Œ
Œ
/
Œ
> > > > > ≈ œ™ œ™ œ œ œ œ œ™ Ô
∑
< Ó> II (Low Wood)
œ
œœœ
œ #œœ œ
œœ œ œ
/ < Ó>
III (Mar 1).
& < Ó>
IV (Mar. 2)
¢&
Elec.
/
œ œ ##œœ ##œœ #œ
œœ œœ
35
=
115
°‹ Ó &
>– Œ #œœ—
>– ##œœ —
Œ Ó
I (H. Wood+ Crot.)
/
> > > œ œ œ Œ <Ó
II (Low Wood)
> > > > > > > > Œ ≈ œ™ œ™ œ œ œ œ œ™ œ œ œ Ô
Ó
Œ Œ
œ œœ œ
œœœ
œ #œœ œ
œœ œ œ
/
<Ó III (Mar 1).
Œ> œ
∑
Œ> œœ œ
& <Ó
IV (Mar. 2)
¢&
Elec.
/
œœ œ
Œ >– #œœ ##œœœ ##œœœ– – #œ œ œ — —
œ œ œ– ##œœ ##œœ œœ – — #œ œ —
36 37
Memory Palace—IV—L.I.E. 30 120
°‹ &
#>œœ—– Œ Ó
I (H. Wood+ Crot.)
> > > > > > > > Œ œ™ œ œ œ œ œ™ œ œ œ œ
/
∑
> > > > > > Œ ≈ œ™ œ™ œ œ œ œ œ™ œ Ô
Ó
(fff)
II (Low Wood)
/
III (Mar 1).
&
IV (Mar. 2)
¢&
Elec.
/
œ
œœœ
œœ œ
œœ œ
–#œœ #œœ #œœ # œ # œœ # œœ 38
=
125
°‹ Ó & I (H. Wood+ Crot.)
> ##œœ—–
#>œœ—– Œ
> > / œ œ Ó
Ó
< Ó> II (Low Wood)
/
&
œ
œœœ
œ #œœ œ
œœ œ œ
¢&
Elec.
/
> > œ œ Ó
Ó
œ
œœœ
œœ œ
œœ œ
< Ó>
< Ó> IV (Mar. 2)
> > > > > > Œ œ™ œ œ œ œ œ™ œ œ
Œ
< Ó>
< Ó> III (Mar 1).
Ó
œ œ ##œœ ##œœ #œ
œœ– – œœ — —
< Ó> – #œœ ##œœœ##œœœ #œ œ œ 40
39
> > Œ œ™ œ
Memory Palace—IV—L.I.E. 31 fff
130
°‹ & I (H. Wood+ Crot.)
take brass mallets
#>œ–
> > > > / œ œ œ œ™ œ œ Œ>
<Ó II (Low Wood)
Ó
Œ
> > #>œ œ œ
Œ
∑
∑
< Ó>
< Ó> œœœœ
/
œ
œœœ
œ œœœ œ
œœœ (cont. cresc.)
ff
Œ>
<Ó III (Mar 1).
&
œœ # œœ
?
Œ >– < Ó> #œœ ##œœœ ##œœœ #œ œ œ
<Ó IV (Mar. 2)
< Ó> œœ # œœ
¢&
#œ #œœ
œ œœ
#œ œ
œ œ
< Ó > #œœœ œœœ
?
< > ###œœœ œœœ œœœ Ó
###œœœ œœœ œ ? #œ#œ œ
œœ œœ œœ– œ #œ œ– —
41
/
Elec.
=
134
I (H. Wood+ Crot.)
°‹ & <Ó
II (Low Wood)
Œ>
< Ó>
<Ó
< Œ>
Œ>
œ œœœ /
œ œœœ œ œœœ
œ œœœ
< ? Ó
Œ > # œœ #œ
œ œœ
œ œœœ
#œ œ < Ó> œ œ < Ó œ œ #œœ œœ
Œ > # œœ #œ
œ œœ
– ###œœœ œœœ œœœ < Ó > œœœ #œœœ œœœ– —< Ó
>Œ ###œœœ œœ œœ #œ œ
< Œ > # œœ œœ
III (Mar 1).
<Ó ? IV (Mar. 2)
¢
Œ >## œœ œœ œœ #œ #œ œ
< Œ >## œœ œœ œœ #œ œ œ
Memory Palace—IV—L.I.E. 32 140
° I (H. Wood+ Crot.)
∑
∑
∑
∑
/
< Ó> II (Low Wood)
< Ó> œœœœ
/
œ œœœ
œ œœœ œ œœœ
#œ ? #œœ
œ œœ
#œ #œœ
œ œœ
< Ó>
#œ œ
< Ó>
###œœœ œœœ
œ œ
< Ó>
#œ #œœ
< Ó>
## œœœ #œœœ
œ œœ
III (Mar 1).
# œœ œœ # ? œ #œ IV (Mar. 2)
œœ– — œ–
###œœœ #œœœ
œœ œ
œœ œ
¢
=
144
I (H. Wood+ Crot.)
° ‹ Ó #>œœ–— &
> ##œœ– —
fff
Ó
∑
#>œœ–— Œ Ó
poco a poco cresc.
< Ó> II (Low Wood)
/ œ œœœ poco a poco cresc.
< > œ ? Ó #œœ
œœ œ
œœ # # œœ
III (Mar 1).
IV (Mar. 2)
< > #œ œ ? Ó # œœ #œœœ
œœ– œœ– —
œœ œœ
œ œ œ– #œœœ #œ#œœ œœœ–
œ #œœ
## œœœ #œœœ œ
¢
42 43 Elec.
/
44
œœ œ
œœ– œœ– —
œœ– — œ–
Memory Palace—IV—L.I.E. 33 152
I (H. Wood+ Crot.)
°‹ & Ó
II (Low Wood)
#>œ– Œ ‰ # œÔ —
#>œ– ‰ œÔ — Œ
> ##œœ– — Œ Ó
Ó
/ fff
IV (Mar. 2)
< ‰> œœ #œ
< ? Ó
Œ>
œœ ##œœ
< ? Ó
Œ>
œ œ œ œ– #œœœ #œ#œœ œœœ #œ#œœ–
III (Mar 1).
œœ ##œœ
œœ œ
< ‰> ## œœ œœ œ #œœ
œœ ##œœ
œœ– œœ– —
œœ œœ
œ œ œ– #œœœ #œ#œœ œœœ–
¢
46
47
45 Elec.
/
=
157
attacca in time I (H. Wood+ Crot.)
°‹ &
#>œœ– —
#>œ– Œ
Ó
Œ
Ó
∑
∑
Ó
∑
∑
∑
∑
∑
∑
ffff tutta forza
II (Low Wood)
>r œ≈‰ Œ
/
ffff
œ #œœ
?
œœ œ
III (Mar 1).
K.D.
/
∑ ## œœœ #œœœ œ
? IV (Mar. 2)
K.D.
¢/
∑
∑ œœ– œœ– —
U ∑
∑
U ∑
j œ— sfffz
j œ— sfffz
48 Elec.
/
49
34
V. Claremont I (4 Ampli ed Beer Bottles)
° 5 /4
Freely and expressively q = ca. 60
5 8
3 blow* 4 ˙
4 4
œ ‰ 87 Ô mp
II (4 Ampli ed Beer Bottles)
III Vibraphone
IV (Marimba)
blow* 5 ¢ / 4 ˙™ o
j œ ‰ Œ o p
° 5 ¢& 4
II (Bottles)
III (Vib.)
5 8
∑
4 4
∑
5 #œ 8æ o
∑
3 4 ææ #œ (pedal throughout) o 3 4
∑
4 4
∑
° 7 ¢& 8
1 4Œ
7˙ 8
1 4
7 8
7 8
7 8
p
œ ™ œ ‰ Œ 41 œ œ 87 œ ‰ ‰ Ó Ô Ô
∑
7 8
Œ
sim.
very so mallets
œ‰ Œ Ô
7 ¢/ 8
3 j œ 4 œ ‰ Œ
motor on: slowest setting very so mallets
∑
°? 5 ¢ 4
° 7 œ™ /8
4 4 ˙™ o
sweet, delicate, hesitant at rst
6
I (Bottles)
5 Π8 Ϫ o mp o
œ œ Ó mp o
˙ o
5 4 Œ œŒ 5 œ Ô 4
æ # œæ
‰ œÔ œ œ œ Œ 44 œ ™
œÓ Ô
5 4
œ
∑
5 4
4 4
Œ Ó
fade in each note throughout
5 4
4æ 4æ œ
5 4
5 # œææ 4
4 4
5 4
p
IV (Mar.)
°? 7 #œ ¢ 8 ææ
° 5 I (Bottles) / 4 12
II (Bottles)
III (Vib.)
IV (Mar.)
5 ¢/ 4
fade in each note throughout
1 #œ 4 ææ
Ó™
˙
Ϫ Ϫ
‰ Œ
œ Œ Œ ‰ œÔ ˙ Ô ˙
œ
7 8
œ ‰ Œ Œ œ™ Ô
œ 42 œ ‰ Œ Ô Ô
Ϫ
legato simile
Ó
˙
Ϫ
‰ Œ
2 4
∑
5 4˙
:
Ϫ
œ 47 Ô
‰ Œ 47
:
° 5 ¢& 4 # œææœ # pœ
2 4
5 4
7 4
°? 5 ###œœœ ¢ 4 ææ
2 4
5 4
7 4
p
*)
legato simile
5 4 Ó™
is movement is performed by blowing over the top of beer and wine bo les, which should produce a gentle and almost utelike tone.
Memory Palace—V—Claremont
35
Just slightly faster
° 7 /4 17
I (Bottles)
II (Bottles)
œ ‰Œ Œ Ô
œ‰Œ Ó Ô
IV (Mar.)
° 7 ¢& 4 # œÓœ™ # œ æ p ææ °? 7 ###œœœ ¢ 4 Ó™
5 4˙
2 4
‰Œ
Ϫ
wæ æ
I (Bottles)
°
II (Bottles)
/
¢/
œ Ô ‰ Œ Œ œ™ œ Œ Ô
mf
III (Vib.)
IV (Mar.)
° æ ¢& # œœæœ # pœ
°
/
;
III (Vib.)
IV (Mar.)
¢/
mute D#
2 4
5 4
6 4
æ #˙æ™
5 4
2 4
5 4
6 4 Ó™
™ ææ˙
Ó™
Ó™
‰ Œ
–
a bit faster than tempo I
œ ™ œ Œ Ó™ Ô
Ó™
Ϫ
œ‰Œ Œ Ô ;
j œ ™ œ Œ Ó™ Ó™
j œ™ œ Œ
5 4
; 5 œ™ œ ‰ 4 ;
œ ‰ Œ Œ œ™ Ô
˙
6 ˙™ 4
5 4
Ó™
œ ™ œ Œ Œ ‰ œÔ ˙ Ô mp
˙
œ™ ‰ Œ
˙
œ
Ó
mp
G# with hand 5 mute æ 4 # œæ ## œœ p
### ˙˙˙˙ ™™™™ ææ
5 #œœ 4 # œæ
#˙˙ ™™ ææ
p
œ 41 œ ‰ 45 Ó™ Ô Ô
Ϫ
œ œ ‰ Œ Œ œ™ Ô Ô
: II (Bottles)
œ™ ‰ Œ
:
:
°? ###œœœ œæ ¢ æ p 27
I (Bottles)
‰Œ Œ
Ϫ
˙
5 4˙
pocchis rit.
a tempo 22
∑
; mf:
mute with hand
æ #wæ
p
:
;
; mf : III (Vib.)
˙™ œ ™ œ 46 œ ‰ Œ Œ Ô Ô
5 œÔ ‰ Œ Œ œ ™ œ 2 œ ‰ Œ 5 Ó™ 4 4 Ô 4Ô ; mf :
˙™
7 ¢/ 4
w
1 5 4 ∑ 4˙ :
Ϫ
‰ Œ
˙
Ϫ
œ œ ‰ Œ Œ œ™ Ô Ô
œ 45 Ô
; : ‰ Œ
˙
Ϫ
‰ Œ
5 4
; :
° ¢&
1 4
5 4
5 4
°? ¢
1 4
5 4
5 4
Memory Palace—V—Claremont
36
° 5 /4
œ ‰ Œ Œ œ ™ œ 47 Ô Ô : ; legato simile 5 7 II ˙ œ™ ‰ Œ 4 (Bottles) ¢ / 4 ;
III (Vib.)
IV (Mar.)
w
legato simile
32
I (Bottles)
œ‰ Œ Œ Ô
6 œÔ ‰ Œ Œ 4 ; f:
˙™
œ‰ Œ Ó Ô
7 4
7 4
æ #wæ
Ó™
Ó™
6 4˙
p
‰ Œ Œ 47 Œ Œ Œ œ ™ œj Ó
Ϫ
8 4
; Ó™
6 4
6 4
wæ æ
8 4
;
;f:
:
° 5 ¢& 4 # # œœ #œ ææ p ææ # œ °? 5 ##œœ ¢ 4
œ ™ œ Œ 47 œ ™ œ Œ ∑ Ô Ô
ææ # w # w # # ww
7 4
ææ ˙ ™ ##˙˙˙ ™™™
Œ 47 Ó™
Ó
8 4
8 4
poco a poco rit. e morendo
° 8 /4 36
I (Bottles)
II (Bottles)
8 ¢/ 4
j œ™ œ Ó : ∑
∑ j œ™ œ Ó
9 4 œ ™ œ ‰ Ó™ 9 4 Ó™
ΠϪ
Ó™
Ϫ
U U™ œ™ ∑ U ∑
œ ‰ Œ Œ
;
mute with hands
III (Vib.)
IV (Mar.)
° 8 ææ ¢& 4 # # W # W WW
9 4 ˙ææ ™ ˙˙˙ ™™™
°? 8 #W W ¢ 4 #WW ææ
9 4
æ ˙˙æ˙ ™™ ™
æ ˙˙æ˙ ™™ ™ ˙™ ˙æ˙ ™™ æ
æ ˙˙æ™™ ææ ˙˙ ™™
o
U U j ‰ Œ Œ ∑™ œœ U ∑
o
June 6, 2012 Brooklyn, NY Version for quartet Fall 2015, Rome