Bára Gísladóttir
Séríslenskt vögghljóð á hörpu (+ stúss fyrir Frank) (2020)
Special Icelandic lullaby for harp (+ props for Frank) for harp, percussion and electronics Dur. 11′
For Duo Harpverk
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk
Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
Special Icelandic lullaby for harp (+ props for Frank)
for harp, percussion and electronics
Dur. 11′
i. a murder in the mind palace :) interlude: æjæj litla skjálftakastið :(
ii. ugly melancholy fiest
iii. life goes on
iv. JK i’m sending the bees on you v. postlude: æjæjæj litla eftisjáin
INSTRUMENTATION
Harp
Percussion
1. Ridiculously tiny handbell
2. Some sort of nice bells (D6, E6)
3. Bell tree
4. Two thunder sheets
5. Crotales a. Bow b. Crotales mallet
6. Wind wand
7. The biggest tam-tam you can find a. big gong mallet
Amplification
The harp should preferably be amplified with plugs (if you have the sinfó harp), but otherwise contact mics will do. (In that case, make sure to stick them to the lower register part, two on each side should do).
The following percussion instruments need amplification:
• Ridiculously tiny handbell – contact mic.
• Bell tree – mic.
• Thunder sheets – two contact mics on each
• The biggest tam-tam you can find – mic
Electronics
The electronics are run from Ableton Live 10 Suite (Max for Live needed). They consist of live electronics as well as tape, so the piece requires a sound technician to control the electronics. The sound technician is called ELECTRONIC PERSON in the score. The PA should contain two speakers. An audio interface with 11+ inputs is needed.
Explanations
General
General
General
General
General
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are score of what to do.
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are a few exceptions from this (of course), but then there are clear indications in the score of what to do.
General
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
Bars within dashed barlines are free in tempo but should score of what to do.
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are score of what to do.
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are a few exemptions from this (of course), score of what to do.
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are a few exemptions from this (of course), score of what to do.
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
Explanations
Harp
Thunder glissando
Pedal buzz
Wire string hit
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are a few exemptions from this (of course), score of what to do.
A tremolo of four lines should be performed as the fastest
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
Explanations
Explanations
General
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
Harp
Harp
Harp
thunder glissando pedal buzz wire string hit
thunder glissando pedal buzz wire string hit
thunder glissando pedal buzz wire string hit
General
General
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are a few exemptions from this (of score of what to do.
thunder glissando
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are a few exemptions from this (of score of what to do.
Bars within dashed barlines are free in tempo but should be performed as fast as possible. There are a few exemptions from this (of score of what to do.
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
Harp
Harp
Harp
thunder glissando
thunder glissando
thunder glissando
A tremolo of four lines should be performed as the fastest tremolo one can manage to create.
pedal buzz
pedal buzz
wire string hit
thunder glissando pedal buzz wire string hit
pedal buzz wire string hit
wire string hit
thunder glissando pedal buzz wire string hit
Rub strings vertically back and forth with whole hand as shown on second five in strings.
Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing- strings.
Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotat strings.
Rub strings vertically back and forth with whole hand as shown on second five in this video:
Rub strings vertically back and forth with whole hand as shown on second five in strings.
Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotat strings.
Rub strings vertically back and forth with strings.
Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotat strings.
http://sites.siba.fi/web/harpnotat strings.
Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotat strings.
Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotat strings.
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images are used:
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images are used: wire string hit somewhere in the low register
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images are used: wire string hit somewhere in the low register
Wire string hit somewhere in the low register
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images wire string hit somewhere in the low register
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images are used:
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images are used: wire string hit somewhere in the low register
A little into the piece, all control is lost. To keep the notation
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images are used:
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images are used:
A little into the piece, all control is lost. To keep the notation as simple as possible, the following images wire string hit somewhere in the low register
Pedal buzz that later becomes just Gn/G#
Flick random string in low register
Punch somewhere in the low register
wire string hit somewhere in the low register
pedal buzz that later becomes just
wire string hit somewhere in the low register
wire string hit somewhere in the low register
wire string hit somewhere in the low register
pedal buzz that later becomes just
pedal buzz that later becomes just
pedal buzz that later becomes just
flick random string in low register
Thunder glissando somewhere in the low register
flick random string in low register
flick random string in low register
These images should always be performed ffffffff possibile
pedal buzz that later becomes just
pedal buzz that later becomes just
pedal buzz that later becomes just
flick random string in low register
pedal buzz that later becomes just flick random string in low register
flick random string in low register
flick random string in low register
punch somewhere in the low register
punch somewhere in the low register
punch somewhere in the low register
flick random string in low register
thunder glissando somewhere in the low register
thunder glissando somewhere in the low register
thunder glissando somewhere in the low register
punch somewhere in the low register
These images should always be performed fffffpossibile :)))))))
These images should always be performed fffffpossibile :)))))))
punch somewhere in the low register
punch somewhere in the low register
These images should always be performed fffffpossibile :)))))))
punch somewhere in the low register
punch somewhere in the low register
pedal buzz that later becomes just
flick random string in low register
punch somewhere in the low register
thunder glissando somewhere in the low register
thunder glissando somewhere in the low register
thunder glissando somewhere in the low register
thunder glissando somewhere in the low register
thunder glissando somewhere in the low register
These images should always be performed fffffpossibile :)))))))
thunder glissando somewhere in the low register
These images should always be performed fffffpossibile :)))))))
These images should always be performed fffffpossibile :)))))))
These images should always be performed fffffpossibile :)))))))
These images should always be performed fffffpossibile :)))))))
These images should always be performed fffffpossibile :)))))))
Just to make sure that I’m being somewhat understandable, I’d like to explain the following passage (but perhaps that just makes everything worse):
Just to make sure that I’m being somewhat understandable, I’d like to explain
So what should happen here is:
1. Left hand: wire sting hit, foot: pedal buzz. When there are dashed lines between symbols it means that they happen simultaneously.
2. Right hand: punch
3. Left hand: punch
4. Foot: pedal buzz
5. Left hand: punch
6. Right hand: punch
7. Left hand: punch
8. Right hand: wire string hit
Hp. ? ? /
This should be done as fast as possible, as if you had NO CONTROL AND PERHAPS YOU IN FACT HAVE NO CONTROL I.E.:
So what should happen here is:
I’d like to stress that in the more traditionally notated passages of the piece, I most of the time write on one stave, like here:
1. Left hand: wire sting hit, foot: pedal buzz. When there are dashed lines
2. Right hand: punch
3. Left hand: punch
4. Foot: pedal buzz
5. Left hand: punch
This is obviously a two hand passage, but I don’t want to divide it for you into two staves because I want you to feel free to play it however suits you the best my friend.
6. Right hand: punch
7. Left hand: punch
8. Right hand: wire string hit
This should be done as fast as possible, as if you had NO CONTROL AND
I’d like to stress that in the more traditionally notated passages of the piece,
This is obviously a two hand passage, but I don’t want to divide it for you Percussion
I don’t know what to say Frank.
Percussion ridiculouslytinyhandbell somesortofnicebells(D6,E6) belltree twothundersheets crotales(G6) windwand thebiggesttam-tamyoucanfindFrank q=52 fff
somepeople'spalmsmightverywell looklikethisforallweknow:(
Ithinkyoushouldhidebehindaboardofsomekind andliftyourhandupasifthehandbellwasapuppet? thebarendswhenelectronicsfromharphavefadedout PShopeyuo'reaquickreader:)))
barlastsuntilharp electroniceffectsfadeout barlastsuntilpercelecetronic effectsfadeout
electroniceffectsfadeout
wildviolentimprovwithslapping punching,buzzing,thunderingetc:)))
thebiggestTam-tamyoucanfindFrank
biggongmallet createthemostextremeandintensecrescpossible (intherhythm/patternthatmakesthemostsensetoyou) thisbar