Bára Gísladóttir
Seven heavens (of different heights (and depths)) (2017–18) for oboe, percussion, harpsichord, and double bass Dur. 6′42″
Commissioned by Riot Ensemble
SCORE
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Bára Gísladóttir
Seven heavens (of different heights (and depths)) (2017–18)
for oboe, percussion, harpsichord, and double bass
Dur. 6′42″
i. vetrarsólstöður
ii. second and third heaven
iii. seven heavens of different heights and depths
iv. isola/alghero
v. sixth and (slightly) brighter (but dark af)
vi. seventh heaven
INSTRUMENTATION
Oboe
Percussion
Suspended cymbal
Crotales (Db6, D6, Eb6, E6, F6, Gb6, G6, Ab6, Bb6, Eb7, Bb7, B7)
Bow 4 thimbles (2 on each hand)
Harpsichord A handful of thimbles
Preparation:
• Remove the damper from the jack of B1, C2, E2.
• Tie a piece of fishing line (length: ca. 1.5 m) close to the jack of each of the before mentioned strings. Rub the fishing lines well with rosin.
• Place a contact microphone to the sound board, close to the bridge.
Double Bass
PERFORMANCE NOTES
Explanations
Explanations
Explanations
Explanations
Oboe
Oboe
Oboe
Oboe
Oboe
Exhale through instrument, creating an Aeolian windy sound
Exhale through instrument, creating an Aeolian windy sound
Exhale through instrument, creating an Aeolian windy sound
Exhale through instrument, creating an Aeolian windy sound
Exhale through instrument, creating an Aeolian windy sound.
Explanations
Inhale through instrument, creating an Aeolian whistling sound
Inhale through instrument, creating an Aeolian whistling sound
Inhale through instrument, creating an Aeolian whistling sound
Inhale through instrument, creating an Aeolian whistling sound
Inhale through instrument, creating an Aeolian whistling sound.
Explanations
Oboe
Oboe
Hum through instrument
Hum through instrument
Hum through instrument
Hum through instrument.
Hum through instrument
Explanations
Exhale through instrument, creating an Aeolian windy sound
Explanations
Oboe
Exhale through instrument, creating an Aeolian windy sound
Hum through instrument whilst playing
Oboe
Hum through instrument whilst playing
Hum through instrument whilst playing
Hum through instrument whilst playing
Hum through instrument whilst playing.
Inhale through instrument, creating an Aeolian whistling sound
Exhale through instrument, creating an Aeolian windy sound
Percussion
Percussion
Percussion
Inhale through instrument, creating an Aeolian whistling sound
Exhale through instrument, creating an Aeolian windy sound
Percussion
Percussion
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Harpsichord
Hum through instrument
Harpsichord
Inhale through instrument, creating an Aeolian whistling sound
Harpsichord
Harpsichord
Inhale through instrument, creating an Aeolian whistling sound
Hum through instrument
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you wear two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Other props: a handful of thimbles
Hum through instrument
Other props: a handful of thimbles
Hum through instrument whilst playing
Other props: a handful of thimbles
Hum through instrument
Harpsichord
Other props: a handful of thimbles
Hum through instrument whilst playing
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
Hum through instrument whilst playing
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
Percussion
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
Hum through instrument whilst playing
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
Percussion
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
Place four thimbles where they feel the most comfortable, but make sure you wear two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
This notehead shows an approximate area for the technique indicated to take place
Percussion
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Percussion
This notehead shows an approximate area for the technique indicated to take place
This notehead shows an approximate area for the technique indicated to take place
This notehead shows an approximate area for the technique indicated to take place
Other props: a handful of thimbles.
Harpsichord
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Harpsichord
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Harpsichord
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Harpsichord
Other props: a handful of thimbles
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Other props: a handful of thimbles
When it comes to the finger drumming on the sound board, feel free to experiment with different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as the written dynamics are adhered to.
Double bass gradually change from one technique to the other harmonic artificial harmonic
Other props: a handful of thimbles
Other props: a handful of thimbles
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Place the four thimbles where they feel the most comfortable, but make sure you have two on each hand. Both hands should be used for the finger drumming part of the piece (apart from when the finger drumming is to be dampened, or somehow occupied with one hand).
Double bass gradually change from one technique to the other harmonic artificial harmonic
Double bass gradually change from one technique to the other harmonic artificial harmonic
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
Double bass gradually change from one technique to the other harmonic artificial harmonic
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner.
s.p. – sul ponticello
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.
s.t. – sul tasto
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
s.p. – sul ponticello sul tasto
m.s.p. – molto sul ponticello – molto sul tasto
s.p. – sul ponticello sul tasto
A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner
s.p. sul ponticello sul tasto
m.s.p. – molto sul ponticello
m.s.p. – molto sul ponticello – molto sul tasto
This notehead shows an approximate area for the technique indicated to take place.
This notehead shows an approximate area for the technique indicated to take place
m.s.p. – molto sul ponticello
a.f.a.p. – as fast as possible overpressure
a.f.a.p.
molto sul tasto
This notehead shows an approximate area for the technique indicated to take place
This notehead shows an approximate area for the technique indicated to take place
molto sul tasto
as fast as possible
a.f.a.p. – as fast as possible
a.f.a.p. – as fast as possible
o.p – overpressure
o.p – overpressure
o.p – overpressure
Double bass
Double bass
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
Double bass gradually change from one technique to the other harmonic
gradually change from one technique to the other harmonic artificial harmonic
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
Gradually change from one technique to the other.
Harmonic
Double bass gradually change from one technique to the other harmonic artificial harmonic
This notehead shows an approximate area for the technique indicated to take place Double bass gradually change from one technique to the other harmonic artificial harmonic
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
artificial harmonic
Artificial harmonic
s.p. – sul ponticello
s.t. sul tasto
s.p. – sul ponticello
s.p. – sul ponticello
m.s.p. – molto sul ponticello
s.t. – sul tasto
s.t. – sul tasto
s.p. – sul ponticello
m.s.t – molto sul tasto
s.p. – sul ponticello
m.s.p. – molto sul ponticello
s.t. – sul tasto
m.s.p. – molto sul ponticello
m.s.t – molto sul tasto
a.f.a.p. – as fast as possible
s.t. – sul tasto
o.p – overpressure
m.s.t – molto sul tasto
m.s.p. – molto sul ponticello
a.f.a.p. – as fast as possible
m.s.t – molto sul tasto
m.s.p. – molto sul ponticello
a.f.a.p. – as fast as possible
o.p – overpressure
o.p – overpressure
a.f.a.p. – as fast as possible
m.s.t. – molto sul tasto
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
o.p – overpressure
a.f.a.p. – as fast as possible
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
o.p. – overpressure
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
The levels of o p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
The levels of o.p. are divided into different levels, where 1/4 would be a slight o.p. and 4/4 a full o.p. with as little pitch-audibility as possible. In this piece the o.p. exists only in the form of 2/4 (more than slight) and 3/4 (less than full).
