Upon Viewing A Family In Mourning For oboe, clarinet, and bassoon
By
Daniel Sabzghabaei (2013)
Dedicated to Mashid Grooms, James Grooms, and the entire family of Aaron Don Grooms. Grooms (1991–2013)
Performance Notes Bassoon Multiphonic Tablature Notation An attempt has been made for a possible tablature notation of each multiphonic. The large note on the staff designates the base fingering (to be read in bass clef) which is used as foundation fingering for the multiphonic. The small shaded note corresponds to the tone-hole or key that is to be added to the base fingering. The small empty note corresponds to the tone-hole or key that is to be removed from the base fingering. Register and wing keys are noted by their key name above the staff (c#, a, c &d) as are trill keys (C#tr, Ebtr). Many of these multiphonics are more closely related to tenor register notes, but first register fingerings are maintained as reference in order to avoid any confusion caused by the plethora of alternate fingerings that exist in upper registers.1 This piece calls for 2 definite multiphonics which are notated with tablature (See figure 1 and 2), and one undefined, overblown multiphonic on low Bb which is notated with a different notehead (see figure 3).
-Arrows Arrows represent a gradual change from one thing to another.
Figure 1
1
Figure 2
Taken from Leslie Ross’s wonderfully helpful website: http://www.leslieross.net/multiphonics.html
Figure 3
Clarinet Multiphonic Notation There is one multiphonic in the clarinet part. It is a clearly sounding dyad between F# and C (concert E and Bb). It is notated with the root on the bottom (F#) as a normal notehead, with the sounding multiphonic on top as a diamond notehead (similar to a string harmonic). In both occasions that it appears, it is marked with emerging multiphonic, feel free to let the multiphonic speak gradually; do not try to make it speak on the beat exactly (see Figure 4). The fingering chart for this multiphonic is pictured below (see Figure 5).2
Figure 4
FlutterFlutter-tonguing If unable to flutter tongue, the player should experiment with other sounds to mimic the timbre of flutter-tonguing. (Figure 6) Figure 5
Figure 6
2
Timbre Trills Trill between two notes of the same pitch. Rapidly switch between fingerings for the same note to create subtle differences in timbre. (Figure 7)
Fingering chart by Nicolas del Grazia from his lovely database of clarinet multiphonics at: http://www.clarinet-multiphonics.org/clarinet-multiphonics.html
Figure 7
Box Notation -Play the notes in the box freely, following the text directions for your part, for 1 bar. The performer may play the pitches in any order with any rhythm. -Only tongue the very first attack of m. 41, afterward, there should be no tonguing for the rest of the bar; the oboe and clarinet lines should sound like a wash of sound around the definitely metered bassoon part. -After m. 41, all performers should lock back into tempo, making sure to make the first attack in m. 42 very prominent and precise. (Figure 8).
Figure 8
Reverse Swells -These markings indicate swells in a sighing motion. -Fadeout and fade back in the given time. -Follow the different shapes of the various reverse swells that appear throughout the piece. --Full of expression and emotion. Figure 9
Upon Viewing A Family In Mourning I. The Mother
Transposed Score
Oboe
Clarinet in B b
Desperately q = 40 bU˙ bU˙ 4 nonÓvibr. Ó &4 p p # ˙ U˙ # ˙ U˙ 4 &4 O
O
Bassoon
7
Ob.
B b Cl.
Bsn.
& #˙. & Ó ? Ó
B b Cl.
Bsn.
œ Ó
U
Œ Œ ˙ U
O
Œ Œ Ó
U
˙
U
Ó
Ó
#˙ P
˙
O O
Ó
O
O
U
Ó
Ó
Ó
p b ˙ U˙
O
U non vibr.U
- # œ- - . œ #˙ norm. 5 &4 f # œ- œ- ˙- . & 45 f ? 45 ∑
13
Ob.
? 44 Ó UÓ
Ó
U˙
U
œ œ #œ P U
˙
O
U
Ó
U
U
Ó
bœ #œ œ œ œ
norm.
p b ˙ U˙ O
Ó
U ˙
Daniel Sabzghabaei
O
Ó
P
# œ œ œ œJ # œ . œ œ
espress.
∑
∑
∑
∑
O
U
Ó
∑
∑
Ó
Ÿn
U
Ó
5 4
emerging multiphonic
œ # œ # œ # œ . # œ- n œ œ œ œ # œ œ œ- œ œ œ # œ # ˙· J 3 3 3 π P espress. ∑ ∑ Ó
U
˙·
45
U
45
Ó
nœ ˙ 4 œ œœœ 4
∑
∑
6 4
44 Ó
∑
∑
46
44 Ó
#U˙
P U
Ó
œ. #œ œ œ œ œ. œ œ # œ . œ œ- œ- œ # œ- œ- # œ- # œ- 6 4 p F
© Daniel Sabzghabaei, 2013
2
U
& 46 ∑
17
Ob.
B b Cl.
Ó
U
& 46 ∑
Ó
Multiphonic
? 46 œ . # œj n ˙ rit.
Bsn.
molto espress
U
a c#
˜œœ
A bit faster q = 50 58 Ó œ ‰œ 44 Œ norm. 54 œœ œœœœœ ˙ Œ œ œ œ œ œ œ œ œ œ ˙. P , 58 Ó œ ‰œ 44 54 ˙˙ œ # ˙œ œ œ ˙ . wp ˙ ˙. , ˙slowly œ non vibr. œ 44 w 85 œ œ œ 45 ˙ . p π
rubato Bsn:
Timbre Ÿ~~~ U U 2 b œ- œ- œ b œ- œ- œ b œ- œ- œ œ œ . ˙ ( œ ) œ œ &4 F f p norm. Timbre Ÿ~~~ U U 2 œ œ œ & 4 n œ- - œ n œ- - œ n œ- - # œ œ œ . a ˙ ( # œ ) a œ œ p F f
22
Ob.
B b Cl.
? 42 œ œ b œ -p norm.
Bsn.
29
Ob.
B b Cl.
Bsn.
&
rit.
Ÿn ˙.
œ- œ- b œ F 44 w
œ- œ- b œ œ œ . b ˙ b ˙ f
norm.
U UB
b œ- œ
42
With quiet energy q = 45 , . ˙. 3 ˙ 4 p 43 Œ œ- œ- # œ- . œ # œ œ œ œ- œ- œP espress. , b˙. ˙. 43 p ˙. π
œ. œ œ 3 4
, 3 3 3 3 3 3 3 4 & ˙ # œ- œ œ 4 œ . œ œ œ œ œ œ œ œ œ œ œj œ . ˙ œ # œ œ œ œ . œ œ œ œ œœ œœ œœ œœÿ p F dolce freely . b ˙ œ. œ œ ˙. ˙. w B 44 π ,
42
Bsn:
dolce
accel.
42
43 43
3
& 43
32
Ob.
B b Cl.
Bsn.
& 43 B 43
B b Cl.
œ
3 & 4 ˙p dolce & 43 ˙ p
37
Ob.
œ- œ- œ .. œ- 2 R 4 f P 9 - œ- œ .. œ- 2 œ œ 4 œ- # œ œ œ œ . œ œ œ # œ œ # œ œ œ œ œ R ÿÿ F f n j ˙ œŸ œ - œ œ b œ .. œ- 2 R 4 P f b˙
a tempo
dolce
B 43 ˙p
norm.
Bsn.
>j œ
œ
œ-
œ
œ-
œ
œ-
œ
Timbre
˙-
˙-
Ÿ~~~~~
(œ )
˙
norm.
œ- . œ- .
dolce
œ œ &œ F legato
41
Ob.
B b Cl.
Bsn.
& œœ œ F legato
œ- œ
moderately, in and out of tempo
quickly and sporadically
85 Ӝ
rubato œ œ œ È Ÿ
‰ 43
Ÿn 85 œ # œ œ œ 43 π Clr:
slowly
U -œ œ- b œ 4 ˙ ˙ 4 p ƒ espress.
non vibr.
85
Ó
œ œ
È Ÿ‰ œ œ
Clr:
43
espress.
- œœ œ- œ œP
norm. -˙ Ÿ~~~~~~ œ- . b œ- ˙ (œ )
Timbre
œ- œ- œ 4 ˙ U˙ 4 p ƒ espress. -œ œ- œ 4 ˙ U˙ 4 p ƒ
œ
4 ˙. 4
œ
44 œ - œ- ˙P
œ
44 œ .
œ- œ œ- œ J P 58 œ œ œ- œ 42 -- J f 85 œ- œ- œ Jœ 42 f
œ œ œ œ œ œ œ œ B œ bœ œ œ œ œ œ œ œ œ œ œ œ 85 œ- œj2 œ- œ 4 5 5 5 6 F f
4
& 42
43
Ob.
B b Cl.
Bsn.
B b Cl.
Bsn.
F
œ œ 2 &4 œ F B 42 œ b œ bœ F & 44
48
Ob.
bœ #œ œ
& 44
?
44 b œ- œ˙- . f 4 œ- œ4 # ˙- . f 44 œ- œ- ˙ . f -
∑ ∑
B 4 œ œ- œ œ œ # œ # ˙ 4 P
˙
,
∑
42 Œ
U
∑
2 4 Œ
U
Œ
Œ
Œ
Œ
U
Œ
44
U
4 4
Œ
U N.B. œ œ U B #œ œ 4 24 4 œ œ #œ œ π echo
œ- œF
dolce
24 U ˙ p 2U
4 ˙ p
U
2 4 ˙
∑
Œ
œ p
œ
espress. emerging multiphonic
‚ #œ p
‚ œ
∑
œ J ‰
(œ ) œ
π
sweetly but painfully
· ˙
· ˙
˙
˙
p
œ
U Ÿn
U
· ˙
U ˙
II. The Brother
5
Reflectively q = 60 U UU 4 Ó Ó &4 ˙ œ œ P
Oboe
& 44 Ó
Clarinet in B b
? 44
Bassoon
6
Ob.
?
Bsn.
8
Ob.
B b Cl.
& ˙P &
B b Cl.
b˙ F
U
˙ P U
˙
# ˙-
Ó
b˙
U U
œ œ
U U
œ œ
# ˙-
# ˙-
˙P
# ˙-
# ˙-
flz.
b œ- ˙- .
Œ œ œ b œ œŒ b w-
44 ˙ 4 4 44
46
˙.
˙. #˙
hurriedly
& wæ P ? wæ P ©2013 Daniel Sabzghabei
, ,
, ,
w
9
,
,
w
flz.
Bsn.
˙.
46 œ- œ œ # ˙ . - œ-
œ b œ- œ- œ -
nœ #œ #œ #œ nœ #œ #œ # œ # œ n œ #œ #œ #œ #œ #œ
F
46 ˙ .
˙.
˙.
# ˙-
˙P
&‰
Daniel Sabzghabaei
nœ
#œ #œ #œ #œ #œ #œ nœ 9
#œ
9
Ob.
&
nœ nœ #œ #œ
# >œ ˙ . > #œ #œ #œ nœ 9
B b Cl.
& Ͼ
Bsn.
? œ æ
Œ ˙ π Œ
12
Ob.
& bœ œ œ œ œ œ. F
œœœ
&
œ
3
œ œ œ œ #œ
œ
n
Ÿ~~~~~~~~~~~~~~~~~~~~ 3 ? b˙ œ œ œ bœ œ œ œ sp F marcato
Slower q = 50 & 43 # œ- œ- œp longingly & 43 œ- œ- œp
15
Ob.
B b Cl.
longingly
Bsn.
3
f
3
œ #œ #œ œ œ œ F
? 43
œp
longingly
œ-
œ-
44 ˙ 44
œ- œ-
44 ˙
œ œ œ œ- œ œ . -
nw f
œ œœ f
œ .. rit.
œœœœœœ w
marcato
Bsn.
œ.
j b œ- œ- b œ . œ b œ œ- œ œ . F
b˙ π
bœ
3
# œ- œ . œ ˙ - F
3
marcato
B b Cl.
A bit slower q = 55 n Ÿ~~~~~~~~~~~~~~~ 3 ˙ Ó ˙ œ œ b œ œ œ- œ- œ O p F
5 4 b˙ œ œ œ œ n˙ p espress. 45 ˙ . ˙ p
3 4
54 b ˙ .
43
slowly
n˙
œ > bœ >
b œ- œ- ˙ f
˙
Tempo Primo q = 60 flz. # ˙ . œ æ æ F Ÿn œ . œ´ œ´ # œ- œ œ ≈ J
# œ- œ- # ˙-
p
f
espress.
#˙. æ F
flz.
˙
6
œ æ
43
7 Ob.
B b Cl.
#w
norm.
18
&
45
P >œ n œ n œ n œ n œ n œ bœ b œ n œ > nœnœ nœ ´ #œ bœbœnœ#œ#œ#œbœ ´ nœ n œ n œ 5 n œ n œ bœbœ nœnœbœ nœnœ #œnœnœnœ & 4 9 9 f 9 9 anxiously
? #w P
norm.
Bsn.
5 4
Slower q = 50 5 Œ b˙ &4 Ó p œ . bœ ˙ & 45 P
Ob.
B b Cl.
Bsn.
?5 Ó 4
Œ
b œ- b œ- b œ-
44 Œ
19
p
œ œ- b œ
b˙. > F 4 b >˙ . 4 F
b˙ p
B b Cl.
Bsn.
?Œ
38
∑ , b˙. p
freely
38
bœ F
bœ
œ
bœ
œ
œ ˙. f
U 4 4 œ ˙. f
28
∑
44
∑
∑
28
∑
44
∑
,
Gradually Multiphonic Overblowing
4 bœ 4
bœ œ bœ
U
∑
44
∑
œ- .
44
œ.
Not too fast, tempo rubato 38 44 ∑ ∑ & &
43
œ œ- œ 43 n œ .
23
Ob.
F
dolce
44
œ- œ- 4 b œ U b˙. 4 f
œ bœ bœ œ.
43
b˙
b¬
28
bœ bœ j bœ œ bœ > f Í
,
Gradually Multiphonic Overblowing
44
b˙
b¬
8 flz.
˙æ Í
28
Ob.
B b Cl.
Bsn.
Ob.
& Ó
˙æ Í flz.
& Ó ?
bœ ƒ
bœ
Bsn.
œ
bœ
œ
bœ
œ
œ
œ
œ
œ
œ
œ
œ
molto
œ >œ œ œ b œ œ œ œ œ
œ
Anxiously q = 60 #œ #œ nœ #œ nœ #œ nœ #œ #œ nœ 29 nœ #œ #œ#œ # œ # œ ># œ n œ nœ nœ#œnœ #œ # œ # œ # œ # œ # œ # œ n œ #œnœ & #œ #œnœ#œ f
B b Cl.
molto
9
9
>œ n œ n œ n œ n œ n b œ n œ > nœ nœnœ nœ #œ bœ bœ nœ#œ#œ#œ bœ ´ nœ n œ n œ nœ nœ #œ nœ nœ 9 9 f 9 ,
& Π?
9
9
˙
˙ π
molto
agitated, spinning out
Ob.
, 30 nœ #œ #œ nœ #œ #œ #œ nœ #œ n œ n œ n œ n œ - n œ n œ # œ n œ- # œ # œ # œ n œ- # œ # œ # œ # œ- # œ # œ 2 n œ & nœ 16 n œn œ b œ- n œ 9 sp molto , ´ nœ n œ nœ - nœ nœ #œ 2 n œ n œ n œ n œ b œ b œ b œ b œ # œ # œ # œ n œ nœ nœ nœ & 16 #œ #œ nœ #œ #œ #œ #œ nœ b œ- n œ n œ- # œ 9 sp molto agitated, spinning out
B b Cl.
Bsn.
?
bœ f
espress.
bœ
bœ
agitated, spinning out
bœ
œ
œ bœ
œ
œ
œ
2 16
9
nœ nœ nœ nœ n œ 2 #œ & 16 3 3 ƒ #œ #œ #œ nœ 2 # œ & 16 n œ
31
Ob.
B b Cl.
3
3
Bsn.
? 16 2
bœ
ƒ
œ
Calmly q = 48 54 Ó Œ U ˙ p
45
Œ
U
œ- œ- œ-
Ob.
B b Cl.
Bsn.
& bœ p F & œ ?
˙ p
Bsn.
œ #˙
dolce
U
b ˙- . f
˙
dolce
j # œ- œ . œ œ F
U U
b ˙F
œ- œ
œ ˙
r œ- œ- b œ- j œ painfully b œ . > f
b˙
warmly
œ
,
bœœ œ œ bœ
U
œ 28
N.B.
F Uœ œ Ÿn , œ œ 28 ≈œ œ œ œ. P F cantabile U
Multiphonic
3
œ.
≈ œ ˙ œ F
œ
˜œ˜
2 8
f
Passionately q = 40 - œ œ- U , bœ œ œ œ œ 38 bœ w œ œ w 2 4 5 4 ˙5 b œ &8 4 4 4 4 tremolo slowing down p P P F dolce œœœ Uœ œ U U . ˙ œ b w 44 5 œ & 28 ‰ ‰ 44 45 4 ˙ p P espress. F Uœ œ bw b˙. œ bœ œ œ U U ?2 ‰ ‰ B 4 44 ? B bœ 5 8 4 45 4 ˙p P espress. F rubato
B b Cl.
œ.
œ. œ œ œ œ. F
U- U Solo œ -
Ob.
U U
bœ œ œ j - œ. œ œ b œ œ- œ œ œF
3
œ- œ- œ
bœ ˙
Ó
forcefully 35
Ó
dolce
45 Ó
Ÿn 44 Œ b ˙ . P 44 œ œ # œ œ œ˙ F 44 Œ b˙ œ œP F
U U
rit.
10
. & 45 ˙ p
42
Ob.
B b Cl.
Bsn.
& 45 ˙ . p B 45 ˙ .
˙-
F
43 ˙ . P
44 ˙
˙-
43
44 w
F ˙F
?
œ œ œ ..
rit. till end
˙- . P 34 ˙ 44 b œ- œ- ˙P b œcresc. f
w p
molto rubato
U
(œ œ ) U œœ w
œ œ œ. œ. ‰ π
molto espress.
b wP
U
w
O
U O
U
w
∑ ∑
U
∑
O