Daniel Godsil
Reinforced (2015) for percussion ensemble and electronics
score
INSTRUMENTATION / PERFORMING FORCES: The only fixed elements in the work's percussion instrumentation are the Crotales, Vibraphone, Marimba, and Cymbals. Following, and also listed throughout the score, are suggestions for possible instrumentation, although these can be replaced or supplemented with instruments of similar resonant and timbral qualities.
Crotales Vibraphone Marimba Suspended cymbals Woods Simatras (2x4's), Woodblocks, Temple Blocks, Log Drums
Metals
Brake Drums, Pipes, Resonant and Non-resonant Trash Metals
Drums Concert Toms, Pedal Bass Drum, Concert Bass Drum, Taikos
The work has been conceived for four players, although, in the case of the Wood, Metal, and Drum parts, multiple players could participate. One player alone should play the Mallet part (Vibraphone and Crotales); however, one of the Wood players should play from the Mallet part on a Marimba from Rehearsal Letter N through Rehearsal Letter S.
SUGGESTED SETUP FOR FOUR PLAYERS: Woods: 4 1x4s or 2x4s 2 Woodblocks 1 Log Drum Metals: 4 Brake Drums 2 Trash Metals 1 Crash Cymbal 1 Ride Cymbal 1 Tam-tam Drums: 4 Toms 1 Pedal Bass Drum 1 Concert Bass Drum
DURATION: approximately 9'
SPECIAL NOTATION: Each player should have at least 2, but preferably 4 pieces of either wood or metal (or 2-4 drums); the zig-zag lines are used to indicate random orders of attack around these groups of instruments.
Square noteheads indicate multiple simultaneous attacks; i.e. two or more brake drums or toms simultaneously, two mallets on one log drum, etc.
(a)
(b) Fanned beaming indicates an (a) accelerando, or (b) an accelerando followed by a decelerando. When these need to fit within a specific rhythmic duration, it is given above with a bracket (a).
Wd.
Mt.
The one-line staves for Woods, Metals, and Drums are often condensed into a single three-line staff to save space. Woods take the top line of the staff, Metals the center, and Drums the bottom.
Dr.
METER / TIMING: 1. Time-duration The times given should be followed as closely as possible. q = 60 is employed throughout much of the work, facilitating transitions between sections notated in a more conventional manner and those notated with seconds.
2. Conventional meter
3. Large cardinal numbers These sections function like conventional meter. The denominator for the large numbers is always a quarter note.
4. Free tempo sections These sections are indicated with an "X" time signature. The time-durations here do not need to be exact, but tempo indications are given as a general guide. Follow the given rhythms approximately.
5. Free + time-duration Perform the notated events here in the orders given, following the time-duration as closely as possible.
PAGE LAYOUT: The score has been laid out as a performing score: every player should read from the full score. The pages should be taped together as follows:
ELECTRONICS: The pre-recorded material is spacialized in four channels: one front stereo pair, and one rear. It should be operated by an off-stage assistant. The equipment used for playback should have quadraphonic capabilities.
The pre-recorded material is divided into 25 separate parts. These parts are notated at exact points in the score; they should be started as the live performers reach these points. This is indicated by the number of the part enclosed in a circle. Numbers on top indicate a front stereo file, and those on bottom indicate a Rear stereo file:
Most of these files should be allowed to play for their full duration. Occasionally, one of the parts should be stopped at a given point; this is indicated by the number of that part enclosed in a square:
A Max/MSP patch, which can be run on the free Max Runtime software program, has been prepared for this piece. It automatically performs the "stop" operations; the computer operator is simply responsible for starting the numbered cues. All pertinent audio files and software programs required for performance of this piece can be downloaded at www.danielgodsil.com
Reinforced
Daniel Godsil (2015)
for percussion ensemble and electronics
26" Mallets
&
q = 60 Crotales
b œ— >
œ œ œ
f
÷ >œ
U
16"
l.v. sempre
œ œ œ
>œ U,
Woods
Metals
Drums
ƒ Brake Drums w/ sticks U >œ , ÷ >œ ƒ Toms w/ sticks ÷ >œ ƒ
U œœ , > Pedal Bass Drum
6
>œ U,
>œ
2x4s or Blocks w/ sticks
b œ— >
U
>œ
œ >
>œ
U œœ , >
6
œ— >Tam w/ stick l.v.
Each player should have at least 2, but preferably 4 pieces of either wood/metal (or 2-4 drums); the zig-zag lines are used to indicate random orders of attack around these groups of instruments 1
Electronics
2
10" 5
Ml.
Wd.
Mt.
Dr.
&
œ œ œ
f
÷ >œ
U
b œ— > >œ U,
10"
Vibraphone (motor off) Bowed l.v.
bUœ– °
Crotales
œ œ œ
f
>œ
U
œ >— >œ U,
÷ >œ
>œ U,
>œ
>œ U,
÷ >œ
U œœ , >
>œ
U œœ , >
6
&
El.
Slower (q = c 40 ) accel. *
A Ml.
&
Wd. Mt. Dr.
÷ œœœ >
Jœ
œ œ œ
5 b œ— >
6
3
q = 60
Slower (q = c 40 ) accel.
1
4 b œ— >
>œ ** œœ >– – – >– – – >– – – >– – – >– – œœ > 3 3 3 3 3 ƒ P Brake Drums w/ sticks
œ œ œ
Drum w/ mallets >œ Log ––––––––––––– œ
P
7
7
El.
* The large cardinal numbers function like conventional meter. The denominator is always a quarter note. ** Square noteheads indicate multiple simultaneous attacks; i.e. two or more brake drums or toms simultaneously, two mallets on one log drum, etc.
2
12
Ml.
Wd. Mt. Dr.
&
q = 60
Slower (q = c 40 ) accel.
q = 60
1
3 b œ— >
1
œœ – – – – – – – – – – – – – – – – – – – – 7 7 >P 7
œœ > ƒ
œ œ œ
÷ – – – – – – – – – – – – – – œœ 7 7 > ƒ
œ œ œ
Brake Drums
El.
2
6 & b œ— >
B Ml.
Wd. Mt. Dr.
÷
> >>> > >> œœ –– –– –– –– –– –– –– –– –– –– –– œœ > >F ƒ Log Drum
h
1
7 b œ— >
œ œ œ
>œœ – – >– – – >– – >– >– – – >– – – >– – >– >– – – œœœ
2x4s or blocks
Brake Drums
œ œ œ
3
P
3
3
3
3
3
3
> ƒ
El.
2 & b œ— >
1
20
Ml.
Wd. Mt. Dr.
÷
œ œ œ
>œ Tam œœ >œ >œ >œ œœœ > ƒ
3 b œ— >
2
œœ œ––––– > > >> F
œœ œ > ƒ
h
>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ 2x4s or blocks
El.
Slower (q = c 40 ) accel.
1
C Ml.
Wd. Mt. Dr.
El.
& ÷ œœœ >
h
b œ— >
>œœœ >œ œ Tam
œ œ œ
œœ œ >
1
2 b œ— > >œ œœ
œ œ œ
Brake Drums + Trash Metal
>–
œœ >
2 b œ— > Drum w/ mallets >œ Log ––––––––––––– œ
P
7
7
3 q = 60 31
Ml.
Wd. Mt. Dr.
&
1 œ œ œ
b œ— >
œ œ œ
(2x4s)
Brake Drums œœ – – – – – – œœœ > >P 7 ƒ
÷ œœ > ƒ
1
3 b œ— >
œ œ œ
œœ œ œ – – – – – œœ > > > > > ƒ f
El.
D Ml.
2 & b œ— >
2 b œ— >
1 œ œ œ
Brake Drums + Trash Metal
Wd. Mt. Dr.
> ÷ œœœ >– >– >– œœœ >
1 8
3 8 e
>œ Tam œœ >œ >œ >œ œœœ >
2 b œ— >
e
>œ œœ
or blocks >œ 2x4s œœœœœœœœœœœœœœœ œœ
œœ œ >
El.
42
Ml.
Wd. Mt. Dr.
&
1
÷ œœœ >
œ œ œ
1
2 b œ— > >œ > œœ œ . œ Tam
b œ— >
h
œœ œ >
œ œ œ
>œ > œœ – –
Tam + Brake dr.
5 b œ— > or blocks >œ 2x4s œœœœœœœœœœœœœœœ œœ
œœ œ >
El.
E
1
X
48
Ml.
&
Wd. Mt. Dr.
÷ œœœœœœœœœœœœœœœœœœœœœœœœ œœœ >
El.
œ œ œ
U
4"
b œ— >
>œ U, œœ
X
1 œ œ œ
œœ œ >
U
1
5"
b œ— >
œ œ œ
>œ U, œœ
œœ œ > 4
X U b œ— >
>œ U, œœ
4
10"
10"
5"
5"
F Freely; very slow (q = c 40 )
U
Vibraphone (motor off) Bowed
œ–
55
Ml.
&
Wd. Mt. Dr.
÷
π
œ—
œ–
œ—
El.
X
nn #œœœœ # œœ
b b b œœœœ œœ .. ˙˙ p °
q = 60
U
soft mallets; motor on slow
1
˙˙
œœ œ > ƒ
5
Freely; very slow (q = c 40 )
œ. œ bœ b œœ œ .
U
G
& X œœœœ œœ ˙˙
Ml.
P ped. simile > ÷ X œœœ
Wd. Mt. Dr.
U
˙ ˙
Crash cymbal Bowed l.v.
œ– p
U
U
U
b b œœ
# œœ # œœ œœ # #˙˙˙˙ œœ Ride cymbal Bowed
œ–
to Brake Dr.
El.
H q = 60 accel.
&
Ml.
4 4
÷ >œ œ œ >œ œ œ >œ œ ƒ Brake Drums > ÷ œ œ œ >œ œ œ >œ œ
Wd.
Mt.
q = 140
>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ
ƒ ÷ >œ œ œ >œ œ œ >œ œ œœ > ƒ
Dr.
Œ
Ó
œœ œ œ œ œ œ œ œ œ œœ > œœœœ œœ >
Œ
Ó
Œ
Ó
El.
I
Freely; very slow (q = c 40 )
U to Crotales U U œ œ b bœœœ # œœ ˙˙ .. NNœœœ œœ ˙˙ b œ # œœ ˙˙ bbbœœœœ &X # œœ P Crash cymbal Ride cymbal brake drums >œ Bowed Bowed ÷ X œœ œ– œ– P F
J q = 60
Slower (q = c 40 ) accel.
1
3
medium mallets; motor on slow
Ml.
Wd. Mt. Dr.
El.
6
œœ œ >ƒ 7
Drums œœ –Brake – –– – ––– – –– – ––– –– –– – œ 7 7 > 7
q = 60 67
Ml.
Wd. Mt. Dr.
&
1
Crotales
œ œ œ
5
3 8
2 b œ— >
1 œ œ œ
e
>œ – – – – – – – – – – – – – œ œ œ 7 > P7 Log Drum w/ mallets
÷ œœ >
œœ >
3 b œ— >
œœ > ƒ
œœ – – – – – > > >> f
El.
73
Ml.
1
&
2 b œ— >
œ œ œ (2x4s)
Wd. Mt. Dr.
>œ Tam œœ >œ . œ
÷ œœœ >
b œ— >
h
œœ œ >
3 b œ— >
h
>œ > >œœœ œ œ œ œ œ œ œ œ œ œ œ œœ – – œœœ Tam + Brake dr.
>
El.
K Freely; very slow (q = c 40 )
U
medium mallets; motor on slow
79
1
Ml.
&
Wd. Mt. Dr.
÷ œœœ >
œ œ œœœ # œœ ˙˙ .. aa œœœ œœ X P Ride cymbal >œ Bowed œ œ– X œ P
El.
8
L
Ml.
Wd.
Mt.
Dr.
El.
&
q = 60 accel.
4 4
U
˙˙
U
n œ N b œœ # œœ
Crash cymbal Bowed
œ– F
b˙ b˙
œ œ
to Brake Dr.
9
7
q = 140
M Freely; very slow (q = c 40 )
b b œœ œ U˙ X N N œœ b œ ˙
÷ >œ œ œ >œ œ œ >œ œ >œ œœœœœœœœœœœœœœœ >œ œœœœœœœœœœœœœœœ X ƒ Brake Drums ÷ >œ œ œ >œ œ œ >œ œ >œ œœœœœœœœœœœœœœœ ƒ ÷ >œ œ œ >œ œ œ >œ œ œœ > ƒ
# ˙˙
b b b œœœœ b b b œœœœ
U
Œ
Ó
X
>œ œ œœœœ œœ œœ œœ œœ œœ
X
b ˙æ
P >œ
π
>œ take four sticks* >–
– >
,
U
bœ b b œœ œ U˙ N œœ b œ ˙ P
to Marimba
œœ >
f
take four sticks*
>– >– – > – > f
–– >
>– – >
*only if performing Rehearsal Letter N with four sticks; see Ossia on page 6
6
16"
N Ml.
A
œ œ œ
&
P
C
B
œœœœ œ
3
œœœœœœœ
5
7
f
Vibraphone & Marimba: play the boxed rhythms 2 or 3 times each in varying order and tempi, but always increasing in intensity; try not to coordinate attacks. The resultant sound should be chaotic and random. Pauses permissible between boxes. Mt.
Dr.
œ– >–– æ –– –– short > > roll onone-handed crash cym. f sempre > ÷ – –– –– – >>
Ossia: instead of 4-stick material, play with 2, like Rehearsal Letter S:
Brutal; intense e = 200 4 metals, then 3, then 2, then 1, etc.
œ– œœœ œ œ œœ œœ œ ‰ scrape on 5 crash cym. 8 œœœœœ œœœœ œœœ œœ œ
÷
∑ œœœœ œœœ œœ 3 8 ∑ œœœœœ œœœœ œœœ
œœœœ œœœ œœ œ ‰ 5 8 œœœœœ œœœœ œœœ œœ œ
œœœœœœœ œœœ 4 8 ∑ œœœœœœœœœ œœœœœ
∑ 3 8
5 drums, then 4, then 3, then 2, then 1; ideally, pedal bass drum always on bottom
Metals & Drums: random hits (or cym. roll in metals). Start sparsely, and gain in frequency and intensity; try not to coordinate attacks. The resultant sound should be chaotic and random. 11
El.
ª O Ml.
12
10
B
œ œœ œœ œ œ œ œ œ œ œ
A
&
ª
8"
P
5
7
Mt.
scrape on crash cym.
simile
Dr.
f
œ–
÷ >–– – –– – > > simile
> ÷ –– >–– –– >
Brutal; intense e = 200
œœœœ 3 8 œœœœœ
œœœ œœ œœœœ œœœ œœ œ ‰ ∑ 3 5 8 8 œœœœ œœœ œœœœœ œœœœ œœœ œœ œ ∑
poco accel.
œœœœ 5 8 œœœœœ
œœœ œœ œ ‰ œœœœ œœœ œœ œ
œœœœ 3 8 œœœœœ
œœœœ œœœ 2 8 œœœœ œœœ œœœœœ œœœœ
œœœ œœ
simile
El.
13
14
ª P Ml.
Mt.
Dr.
& œœœœœœœ F
now played in order written
poco rit.
œœœœ 3 8 œœœœœ
œœœ œœ œœœœ œœœ 4 8 œœœœ œœœ œœœœœ œœœœ
œœ œ
>––
œ– –– –– æ > > >––
now with more intensity
œœœ œœ
–– –– > >
now with more intensity El.
15 16
#œ œ œ œ œ œ œ
B (2x only)
A (1x only)
÷ œœœœ œœœ œœ œ ‰ 5 8 ÷ œœœœœ œœœœ œœœ œœ œ
ª
10"
F
#œ œ œ œ œ œ œ œ
C
F
7
14" Q
Ml.
&
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ F
simile
Mt.
10"
÷
F
F
nœ œ œ œ œ œ œ œ
F
f –– >
decrease intensity; now two sticks
œ æ ƒ
œ >–– –– æ >
now with more intensity Dr.
÷
>–– –– – > >–
decrease intensity; now two sticks
now with more intensity El.
R q = 60
Ml.
Mt.
Dr.
El.
&
1
2
÷ >œ
>œ
ƒ ÷ >œ
Tam + Brake dr.
>–
>–
>œ
>œ
>œ
œœ >
1 Tam + Brake dr.
>–
>–
>–
>œ >œ
17
S e = 120 (‰ = ‰) accel.
Ml.
>–
œœ >
ƒ
2
1
U ˙
&X æ f sempre cresc.
bU˙ æ
bU˙ æ
nU˙ æ
Vibraphone and Marimba: play the notated tremolos freely (fitting within the timespan of Rehearsal Letter S), trying not to coordinate with the other mallet instrument. Stop directly before Rehearsal Letter T.
Mt. Dr.
El.
Ml.
Mt. Dr.
El.
÷ 38 >– – – 85 >– – – ‰ ‰ >– – – – – 38 >– – – 85 >– – – – – 38 ƒ
∑
18
Uœ
& æ
bUœ æ
÷ >– – – 85 >– – – – – 38
bUœ æ
∑
e = 240 Ú‰ = ÙÆ
nU w æ
> 85 – – – – – 38
∑
48 >– – – – >– – – –
8 T q = 60 Ml.
Wd.
Mt.
Dr.
12" Crotales
& >œ
÷
2x4s or Blocks w/ sticks
œ > >œ—
ƒ ÷ >œ
Wd.
Mt.
>œ
Tam w/ stick
U œœ , >
ƒ
>œ
œœ >
6
21
19
20
22
127
Ml.
>œ
ƒ >œ
U
÷ >œ
El.
œ œ œ
1 b œ— >
&
œ
œ œ
÷ >œ
19
10"
U
b œ— > >œ U,
>œ
U
÷ >œ
œ œ œ
>œ
œ > >œ —
Tam w/ stick
Dr.
U œœ , >
÷ >œ 6
El.
23
130
Ml.
Wd.
Mt.
Dr.
6
24
22
U
& b œ— > U ÷ >œ , U ÷ >œ ,
÷
>œ
U œœ , >
14" œ
œ œ
>œ
El.
b œ— > >œ U, >œ U,
>œ >œ 6 25
U
U œœ , >
23
U
lunga
26" œ
œ œ
>œ
U
b œ— > >œ U, >œ U,
>œ >œ 6
U œœ , > 25