Christopher Cerrone
Reading a Wave for nine instruments placed throughout the audience
(2008) full score
Instrumentation (the score is notated in C): Alto Flute* Violin Celesta (4-octave) Clarinet in B-flat (doubles Bass Clarinet)* Viola Percussion (Vibraphone and Glockenspiel) Baritone Saxophone (doubles Soprano)* Violoncello Piano *) Each of the wind instruments should be tuned approximately 1/8 tone flat. The effect should be accomplished by the loosening of each instrument's embouchure.
Instrumental Layout: Piano (lid up)
Sax
Vc.
Fl
Cl.
Celesta
Perc. Vla.
Audience
Vln.
Performance instructions: Reading a Wave is a piece for nine instruments; the instruments are composed of three antiphonally placed trios. The piece's three distinct parts are based on the varying degrees of synchronicity between the players. First Part: Trios enter, one by one, playing similar material, at similar tempi. As the first trio enters, it is conducted for exactly one system, at which point the next trio enters and the prior trio must proceed independently from the conductor, but remain metrically aligned (eg, on page 1, the onstage is conducted, on page 2, the left balcony trio is conducted while onstage remains independent, etc). In this first part, the pianist, percussionist, and celesta players are in charge of keeping their trios synchronized when not conducted by cueing the winds and strings of their respective trios. As the the first part continues, all of the instruments gradually become independent of one another (wind and string players proceed to independent parts with loops while the pianist, percussionist, and celestas are no longer cuing). The movement ends when the percussionist, pianist, and celestist independently finish their respective materials and should proceed without pause to the second part, where they coordinate with one another via a 30-second interlude. Second Part: The celestist, pianist, and percussionist remain independent of the conductor’s beat for the majority of the section, playing shifting loops while the rest of the ensemble is called back by the conductor, one by one, from their independent parts. The winds and strings are conducted and metered for the majority of this section, while the celestist, pianist, and percussionists are cued by the conductor to proceed from loop to loop. As the second parts continues, the keyboards and winds reverse roles one by one, and the movement ends with the conductor cutting off the strings and winds after a large crescendo. The winds, which are independent, remain. This is the beginning of the third part. Third Part: After a 30-second interlude similar to the one at thebeginning of the second part, the third part is metered and conductedthroughout. In this part of the work, the movement of the same musical material from trio to trio is most important; therefore, each trio must be totally balanced in dynamic.
Notation Guide = gradually change from one technique to another (e.g., sul pont to sul tasto)
h = 60
= primay tempo for each member of a trio, unless otherwise indicated.
= sustained sound (if it is a metered note, play the duration of the note and sustain)
= cresc./descrec. from/to nothing
String techniques:
= cued by conductor = pause = breath with no pause
s.p. = sul ponticello m.s.p. = molto sul ponticello: almost on the bridge; the tone should be very distorted and rich in overtones bow on bridge, no pitch = bow directly on the bridge while muting the string; the result should be an airy, unpitched sound
Wind techniques:
= cue from ensemble members.
= repeat figure inside the box independently of the ensemble
= air sound, slightly pitched = sounding approximately 1/8 tone flat
Multiphonic choices are at the discretion of the wind players.
to the Red Light Ensemble
Reading a Wave
CHRISTOPHER CERRONE (2007-2008)
I.
Right Balcony
Alto Flute (ca. 1/8th tone flat)
Violin
Left Balcony
Celesta
Clarinet in Bb (ca. 1/8th tone flat)
Viola
Percussion
Baritone Saxophone (ca. 1/8th tone flat)
(air, slightly pitched)
A. Fl
On Stage
"p"
q = ca. 40
Piano
repeat independently 3-5x and then cut off
pp
(sempre)
pp (ca. 1/8 tone flat) IV
pp
senza vibrato, détimbre sempre
III
Violoncello
q = 50
"p"
p
pp
(air, slightly pitched)
q = 40
p
repeat independently until cued by conductor
"p"
q = 40
repeat independently until cued by conductor
III
p
p
q = 60 3
pp
SOST
p
ppp
repeat independently (4-6x) until cued by conductor
2
Cl.
" ! %" !
$
q = ca. 45
q = 45
senza vib. sempre " & ('dĂŠtimbre, ! !! " " () * pp
" "
Left Balcony
(1/8th tone flat)
/ "! & , 0*
V.la
pp
" % " ('(
Glockenspiel
Vibraphone (motor off, very soft mallets)
4!
! (''' % " #
(attack with piano)
Perc.
pp
5
Sax.
On Stage
Vc.
" ! %" !
$
" ! % " 4(''' !!! * ! 4' ! # " '! pp
5
'' " 6' "
! "
" (' " (
%
.
''
! "
repeat independently until cued by conductor
"p"
q = 45
" "
4
# "
" () () "
4
# (''' "
sul tasto
(l.v. sempre)
" "
"pp"
# " 2' !
pp
4!
)
$ "
pp
" , " )
! (''' "
4
" "
& .1 )
" "
III
(attack with vibraphone)
Pno.
pp
+ *
slightly pitched) " ((air, " ,
1 & 3 )1
3
p
$ "
4
sul tasto IV = Bb
2'!
" 1 & " 3 ! " 3 ()0 () "
$ ('' !! " (' !
" "
'' ,'
pp
$ "
4
/
3
!!"$
3
p
!!"$
" "
.
III ord.
ppp
!!
q = 60
(( '' 6'
repeat independently until cued by conductor
6)
!!
pp
repeat independently (3-5x) until cued by conductor
! " ! " ! "
(al fine)
q = ca. 40
*! 0 # "
4
# "
1 ! " & '' ), * IV
" , "
III
%-& (,
0! 0!
&
( ' !! )
# " +
pp
& && .2 ) 0 0
4(''' *
4' '
$ " -
, )
$ " 3'! )
pp
0 0
(' 4 # '' "
# '(''
%"
%
(. !
"pp"
p
# . " -
III
pp
" 4(''
%"
(%
.
" ('''' "
*
0! 0!
$ " ('''
1 & +
(! -
+
p
$ " 3'
+
(.
"mp"
q = 40
" "
* && . '
repeat independently until cued by pno
III
( ( - !+ 2 3
+
+
" (' " ( ''
0
" "
0
3' (
SOST! 5
+
p
pp
p
*
%
repeat indep. until cued by pno
p
q = 60
! ( -'1
+
/
q = 40
" "
5
)
6
+
!!(('' 4' A
!!
ppp
B
4-
C
(-
!! !!
repeat varying permutations of A-B, A-C, A-B-C or A-C-B 3-4x and then cue sax and c to proceed
Right Balcony
A. Fl.
" ! $! !
$
( " % ))&' ! * (
q = ca. 50
! $ ! % +'!!!! ( III
Vln.
$
pp
2
Cl.
Left Balcony
Vla.
" ! &'
'( ! % '!! ! (
) ++++ " )+ !
0+ ) ! 0+++ !
/ "! +
III
& 0 *
Perc.
pp
5
Sax.
On Stage
Vc.
" $ ! #
*
" $
! $!
" "
# " 1' ! *
/
# "
" ! %
I $) , *! % ! )
#
*
*
! 0+ ! +
4
)+++
" ! 1
,'!
) &.
)&
''
) & )!& !/ * / !
/
p
sf
! !
( '& )
# "
+
$ (" $ "
2
'$
II &) ! % ! )
! ''++ ! ++
2
*!
! 0+ +
!!
% !
(-
+
1
$ "
3
# "
" ! +! )
" !
&) pp
'+ !
" 0+++ !!! $!
+
sf
+
!!
A
(( '' !! 1'
%% -'
" "
! ! &
# !
! !
# !
.
III
! !
((
' &%
& p
*!
!
2
1
C
()
!!
+) !
q = 40
$
q = 60 3
2
p
3+ (
SOST! 4
. 4
)
# "
2
" ('''
%"
3
pp
5
'& ''
s.p.
p
!!'3++ 0+ A
!!
B
&
C
'&
p molto rubato
.
D
0&
# "
" ! & %
ord
( & !& -
# "
III
& 0 *
repeat independently until cued by piano
',
$ !
ppp
# !
# "
"
2-3x and then cue clarinet and viola to proceed
q = 40
# '+ ! ' ++
" !
%"
repeat varying permutations of A, B, C
p
.
/" "
repeat independently until cued by percussion
p
!! 1B)
) +++ # )+ !
%"
q = 45
/
" !
"
repeat independently until cued by percussion
"p"
! " + ()0 () "
2
/
2
p
$ ('('' "
" ! 1
,'
+
pp
" "
# ' !
pp
( ) + " ++ $!
repeat 3-4x and then cue violin to proceed, flute remains independent
.
q = 45
" "
q = 60
*
pp
2
0&
pp
"pp"
# (' "
+
/
)) ++ !!!" 0+
III . " % $! ' (
p
q = ca. 60
3
()&4
('''
$
q = ca. 50
1
pp
p
1
p
# " (- !
+
pp
" $ ! 0'++
%,& 0' III
! !
.% /
pp
,
" '++++ !
# !
/
)
pp
Pno.
"p"
(air, slightly pitched)
+
# " ('
3
!
$
) ++++
pp
3
q = ca. 40
! '0++ ! 0++
-!+ !
# !
IV
sul tasto, poco vib.
'' " 1' "
3!
/ !"
3
# " ()
pp
! (''' % " #
" !
repeat 3-4x and then proceed to independent part
q = 50
pp
" & (' !! " *
" (' " (attack with celesta)
p
" ' !
pp
! %"
&
3
II
/
q = ca. 45
%,& # )' !
q = 50
" ! +! (
pp
pp
with vibraphone) ( ) (attack + + ! + 3 Cel. $ ! #
" ! %" !
( ! )& ! )'
!! !!
/
repeat 3-4x then proceed to independent part
repeat varying permutations of A,B,C,D 3x and then cue sax; cello proceeds independently
" ! " ! " !
4
Right Balcony
Fl.
Vln.
Cel.
" ! %" !
! "
! %" &
$' ) ( '
IV
% -, ! ,, #% "
.
" " (
" ! ) % " & (' *
q = ca. 45
Left Balcony
Cl.
Vla.
. "! ,
pp
Perc.
On Stage
Sax.
Vc.
// ! 0/ #% " ! ! &" !
" "
- ,,,
+
pp
+ + +
q = ca. 40
# "
0
! " ('
pp
% "! (/
# "
p
/
! " 0/ ! *
sul tasto, poco vib.
# "
-1
3
mf
+
/! " "
# (, "
! " (,
# "
! "
)
&
4
# 0),,
+
%
*(
q = ca. 60
*1
-- ,, !!"! *,
/
q = ca. 50
!!
1/!
-
(,
# "
! "
)( # *
! (// " (/
2
" + "
)$ p
! " 0),,, /
! 0, " ,
+
), 0 " ,, "
" ,,
&"
(' &
(' (!' 3
!!
+
!!
(( // !! 0/
2
0'
!!
('
p molto rubato
,# *
q = 40
-
1
# "
1
/#
"
$ "
/
)-
$
.
repeat independently 2x
q = ca. 45
%
# "
%
# (/// "
and proceed independently
2
p
4
repeat independently until cued by piano
& ! ( ( 3
+
+
'
! " (/
$ ' ), *
&% !
"mp"
p
// ! 0/ "
-1 mf
! "
# (/ "
+
# "
+
# )$ "
//
$ " $ "
# "
p
# "
q = 60 3
- 1)
$ "
repeat independently 3-4x and continue to independent part
p
& 0 (%2 ! (
! "
p
p
+
% $ s.p.
/*
%
+
# "
- ,,,
! "
$ "
ord
& 3
+
- ,,, -,
p
$ "
"mp"
q = 60
2
! " (
repeat independently 3-4x and continue to independent part
p
! "
(
p
q = 40
)
) ( '
III
, % - , , # , %"
repeat 2x and then cue violin
q = 45
% !
# %" &
repeat until cued by celesta
p
pp
+
"pp"
# (/ "
+
# ),,,, " &"
+
sf
p
Pno.
- 1 -!1 2 sf
/! " " ! ! ), & " )0,,,
! "/
/
('$)
+
//
'
- 1)
p
! " (/ ! "
q = 50
III
)),, 0, ppp
0(
q = ca. 40
)(
# )),, " 0,,
$ ),,,, %
), 0 ,, ' #"
# "
$ 0),, %
' #" ,),,
# "
pp
# "
&
Right Balcony
Fl.
Vln.
Cel.
Left Balcony
Cl.
Vla.
" ! &" !
5
q = 50
! &" $ !( #& "
3
)
! ! &" !
+ * +!* ,
On Stage
Vc.
q = ca. 60
++ -!! .-
(
sf
repeat 3-4x and continue to independent part p
.*
!!
p molto rubato
$ # &"
repeat 2x and proceed
+ *** $ +* "
+--p
! %
+ ***
/
$ "
*0
*
+ *0
+*
+ --# +"
! %
+ ***
/
$ "
*0
*
! %
+ **
$ "
/
+ *0
+* attaca
! &" #)
Sax.
'
&
(' (' & "! Perc.
III
('#)
('
-'
q = ca. 40
$! *
! + *#,
3
-
-
$ * .
!* sf
Pno.
)! " "
p
.
q = 40
('
1
q = ca. 50
$ (,,, "
p molto rubato
! ! &" !
! ! &"
$ "
*
(( ,, # -, "
! "& "
)! " "
q = ca. 60
# "
! (' "
# (' %
'' ! (' "
# %
''
+
! ') ' "
+
! "
) '
'
$ (, "
# (' %
,, $ (, "
# %
''
+
! ') ' "
# (' %
+
! "
# %
'
+
! ') ' "
+
! "
*
attaca
repeat 3-4x and proceed to independent part
"mp"
((+////
# (*** " (*
$ %
# "
$ %
( ***
0
# "
$
*,
*
*,
*
! (/(/// "
$ %
! "
$ %
( ***
0
# "
$, *
*
$ %
( **
0
$,
# "
*
*
p
1
# "
# "
$ %
# "
attaca
II.
6
Right Balcony
A. Fl.
25 - 30"
Vln.
B
p
C
3
repeat independently in any order
Vc.
Glock.
p
Left Balcony
repeat independently in any order
s.v. sempre
B
A
h = 45
mp
mp
pp
mp
C
3
25 - 30"
Lo stesso tempo (q = ca. 40)
A
Pno.
3
Clarinet in Bb
C
mp
B
3
h = 45
A
Sax.
25 - 30"
s.v. sempre
C
Lo stesso tempo (q = ca. 45)
Perc.
3
Vla.
B
A
Cl.
Lo stesso tempo (q = ca. 50) A
Cel.
On Stage
h = 45
p
B
3 C
s.v. sempre
mp
A
repeat independently in any order
B
mp
C
3
f
Right Balcony
A. Fl.
Cel.
Cl.
Left Balcony
Vln.
On Stage
fp
senza vib.
mf
f
3
B
B
mf
3
mf
mf
3
(loco)
3
ord.
C
3
Soprano in Bb 3
C
ppp
mf
f
A
Pno.
gliss.
Glock.
Vc.
slow, wide vibrato
A
A
Sax.
mf
3
Vla.
Perc.
3
7
mf
B
C 3
ord.
s.p.
mf
(loco)
8
A. Fl.
Right Balcony
Vln.
Cel.
Left Balcony
Cl.
On Stage
f
ord.
p
f
take Bass Clarinet
ff
ppp
ord.
3
f
B
C
short
p
ord. 3 ff
m.s.p.
3
sf
f
C
3
repeat independently in any order
harsh tone
B
f
(loco)
mf
mp/p
A
gliss.
ppp
p
Pno.
3
ord.
A
Vc.
ff
3
(loco)
Glock.
Sax.
(loco)
f
Perc.
f
A
s.p.
Vla.
f
f
B
mfp
3
f
f
C 3
sf
9
Right Balcony
A. Fl.
Vln.
Cl.
Vla.
ord.
Vc.
ff
p
Sax.
fp
ff
m.s.p.
gliss.
ord.
f
ff
fp
ord.
fp
B
ff
p
Bass Clarinet in Bb
fff
ff
ppp
p
ord.
m.s.p.
3
fp
p
f
C
3
repeat independently in any order
ff
ff
3
ff
ord.
s.p.
fp
A
Pno.
ff
ppp
3
Glock.
Perc.
A
On Stage
ff
Cel.
Left Balcony
s.p.
ff
B
C
3 short
pp
ord.
f
ord.
10
A. Fl.
Right Balcony
ff
Vln.
Cel.
p
Cl.
f
gliss.
Left Balcony
repeat in any order
p
3
ord.
f
harsh tone
ord.
3
mf
ord.
m.s.p.
ff
fp
gliss.
sfp
ff
ord
sfp
m.s.p.
ff
3
mp
p
C
f
ord
p
m.s.p. ppp
Vla.
B
A
harsh tone
f
ord.
Perc.
On Stage
Sax.
Vc.
p
3
ppp
s.p.
Pno.
sfp
f
ff
ffp
(loco)
p
f
B
ffp
sfp
mf
s.p.
A
fff
ord.
fp
mp
ppp
fff
harsh tone
ord.
ord
mf
ord.
m.s.p.
ff
slowly form
f
sfp
multiphonic
3
ff
sfp
ord.
fp
Vibraphone
f
ord
ppp
sfp
f
m.s.p.
fff
ffp
C
3
Right Balcony
A. Fl.
Vln.
Cel.
A
p
f
Left Balcony
Vla.
Perc.
Sax.
On Stage
Vc.
ord
f
ff
ord.
ffp
sfp
harsh tone
ord.
m.s.p.
ff
sfp
slowly form
fff
sff
sfp
sfp
repeat in any order
ord.
sfp
fp
ff
sfp
m.s.p.
sfp
C 3 ord. p p p A
B
sfmp
f
C
sfp
f
f
f
fff
B
sfp
s.p.
ord.
ppp
A
3 p p p
multiphonic
sfp
ord
ord.
f
ff
ord.
p 3
fff
sfp
p
11
C
f
fp
ff
ppp
ord.
f
Pno.
harsh tone
s.p.
gliss.
sfp
ff
f
m.s.p.
sfp
Cl.
B
f
f
sff
to independent part, as before
sfmf
ff
12
p p
Right Balcony
A. Fl.
Vln.
Cel.
Left Balcony
Cl.
Vla.
Perc.
B
A
m.s.p.
gliss.
ppp
3
p
ord.
pp
f
C
sfp
sfp
f
sfp
fff
sfp
fff
attaca
s.p.
ord.
f
sfp
to independent part, as before
Vibraphone
Glockenspiel (same mallets)
sfp
sfp
p
sfp
Glockenspiel (same mallets)
p
fff
attaca A
ord.
Sax.
On Stage
Vc.
p
C 3
p
Pno.
p B
sfp
sff
fff
sff
sf-f
attaca
III.
13
25 - 30"
C 3 p p p A
Right Balcony
Alto Flute (ca. 1/8th tone flat)
B
ord.
B C3
A
A
ord.
Absolute silence 7"
3
C
B
(non tremolo)
Violin
Celesta
p sub.
Cel.
(
)
q = 45-50
con sord. s.p.
pp 3
m.s.p.
pp
pp
very slow lift
25 - 30"
C 3 Bass Clarinet in Bb (ca. 1/8th p p tone flat) p A
B
A
Left Balcony
ord.
Viola
B
ord.
C
3
Absolute silence 7"
B C A
ord.
ossia: mute vibe/glock with hands
Vibr./Glock)
Percussion
Perc.
(
)
q = 45-50
con sord. ord.
s.p.
m.s.p.
p
very slow lift
25 - 30"
C 3 p p p A
On Stage
Sropano Saxophone (ca. 1/8th tone flat)
Violoncello
Piano
ord.
B
A
ord.
B
C
3
Absolute silence 7"
A
ord.
B
C
q = 45-50
P.no (
)
very slow lift
con sord. s.p.
3 pp
pp m.s.p.
pp
p
14
Right Balcony
A. Fl.
Left Balcony
Vln.
4"
B. Cl.
Cel.
Vla.
Perc.
Sax.
On Stage
Vc.
Pno.
p
ord.
s.p.
p
m.s.p.
5"
p
<>
s.p.
3"
sempre pp 3
m.s.p.
ppp (inside the cello)
p
ord.
3
3"
s.p.
p
ord.
4"
sempre pp
<>
Vibraphone
5"
3
<>
p
s.p.
<>
<>
<>
m.s.p.
pp
s.p.
m.s.p.
p
4"
5"
sempre pp
s.p.
3
<>
m.s.p.
pp
ppp
s.p.
ord.
<>
3"
m.s.p.
p
s.p.
p
3
p
m.s.p.
pp
Right Balcony
A. Fl.
15
Vln.
Cel.
B. Cl.
p
s.p.
3
m.s.p.
ppp (as before)
3
p
<>
p
ord.
3
mp
<>
s.p.
p
p
m.s.p.
Left Balcony
Vla.
Perc.
On Stage
Sax.
Vc.
Pno.
s.p.
ord.
m.s.p.
p
p
p
s.p.
<>
<>
II
short
m.s.p.
p
short
sempre pp 3
<>
s.p.
m.s.p.
pp
<>
3
p
III
ppp
take Baritone Saxophone
mp
III
p
short
mp
hold until all sound has died away
16
Right Balcony
A. Fl.
Vln.
Cel.
Left Balcony
B. Cl.
Vla.
p
3"
pp
Glockenspiel
Perc.
Baritone Saxophone
Sax.
mp
ppp
Pno.
On Stage
p
pp
4"
IV
pp
hold until all sound has died away
pp
mp
mp
"p"
4"
(air only)
3"
III
Vc.
3"
p
III
p
III
4"
p
hold until all sound has died away
p
ppp
Appendix A. Part I independent part for all winds (notated here in C) B. Part I independent parts for all strings
Independent part - winds play the figures below. alternating between lettered to numbered figures, but otherwise in any order (including repetition) continue until the conductor cues the next section
q = 60 A
B
ppppp (almost inaudible)
q = 40 1
(air, slightly pitched sempre)
p
2
C
ppppp (almost inaudible)
( )
ppppp
3
p
D
mf
ppppp
4
E
F
ppppp
6
5
p
1-2"
mf
ppppp
Independent part - Strings
play the figures below. alternating between lettered to numbered figures, but otherwise in any order (including repetition) continue until the conductor cues the next section
q = 60 A
sul tasto, flautando
ppppp (almost inaudible)
2
1
bow on bridge, no pitch
p
sul tasto, flautando
sul tasto, flautando
q = 40
C
B
bow on bridge, no pitch
ppppp
ppppp
3 bow on bridge, no pitch
() p
mf
D
E
sul tasto, flautando
sul tasto, flautando
ppppp
F
ppppp
4
sul tasto, flautando
p
ppppp
6
5
bow on bridge, no pitch
bow on bridge, no pitch
mf
1-2"