for amplified flute/picc, record player, and ensemble
At any rate 1. All The Lonely People
by
Daniel Sabzghabaei (2018)
Performance Notes
Microtonal notation is indicated throughout the score with a number of cents difference given above the note. -Some harmony blossoms from natural spectra, in these cases, numbers with a ° symbol are given as well; these indicate the corresponding harmonic from various fundamentals.
Closed/choked crescendi in the strings indicate a swell which ends with a very fast bow at the end. -Should be in one bow as indicated, and player should abruptly catch the bow, with a scratchy and rough timbre at the end of the crescendo.
Clarinet harmonic timbre trills Piano harmonics are given with the are produced with harmonic fingering resulting chord in the right hand, and the alternatives which create microtonal variance specific strings in the left hand from overblown fingered pitches. -It is advisable to mark the node points with chalk prior to performance for ease of location. -Note: the harmonics called for in the work are possible on grand and baby grand pianos; however, if the pianist has smaller hands, it is likely that only the baby grand will be possible to reach. -If a baby grand is not available, an Feathered beaming indicates a gradual assistant may be needed to touch the change in the speed of the notes, here moving appropriate nodes. from eighth notes to as fast as possible. -Arrows represent a gradual change from Flute harmonics are one state to another, here normal pressure in produced by fingering the left hand to harmonic pressure. the diamond notehead -X noteheads indicate semi-pitched white and overblowing to the noise, here moving to pitched. appropriate harmonic. The work opens with a sung chord in the following spelling. -It does not matter which player sings which pitch; however, the chord spelling should be kept intact–intense, full, and raw timbre.
The work may be performed in two different ways in regards to the flutist: either on flute with whistle tones, or very quietly on piccolo (at pitch with the flute part, accounting for octave displacement). -Whichever way is chosen, the flutist should be amplified, and be the most prominent instrument in the hall; player can breathe freely as needed throughout. -If playing on piccolo, from the fourth beat of m. 45 till the end, player should switch to flute. -If playing on flute, whistle tones can be produced by any method, and the precise rhythmic framework of the part is not of precedence: let the whistle tones speak as they do, weak, fragile, ethereal, and hollow–a limping shadow atop the rest of the sticky harmony and noise.
Program Notes
The percussionist will need a record player and means of amplification which have tone control. -To achieve the record noise called for in this work, any record may be used; however, it must have a label lip in the middle of the record, into which the needle will be placed and revolve. -If unable to find a record with this kind of label, it is easy to make one yourself by affixing construction paper or similar material to the top of a record in this area. -Starting/Stopping the player is shown rhythmically in various places in the score. -Record noise should be present but not overbearing: the fl/picc should be clearly audible. If possible, a quadrophonic set up is recommended, with the record noise coming from L/R front speakers, and fl/picc coming from all four.
This work for amplified flute, record player, and ensemble is the first from a set of studies on vinyl records, each exploring a different record of cultural significance and the accompanying (and ubiquitous) noise inherently present with every type of record (33s, 45s, and 78s). ATLP takes pieces of a notable tune from The Beatles’ seminal record Revolver (one of the last 78s pressed), slows them down to a near standstill, and passes them through a filter of various shades of harmonic and rhythmic fuzz, the flute floating anemically above the slowly shifting sonorities and record noise, sometimes being lost in the ether as a frail specter of Revolver–a reflection on loneliness. -Daniel Sabzghabaei (2018)
c.a. 10 minutes
for the [Switch~ Ensemble]
At any rate
Transposed Score
I. ATLP
Flute/Piccolo (amplified)
Clarinet in B b
4 &4 Œ
sung
Violin
Cello
?4 4
Percussion
& 44
>¬ .
" 5 Π4
sung
ƒ j Ah > ‰ œ ˙. Œ œ sung ˙¬ .. ƒ Ah> sung ¬ . Œ > > ‰ œœ ˙˙ .. ƒ J U ‰ œj ˙ . . ƒ >œ sung ˙>¬ . Ah
Piano
6
Fl./Picc.
B b Cl.
6
6
Vln.
78 rpm
Ï
∑
& 43ˆ38
∑
" 5 4
∑
4 4
∑
2 4
∑
& 43ˆ38
6
R.P. 6
& 43ˆ38 ? 43ˆ38
∑ ∑ ∑
Let record go again
45
U̇
˙
U
Oœ 44 + + Ȯ J p (-50¢) Oœ 4 + d Ȯ J 4 p
U Ȯ
(-50¢)
III U IV
˙ &˙ oo
44
∑
44
∑
44
45 ?
∑
42
∑
∑
44
∑
42
∑
Œ
∑
only engage pedal after attacking harmonics
œ œ œ œ
(#œ ) (œ) I
°5 °4 II
# OO . . π
(œ) (œ) °4 I °4 II
O O
j j Ȯ
(-35¢)
45 g g Ȯ .. π ∑
42
∑
38ˆ44
œ.
œ œ #œ œ 3 4 #œ. Œ 8ˆ4 ∏
(-35¢)
45
2 ˙ 4 ȯo p 42 ∑
44
45
π
(œ ) oo
&( œ ) °6°5 III IV
∑
44
(#œ ) (œ) I
°4 II 38ˆ44 # ‚‚ .. °5
nO. 38ˆ44 j œ . (-15¢)
38ˆ44
Œ
°4 II
III IV
O O
o ˙ȯ ∑
38ˆ44 Œ . j n ˙˙ 45 + j j n œœœ-œ + j ˙-˙ °11 F+ (°15+°9, the B and D, will creep in too) F C-string: G-string: °7 Fj 54 38ˆ44 ∑ OO string (sim.) ◊ Piano harmonics
œ œ œ
85ˆ42
O O
o ˙ȯ
Ó
#œ
دانیال رضا سبزقبایی Daniel Reza Sabzghabaei
˙
œ
œ ˙ 44 # œ ∏ always quieter than flute j œo °7 œo °3 IV o o 4 nœ œ 4 πalways quieter than flute 4 4 44
g œo
n œo π
œo
°7
°3 IV
œo
33 4ˆ 8 43ˆ38 33 4ˆ 8 ?
33 4ˆ 8
∑
43ˆ38
44
∑
43ˆ38
44
∑
43ˆ38
44
∑
œ œ #œ 5 2 Œ 8ˆ4 (œ) (œ) °4 I
4 4
clear and centered
∑
45
œ œ #˙
U
44
∑
STOP record with hand
45
& 43ˆ38 j g œO n n œO n n Oœ Oœ
ã 43ˆ38
*
U
start centering on these harmonics
4 4 ·. · . Add III
explore string IV harmonics
IV mazily and slowly glissing between all
x " 45
œ #œ #œ ‰#œ œ œ 4 4
2 4 42
" 5 ‰ 4 j ‚ · ∏always quieter than flute " 5 ∑ 4
44
in no hurry
U̇
∑
catch bow
œ #œ œ gœ. nœ.
U œ Uœ
œ
44
catch bow
? 44 ‰ œœ ˙˙ .. œ ˙. ° >œ ˙ .
? 43ˆ38 n n œO n n Oœ n n Oœ Oœ
Vlc.
Pno.
& 44
4 4
œ #œ
∑
normal cresc. but suddenly very fast bow at the end
(Tone set to lowest)
˙
breath freely when needed
normal cresc. but suddenly very fast bow at the end
ã 44 X .
œ
" 45
Put needle down with a small scratch (record noise plays throughout)
Record Player
#œ
sempre whistle tones
ƒ Ah >¬ .
& 44 Π4 &4
Very, very slow q = 30-35 (with the flute leading always)
43ˆ38
∑
œ. œ #œ œ œ . œ ˙ ( ,)
π
( #œ ) (œ) I
44 44
#˙
œ œ
-̇
˙ ( ,)
42ˆ38 42ˆ38
°4 II #‚. ‚ · 85ˆ42 ‚ . ‚ · p
44 ··
··
42ˆ38
44 Ȯ
Ȯ
42ˆ38
85ˆ42
∑
44
∑
42ˆ38
85ˆ42
∑
44
∑
42ˆ38
°5
d O .. O Ȯ 85ˆ42 + œ œ p (-50¢)
85ˆ42
∑
44
∑
42ˆ38
˙
2
& 42ˆ38
12
Fl./Picc. B b Cl.
œ. œ.
#˙
& 42ˆ38
12
(-35¢)
(œ) œ °4 I ( )
· & 42ˆ38 ·
°4 II
‚‚ . .
23 & 4ˆ 8
Perc.
R.P.
Vibe: very soft felt mallets
ã 42ˆ38
∑
23 & 4ˆ 8
∑
? 2 ˆ3 48
& 32
17
Fl./Picc.
B b Cl.
˙
˙
oo III l ˙ o j œ ˙ ..
°5 (-15¢)
Vln.
Vlc.
& 32
π o ˙ȯ Ord. ? 32 π & 32 Ó
III IV
Motor OFF
R.P.
3 ã 2
3 &2 Ó
17
Pno.
? 32
(œ ) (œ )
3 4
œ
œ #œ
∏ o ˙ȯ
43 ˙ ȯo
Œ
3 4
III
‰
∑
nœ . + j j œœ-œ ... F ∑
43
43
œ
43 3 4
œ œ #œ
Ó
o ˙ȯ ≈ œ. n ˙ #˙ n˙ n˙ π ° Ó
∑ ∑
43 n n œO # n œO- n n œO-
Ó
(-15¢) (-15¢) 34 j j Oœ n n Oœ- j j œO -
Ó
43
∑
3 4 43
n˙ + j j ˙˙-˙ f
3 4
85ˆ43
o œo œ
53 8ˆ4
˙
π
Œ.
Œ
n n b ˙˙˙ ...
∑ ∑
53 8ˆ4
∑
53 8ˆ4 #œ œ , #œ œ
( )
(# œ ) (œ)
°4 II 44 # ·· P
44 g g Ȯ P
œ n˙.
85ˆ43
p
°5 I
#œ.
˙.
p ° ∑
˙
4 4
œ
Motor ON (highest speed)
∑
44
œ.
o °5 I °4 III °4 °2 œo œ 5 3 II œo . ( œœ ) œ # II·· . 8ˆ4 ‚ . ‚ . P (-35¢) n Ȯ .. j b O O . ? 5ˆ3 n œ . œ 84 P
œ œo o
3 4
œ œ œ
85ˆ43
∑
°5 (-15¢)
Ord. IV
17
Perc.
Ó
timbre trill Ÿ~~~~~~~~~ + ˙ (-50¢) Ó
3 #˙ &2 ∏
π faintly ° Ó
∑
17
17
n n b ˙˙˙
Motor OFF
12
Pno.
π
°2 I °2 II
œ
œ
Oœ °5 IV J & œœ oo p °6
(-15¢)
∑
12
o œo OO œ J p
j j Ȯ
? 42ˆ38 Ȯ g g œO ..
43
Œ.
OO π
(-35¢)
Vlc.
43
Œ.
j˙
#œ.
12
Vln.
˙
·· Ȯ
(-35¢)
85ˆ42 52 8ˆ4 85ˆ42
∑
85ˆ42
∑
∑
4 4
∑
52 8ˆ4
∑
44
∑
85ˆ42
4 4
∑
52 8ˆ4
slow timbre trills with overblown harmonics
45 Ó
´ catch bow 54 # ‚‚ ‰ . Œ Ó . faggressive, scratchy
32
45
32
msp.
Oœ́ catch bow ‰. Œ
msp.
f aggressive, scratchy
5 4 Œ
Ó.
‰ ‰ Œ
45 x .
3 2
Ó
gradually turning motor speed down
32
let record spin again
STOP record with hand
˙
85ˆ42 n n œO .. œO Ȯ
32
Ÿ~~~~~~~~~~~~~~~~~ œ #œ œ ( · ) ( · ) ( ·) 32 π
#œ. œ œ œ
‚‚ .. ‚‚ ··
œ
fingered notes in parentheses will sneak in the sound
∑
44
∑
45 Ó
5 nœ 4 + j j œœ-œ Œ F 5 4
# œ . œ ( ,) œ # œ
œ
œ
9 42ˆ16 2 9 4ˆ16
˙
9 l l Ȯ 42ˆ16 p (-15¢)
l Ȯ 9 l 42ˆ16 p (-15¢)
3 2
Ó.
3 2
∑
gœ. œ. freely
œ.
, # œ . œ# œ œ . J J
( )
+ + Oœ .. + + Oœ ..
(-50¢)
(-50¢)
Oœ .. J
43ˆ85 35 4ˆ 8 43ˆ85
Oœ .. J & 43ˆ85
9 42ˆ16
∑
43ˆ85
∑
2 9 4ˆ16
∑
35 4ˆ 8
∑
9 42ˆ16
∑
43ˆ85
∑
2 9 4ˆ16
∑
35 4ˆ 8
& 43ˆ85
22
Fl./Picc. B b Cl.
& 43ˆ85
22
Vlc.
& 43ˆ85
22
Perc.
R.P.
ã 43ˆ85 & 43ˆ85
22
Pno.
? 43ˆ85
27
Fl./Picc.
B b Cl.
&
27
&
27
j ˙ (-35¢) . π
n˙ Œ n b ˙˙ π °
Œ.
n˙.
œ.
˙
p ˙. ˙.
˙ ˙
˙. . & ˙˙ .
˙ ˙ ˙
27
27
ã
∑
27
∑ ∑
?
Œ.
œ.
œ.
43
p
9 +O. 8 = œ- . p b O- . 98 b œ . p
˙.
43
n œ- . n œ- . n œ- . (,)
44
n ˙- .
44
P
3 4 n n Ȯ .. P (-50¢) 34 + + Ȯ .. P
b b œO- .. n n œO- .. - n n Oœ .. + d Oœ ..
(-50¢)
π
Ȯ
44 # # Ȯ π
Ȯ
π
∑
43
98
∑
43
∑
98
∑
43
∑
44
98 Œ ‰ Œ
43
∑
Œ
‰
Œ
#œ
π
œ
∑
∑
˙
44 œ
nœ #œ #œ
44
44 44
45
Ó.
45
X
Ó
‰
n wnw
n ˙n˙
˙ ˙
n˙ n ˙-
°
∑ ∑ ∑
Œ
p
nœ p-
& nœ
Œ
turn motors up
45 + j j n œœœ-œ F 54
46
n wnw nw °
Œ
n œnœ
Motor ON (highest speed)
STOP record with hand
˙
n œ- . ˙ . 44 ≈ n œ . ˙ . nœ. ˙.
nœ nœ + j j œœ-œ + j j œœ-œ Œ F f ∑
Oœ́catch. bow ‰ Ó
Œ
˙ ˙ ˙ ∑
msp.
‰ nœ
wide slow vibrato
Ó
46
44 n w n w-
44
45
‰ nœ œ π o
Ó
˙ ˙
44
∑
faggressive, scratchy msp. ´ catch bow #O 45 # œ ‰ . Ó faggressive, scratchy
∑
œ œ œ
#˙. # ˙- . # œ- ˙ ‰ #œ ˙ #œ ˙
44
45
5 4
∑
œ
˙ ˙
Ó
w
n n Ȯ
4 4
# ˙- . #˙.
°
w
n˙ 44 b n n ˙˙˙ Ó p ° 44 ∑
98
∑
œ œ. J
œ.
IV
Œ.
Œ
œ œ œ œ œ
˙ ˙
?
Œ.
Œ + j j n œœœœ F ∑
Ó
. & ˙˙ .
Pno.
œ 9 J 8
Œ
Vlc.
&
‰ nœ œ Œ
&
R.P.
98
o
(œ) (œ)
Vln.
Perc.
Œ.
Œ
OO . . π III °7 (-35¢) IV oo j˙. 3 5 ˆ & 4 8 g ˙. π 35 & 4ˆ 8
22
Vln.
˙.
3
Œ
x J
n œŒ nœ nœ p J °
let record spin again
Œ
Ó
∑
œ œ œ œ œ #œ ˙
˙.
p
P
˙ ˙ P
turning motors down
46 46
∑
46
Ó + j j n œœœœ Œ f ∑
46 46
44 44
incorporating some seagull sounds
46 j j Ȯ .. p
3
(-35¢)
Ȯ
œO
44
Ȯ ..
Ȯ
œO
44
p -̇ .
°
˙.
Motor OFF
44
∑
44
∑
44
∑
44
4
œ œ. J
& 44
32
Fl./Picc.
B b Cl.
‰
Œ
œ.
& 44
32
‰ Œ
Perc.
R.P.
°
& 44
Pno.
? 44
37
Fl./Picc. B b Cl.
&
& ‰
37
37
Vln.
Vlc.
& ?
37
Perc.
R.P.
œ
& ã
· .. ·
nœ + j j œœ-œ ƒ ∑
π
‰ #œ (F ) œ ( ) ˙ π
¿¿
(h )
¿
( f)
‚‚
‚
harmonic pressure
>j jœ jœ
n˙. F n wnw sF °
#w > f
n· n·
(-35¢)
o
œo
with weight and warmth
œ
Í > j wo
> nw f
œ
#œ J
œ
œ
f
wo
overcome
w œ œ œ œ œ œ
overcome
π
∑
3
3
∑ ∑
∑ œ œ J
‰
· ·
overcome
∑
∑ œ
œ
w
nw f
∑
œ
˙.
overcome
overcome
‰
∑
œ
œ J
∑ œ
œ
œ #œ
œ
œO + + œO j j œO n n ‚œ
‚œ
œ
œ J
artificial harmonic pressure (one finger down once you get to D-string)
(-50¢)
wo
œo
w
œ
œ œ œ œ œ œ
œ
∑
(F ) IIIo °5 (-15¢) j ˙- .
∑
‚ ‚
3
∑
Ó
coming from white noise with a very light bow
w
‰
œ
∑
harmonic pressure
3
?
molto
n w-
œ #œ J
œ
œ
æ œO
n n Ȯ ..
Œ
œ
œ
œ œ
j j Ȯ ..
°
∑
Ó
32
œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
æ œOmolto
(-35¢)
œœ
# w-
ã 44
˙.
molto
œœ
4 & 4 + + Ȯ .. 4 &4
œ
normal pressure
4 & 4 # # Ȯ ..
32
œ
œ
œ nœ #œ nœ nœ
p
(-50¢)
Vlc.
œ
#œ
32
Vln.
œ
(-35¢)
nO + + œO j j œO n œ 3 π
œO + + œO j j œO n n Oœ 3
nO O # n Oœ n n Oœ n œ œ
œ
π
5
œ
œ
3
nO # n Oœ n n Oœ n œ
Oœ
œ
œ
œ
‚‚
nO # n Oœ n n Oœ n œ
5
œ
‚œ
3
nO ‚ # n Oœ n n Oœ n œ œ
5
3
∑
3
n‚ + + œO j j œO n œ
œ
œ
3
5
œ 3
∑
œ
5
40
Fl./Picc. B b Cl.
&
œ
œ & J
40
Vln.
Vlc.
Perc.
R.P.
œ
2 &4
Fl./Picc.
B b Cl.
& 42
44
, œ nœ œ
Vlc.
ã 42
n n ·˙
44
˙.
5
#œ
( )
œ
œœœœ ∏ quietly meandering ∑
#œ
œ
3 œ œ œ
œ œ
œo
œo O
O P nœ nœ nœ.
‰
wo O π π
n n Ow ( f ) sπ
n n w-O
L.V.
2 4 42 42
2 4
∑
Œ n b ˙˙ .. p
multiphonic
hold as long as possible U œ start to fade out when air begins to run out
∑
slow wide vibrato
U O
w
Ow
U O
Ow
w
∑
∑
∑
∑
44
∑
∑
∑
∑
P ° till end
rU˙ . multiphonic d˙. P
42
42
o
44
∑
w-
3
˙.
n n -Ȯ
# n -Ȯ p
œ œ3 # œ œ œœ œ œ œ.
Œ
n n Ow ( f ) sπ
44
44
&
inhale audibly into mic.
nw
nœ #œ #œ J #œ nœ J j ++ Ȯ j Ȯ p
- - ++ œO j j œO n n Ȯ p P sul pont. n Ȯn O n O n n œ # œ- p P
∑
Non whistle tone
j j wO
sul tasto
freely but in this 4-note pattern
flute till the end
, nœ
n˙.
4 nO 4 # wp
F
œ
( Œ)
sul tasto
F
Oœ
Ord.
œ œ œ
œ
sul pont.
∑
if on picc. switch to flute
4 4
Oœ
vibr.
œ
œ
œ
œ ( ,) # œ n œ n œ
Ord.
vibr.
‚œ ‚‚ n O n n Oœ n n Oœ Oœ #œ
3
44 + -O +w p
Œ & 42 + j j n œœœ-œ F ? 42 ∑
44
Pno.
œ
( )
n n Ȯ
R.P.
3
3
3
#œ
2 &4 & 42
œ
œ
#œ #œ
∑
Vln.
44
5
3
n n Ȯ
Perc.
‚‚ n O n n Oœ n n Oœ #œ
˙
œ
nœ
j - j -O + + œO j œ vibr.
5
& 42
44
3
œ
œ
œ
œ nœ
‚œ
vibr.
‚‚ n O n n Oœ n n Oœ ‚œ #œ
ã
44
nœ J
jO n‚ + + œO j œ n œ vibr.
#œ
œ
#œ
‚œ
3
‚ ? œ &
#œ vibr.
&
40
#œ jO n‚ + + œO j œ n œ
40
œ
œ
œ
∑
Œ
U
Ó. ∑
nœ + j j œœ-œ Œ f
∑
∑
gradually turning motor speed up
U
Ó
∑ nœ + j j œœ-œ Œ F
Ó
play once clarinet has faded out
∑
6
œ
whistle tone 50
Fl./Picc.
&
((ww))
Ord.
NO & N w
50
Vln.
ww
hold as long as possible, drop out when air runs out
∑
∑
msp.
Ow
Ow
Ow
msp.
œ
œ
œ
œ
œ
œ
œ
amplification being turned down slowly (no change in flute playing)
N N Ow
directly on bridge (quiet white noise) keep hand in artifical harmonic position
Ow
OX
wide slow vibrato
Ord.
Vlc.
& N N Ow 50
Perc.
&
Œ
n ˙- . declamatory
F
Ȯ ..
Oœ
j j Ow
(≈-25¢) aim for close beating with violin
directly on bridge (quiet white noise) keep hand in artifical harmonic position
Ow
OX
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Motor ON (highest speed)
R.P.
ã
∑
& + j j n œœœ-œ Œ Ó P ? ∑
n˙ n˙ + j j ˙˙-˙ + j j ˙˙-˙ p ∑
50
Pno.
56
Fl./Picc.
&
56
Vln.
Vlc.
& &
56
Perc.
R.P.
& ã
œ
œ
œ
w
n˙ n˙ + j j ˙˙-˙ + j j ˙˙-˙ p ∑
nœ nœ nœ nœ + j j œœ-œ + j j œœ-œ + j j œœ-œ + j j œœ-œ P ∑
( w)
hold as long as possible
∑
unamplified
OX
OX
OX
OX ∑
Œ
bowed vibe
o
OX
∑
P
°
Ó ∑
OX ∏
gradually turning motor speed down
∑ nœ + j j >œœœ Œ Ï
OX ∏
OX
n ˙- .
∑
& + j j n œœœ-œ + j j n œœœ-œ + j j n œœœ-œ + j j n œœœ-œ f ? ∑
56
Pno.
œ
n˙ n˙ + j j ˙˙-˙ + j j ˙˙-˙ π ∑
press pedal prior to attack to achieve piano resonance and sympathetic string vibrations
nœ nœ nœ nœ + j j œœ-œ + j j œœ-œ + j j œœ-œ + j j œœ-œ F ∑
∑
U
∑
OX
OX
OX
OX
∑
U
∑
o
U
∑
o
∑
∑ Motor OFF
∑
∑
∑ ∑
U
∑
∑
U
lunga
∑
∑
∑
∑
∑
∑
∑
∑
turning record tone up to brightest
Ó
brightest
U
lift needle off record with a little pop
x Œ
U
∑
U
∑
click
OFF