Bára Gísladóttir: Devotchka watch her garbles (2017)

Bára Gísladóttir

Devotchka watch her garbles (2017) for bass flute, bass clarinet in Bb, harp, percussion, double bass and electronics Dur. 12′40″

Commissioned by KLANG Festival 2017 Written for Ensemble Adapter and the composer

SCORE

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Bára Gísladóttir

Devotchka watch her garbles (2017)

for bass flute, bass clarinet in Bb, harp, percussion, double bass and electronics Dur. 12′40″

INSTRUMENTATION

Bass Flute Bass Clarinet in Bb

Harp

• The harp is slightly amplified and connected to a Grain Delay effect in Max for Live

• Equipment: tuning fork and wooden pencil

Percussion

• Thunder Drum 1 (small)

• Thunder Drum 2 (medium/large)

• Thundersheet (all fingers of the hand used on the thunder sheets should be prepared with metallic thimbles)

Double Bass (the double bass is slightly amplified and connected to a Convolution Reverb Pro effect in Max for Live)

Other equipment

• Laptop with Ableton Live and Max for Live

• Audio interface with at least 2 in/out

• 4 jack/XLR-cables (from harp and double bass to audio interface, from audio interface to mixer)

• Cable for laptop to audio interface

• Mixer

• At least 4 speakers surrounding ensemble and audience

Transposed score

whipping t.s.:

Double Bass

whipping t.s.:

whipping t.s.:

*1st whip is done with the string of t.d. 1, 2nd is done with string of t.d. 2.

whipping t.s.:

whipping harp:

*1st whip is done with the string of t.d. 1, 2nd is done with string of t.d. 2.

*1st whip is done with the string of t.d. 1, 2nd is done with string of t.d. 2.

The double bass is slightly amplified and connected to a Convolution Reverb Pro-effect in Max for live. The effect involves a reflection of frequencies from the bass that relate to the frequencies of the effect’s sample through the speakers. The effect’s key-places of the piece are marked in the score as an ossia staff under the double bass staff. The effect is to be turned off in bar 170, by slowly fading it out on the mixer throughout the bar. A sound technician’s help will be needed to perform this action.

whipping harp:

double bass

whipping harp:

*1st whip is done with the string of t.d. 1, 2nd is done with string of t.d. 2.

whipping harp:

double bass

The double bass is slightly amplified and connected to a Convolution Reverb Pro effect in Max for live. The effect involves a reflection of frequencies from the bass that relate to the frequencies through the speakers. The effect’s key places of the piece are marked in the score as an ossia staff under the d ouble bass staff. The effect is to be turned off in bar 170, by slowly fading it out on the bar. A sound technician’s help will be needed to perform this action.

double bass

The double bass is slightly amplified and connected to a Convolution Reverb Pro effect in Max for live. The effect involves a reflection of frequencies from the bass that relate to the frequencies through the speakers. The effect’s key places of the piece are marked in the score as an ossia staff under the d ouble bass staff. The effect is to be turned off in bar 170, by slowly fading it out on the bar. A sound technician’s help will be needed to perform this action.

double bass

s.p. – sul ponticello m.s.p. – molto sul ponticello s.t. – sul tasto m.s.t. – molto sul tasto a.f.a.p. – as fast as possible mid-f.b. – mid-fingerboard o.p. – over pressure +g. – open string

s.p. sul ponticello m.s.p. molto sul ponticello s.t. sul tasto m.s.t. molto sul tasto a.f.a.p. as fast as possible mid f.b. mid fingerboard o.p. over pressure +g. open string

The double bass is slightly amplified and connected to a Convolution Reverb Pro effect in Max for live. The effect involves a reflection of frequencies from the bass that relate to the frequencies through the speakers. The effect’s key places of the piece are marked in the score as an ossia staff under the d ouble bass staff. The effect is to be turned off in bar 170, by slowly fading it out on the bar. A sound technician’s help will be needed to perform this action.

The double bass is slightly amplified and connected to a Convolution Reverb Pro effect in Max for live. The effect involves a reflection of frequencies from the bass that relate to the frequencies through the speakers. The effect’s key places of the piece are marked in the score as an ossia staff under the d ouble bass staff. The effect is to be turned off in bar 170, by slowly fading it out on the bar. A sound technician’s help will be needed to perform this action.

s.p. sul ponticello m.s.p. molto sul ponticello s.t. sul tasto m.s.t. molto sul tasto a.f.a.p. as fast as possible mid f.b. mid fingerboard o.p. over pressure +g. open string

s.p. sul ponticello m.s.p. molto sul ponticello s.t. sul tasto m.s.t. molto sul tasto a.f.a.p. as fast as possible mid f.b. mid fingerboard o.p. over pressure +g. open string

Harmonic (all harmonics are notated as written position, not the sounding outcome).

harmonic (all harmonics are notated as written position, not the sounding outcome).

harmonic (all harmonics are notated as written position, not the sounding outcome).

Artificial harmonic

s.p. sul ponticello m.s.p. molto sul ponticello s.t. sul tasto m.s.t. molto sul tasto a.f.a.p. as fast as possible mid f.b. mid fingerboard o.p. over pressure +g. open string

artificial harmonic

harmonic (all harmonics are notated as written position, not the sounding outcome).

artificial harmonic

harmonic (all harmonics are notated as written position, not the sounding outcome).

artificial harmonic

This cell appears at times throughout the piece. Travel freely between the given pitches, as fast as possible. Each bar is to be played on one bow, so change bowing on new bars. by an arrow that indicates how long the cell should last.

An arrowed note head indicates vertical bow movement. Further information to be found in the score.

artificial harmonic

This cell appears at times throughout the piece. Travel freely between the given pitches, as fast as possible. Each bar is to be played on one bow, so change bowing on new bars. by an arrow that indicates how long the cell should last.

This cell appears at times throughout the piece. Travel freely between the given pitches, as fast as possible. Each bar is to be played on one bow, so change bowing on new bars. by an arrow that indicates how long the cell should last.

An arrowed note head indicates vertical bow movement. Further information to be found in the score.

An arrowed note head indicates vertical bow movement. Further information to be found in the score.

This cell appears at times throughout the piece. Travel freely between the given pitches, as fast as possible. Each bar is to be played on one bow, so change bowing on new bars. The cell is followed by an arrow that indicates how long the cell should last.

This cell appears at times throughout the piece. Travel freely between the given pitches, as fast as possible. Each bar is to be played on one bow, so change bowing on new bars. by an arrow that indicates how long the cell should last.

An arrowed note head indicates vertical bow movement. Further information to be found in the score.

An arrowed note-head indicates vertical bow-movement. Further information to be found in the score.