Bára Gísladóttir: The moon is an eye is a pond and so on and so forth (2023)

Bára Gísladóttir

The moon is an eye is a pond and so on and so forth (2023) for ensemble and electronics Dur. 65′

Commissioned by Riot Ensemble and HCMF

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Composed with support from the Danish Arts Foundation and Ernst von Siemens Musikstiftung. Supported by Koda’s Cultural Funds Støttet af Kodas kulturelle midler.

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Bára Gísladóttir

The moon is an eye is a pond and so on and so forth (2023)

The moon is an eye is a pond and so on and so forth

0point0

i shadow me

ii shadow me / a walk for Gośka

iii the eyes infinite ponds

iv shadow me, my love

0point0 (with (not entirely reliable) noise cancellation)

v step into the “lift"

-7 rats of wrath

VI LUPUS, LUNA

vii lift me

0point0point0 (but not quiet)

viii the moon is the sky is the sea is the light

ix mirror me

ॐ mirror us / a prayer for peace

 back mirror

0point0point0 (but not quite)

X BLOOD MOON, BLOOD POND

∞ when you gaze into the abyss

xi (Nietzsche, the real MVP of the shadow effect)

xii lift music

-7 the sacred garden

∞ when you gaze into the light

The moon is an eye is a pond and so on and so forth hinges on an abstract, otherworldly concept that is twofold. In one sense, the piece carries the idea of stepping into an elevator and traveling to a new floor, a new space, a new world, new dimensions even. Gísladóttir imagines these different environments to be polarised and stark, like a world of wrath and a garden of the sacred. In another sense, the piece presents the idea of a reflection between these different locales and beings, and how these entities may be perceived as one: the moon may shine down, reflecting from a pond to an eye. The eye may appear as a pond, appearing as a moon. Thus, the reflection of moonlight may, in some way, be reflected back to the moon, and so on, and so forth.

-Tim Rutherford Johnson

PERFORMANCE NOTES

TUTTI

General

Trills and tremoli

Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way:

Rupture bars

Bars starting with a dashed barline serve as “rupture bars” and should be played through as fast as possible.

Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere close to the pitch given.

This notehead indicates a (very) approximate voiced pitch in the given register.

WOODWIND

Highest possible vocal pitch (whilst playing)

Lowest possible vocal pitch (whilst playing)

Growl

Graphics

The score uses graphics to better describe the piece’s sound scape. The graphics can be anything from subtle wavy lines to something absolutely all over the place. This is pretty self explanatory (I hope). At times the graphic is used to portray glissandi in vocals, like so:

W.t. – whistle tones

In the score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex:

Without reed and staple, exhale to produce harmonic-like high sounds

Harmonic overblow. Does not have to be “precise”. Just a harmonic blow up and down rapidly if possible.

PERCUSSION

There’s not much to say, just please be very, very careful with the sawing. Also it would be good to keep the following in mind:

The angle saw should somehow be hidden for the audience. This action should not be theatrical. It would be good to see that the percussionist is up to something, but the important thing here is to create absolutely insane noise and not the visual element of the sawing. Perhaps it would be an option to “hide” the saw and metal sheets by placing them behind the tam-tam and thunder sheet.

Bass Flutes

Oboe

Bass Clarinet in Bb and Tenor Saxophone

KEYBOARDS (but really, strings)

The piano and harpsichord are mainly used as string instruments (literally), where most of the piece is performed directly on the strings, mainly by bowing and creating percussive effects. Along with the Electric Guitar, the “keyboards” are sent straight to the live electronics, meaning that all the sounds you produce in your performance will form and shape the electronics of the piece.

U

This notehead indicates a (very) approximate pitch in the given register.

Highest possible register

Bowing

Most of the time, the bowing is “ordinario”. At times there is overpressure or “wavy” bowing indicated in the following way:

overpressure

Preparation

wavy bowing

Both instruments are prepared beforehand with bow hair on the particular strings used. The rest (thimbles, vibrators, silk paper etc,) is brought (thrown) out during the performance. Three items need to be filled thimbles before the piece. A small bag/purse/basket, a medium sized bowl/basket and a large bowl/basket, all filled with thimbles.

Piano

Place bow hair on A0, B1, D1, E2, E3, F3, B4, A7, B7

Harpsichord

Remove the damper from the jack of A1, D2, E2, E3, F3, A5, B4, B5 and prepare the strings with bow hair.

ELECTRIC GUITAR

ord. - ordinario

s.p. – sul ponticello

m.s.p. – molto sul ponticello

gradually move from one technique to the other

Harmonics, harmonic trills, shaking out birds and drone/riff/trance

Harmonics and harmonic trills

Harmonic

Artificial harmonic

Slurred tremolo is to be played on one bow throughout its whole time value. Take for instance the visual example given here in the explanations; the tremolo should be played on one bow only, through the two beats. That is, not a new bow on every trill between the first and second note.

Shaking out birds

Gliss. from the very start of the tremolo.

A-based drone/riff/trance

A-based drone/riff/trance from video PLUS ad libitum

Bowing technique overpressure wavy bowing

STRINGS

m.s.t. – molto sul tasto

s.t. – sul tasto

ord. - ordinario

s.p. – sul ponticello

m.s.p. – molto sul ponticello

gradually move from one technique to the other

Harmonics, harmonic trills, shaking out birds and drone/riff/trance

Harmonics and harmonic trills

Harmonic

Artificial harmonic

Half pressed

Slurred tremolo is to be played on one bow throughout its whole time value. Take for instance the visual example given here in the explanations; the tremolo should be played on one bow only, through the two beats. That is, not a new bow on every trill between the first and second note.

Gliss. from the very start of the tremolo.

Shaking out birds

A-based drone/riff/trance

Bowing technique

Overpressure

CONDUCTOR

The moon is an eye is a pond and so on and so forth is a rather fluid piece, flowing between something of full substance and something less palpable or more liquid even. This also applies to the tempo and speed of the piece. Some of the work is marked in strict tempo and some of it is more open time-wise, and is then marked in seconds. These latter places are freer, musically speaking, and are often in the form of improvisation. If those bars become a little longer or shorter, that’s totally fine. Follow your intuition here. I think it’s good to keep a few things in mind when it comes to approaching the piece. First of all, it is extremely important that we perceive the music as ever moving and never still. This can be very demanding, especially in places where, in fact, very limited musical material is given. How I see these particular places is as an opportunity to really dig deep into what may seem very simple on the surface, and discover the multitudes of universes beneath and within. Secondly, regarding the improvisational passages of the piece; these are not entirely free, in fact, not at all, really. They are based on elements given before and it is important to stick to them. Developing and extending is very welcome, but we should not hear elements that are totally new. It is important that the sound scape is always growing and extending from its own core to be able to thrive and flourish. Lastly, I encourage you (and the players!) to imagine the music as an ever moving living being/organism.

Wavy Hollow (DB only)

INSTRUMENTATION

2 Bass Flutes

Oboe

Clarinet in Bb

Tenor Saxophone

Percussion

Tam-tam

Big gong mallet

Superball mallet

Metal vibrator

Mic stand (for metal vibrator to be placed on during the performance)

2-3 thimbles

Paper or something to rub with Cymbal

Bow

Metal vibrator

Crotales (E7, F#7, G7, A7, B7)

Bow

Crotales mallet

2 Oil Drums (one proper, one of rusty metal (too make more horrific and resonant noise))

Vibrators and other vibrating elements

Metal vibrators

Thimbles and all kinds of smaller metal objects

Smaller (not metal) objects that can make a lot of noise when placed with the vibrators

Drums sticks (or even heavier mallets of more noise is needed)

Thunder Sheet

Vibrator on mic-stand

Bow (double bass bow recommended)

Metal vibrator

Temple Bowls (D2,A2, B4)

Temple Bowl mallet

Metal vibrator

Bow

Tiny Cowbell (or a pitched bell) in A5

Tiny mallet

Vibraphone

Vibrator

Bow

Small metal mallets

Angle Saw

Metal sheets and other huge metal stuff

Something not as noisy

Something even less noisy

Tingsha Bell in C

Piano

Bow hair for A0, B1, D1, E2, E3, F3, B4, A7, B7

Small bag/purse/basket filled with thimbles

Medium sized bag/bowl/basket filled with thimbles

Vibrators

Superball mallet

Silk paper sheets

Metal vibrator

BIG bowl/basket filled with thimbles

Electric Guitar

Plus Pedal

Wet for Plus

Poly Blue

Phaser

Volume pedal

Pedal(s) for distortion, overdrive, air-like surge, heavy metal , “after the bomb” effects

Clip

Double Bass Bow

Metal nail

Slide

Litla veifan

2 thimbles

Metal vibrator

Harpsichord

Bow hair for A1, D2, E2, E3, F3, A5, B4, B5

Small bag/purse/basket filled with thimbles

Medium sized bag/bowl/basket filled with thimbles

Superball mallet

Silk paper sheets

Metal vibrator

BIG bowl/basket filled with thimbles

Violin

Viola Violoncello

Double Bass

Electronics

Ableton Live Suite with Max for Live Interface with four inputs needed

Amplification

All are amplified. Piano, Electric Guitar and Harpsichord sent to live electronics throughout the piece. Strings sent as one track to electronics during viii the moon is the sky is the sea is the light. Full range PA needed.

Transposing score

To be kept in mind in regards to setup

Angle saw

The angle saw should somehow be hidden for the audience. This action should not be theatrical. It would be good to see that the percussionist is up to something, but the important thing here is to create absolutely insane noise and not the visual element of the sawing. Perhaps it would be an option to “hide” the saw and metal sheets by placing them behind the tam-tam and thunder sheet.

ffffff

SAW METAL SHIT

as strong as the technique allows, unless you're Philip, then: mp (hereafter all dynamics on this technique refer to Philip)

/ Tam-tam big gong mallet inaudibly strike, creating an ever growing wave-like sound

Ped. throughout the whole piece

Poly Blue: Isolate 8vb WET pedal

bowed m.s.p. N.B. the bowing per se should be quasi inaudible

& Ê

(clip on rest of strings)

PLUS pedal

activate return track A ( but keep the master on 0)

with a slight flz? is that even a thing?

airy flutter airy

airy flutter airy

airy flutter

airy flutter

imitate the strings (bowing still)

empty small bag with thimbles stir

empty small bag with thimbles stir

vary between the techniques given 3-9'' on each, s.p. / m.s.p.

vary between the techniques given 3-9'' on each, s.p. / m.s.p.

(random row)

vary between the techniques given 3-9'' on each, s.p. / m.s.p.

(random row)

vary between the techniques given 3-9'' on each, s.p. / m.s.p.

(random row)

IV dampen with whole hand screeching white noise, creating a suffocating noise effect slight overpressure

IV dampen with whole hand screeching white noise, creating a suffocating noise effect slight overpressure

IV dampen with whole hand screeching white noise, creating a suffocating noise effect slight overpressure

IV dampen with whole hand screeching white noise, creating a suffocating noise effect slight overpressure

start throwing in all kinds of stuff into the oil drum (just no metal yet)

make the action noisier and noisier without acting out

throw in the vibrators (not the metal ones yet)

turn on vibrator (already placed on mic stand)

same scariness, different guythis one even wilder

(if it doesn't make sense to bow the already vibrating T. S., maybe it would make sense to bow the metal sheets used for later or vice versa (as in vibr. on metal sheets))

this may not be a thing but now it islowest but wildest mph. in the world with a GROWL

wild mph "gliss" somehow

wild mph "gliss" somehow

lowest but wildest mph. in the world

lowest but wildest mph. in the world

imitate E. Gtr.

imitate E. Gtr.

imitate E. Gtr.

imitate E. Gtr.

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

improv. based on all the elements in this movement, make it as wild and vivid as can be

throw handful of thimbles

B. Fl. I

B. Fl. II

when you play the oboe but get a flute part

Vibraphone vibrator "gliss."

leave on (perhaps within the edge of a cake pen or something of the like?) head to cymbal

"gliss." up strings

gliss upp the whole string

"gliss." up strings

random harmonics (natural and artificial) all over the place

random harmonics (natural and artificial) all over the place

random harmonics (natural and artificial) all over the place

random harmonics (natural and artificial) all over the place

free bowing but make sure you tie into the next bar s.p.

free bowing but make sure you tie into the next bar

s.p.

free bowing but make sure you tie into the next bar

? s.p.

free bowing but make sure you tie into the next bar s.p.

slowly fade out all return tracks (one by one) EXCEPT FROM

B. Fl. I B. Fl. II

A-based drone/riff/trance from video

A-based drone/riff/trance from video

A-based drone/riff/trance from video

add that strange high pitch screeching voice effect (the one I sent you on messenger)

N.B. this row is a suggestion, you get the picture

N.B. this row is a suggestion, you get the picture

N.B. this row is a suggestion, you get the picture

gliss. from wherever you are to F

gliss. from wherever you are to F

gliss. from wherever you are to F

gliss. from wherever you are to F

with stuttering sprechstimme

with stuttering sprechstimme

randomly, rapidly

randomly, rapidly

randomly, rapidly (is this even a thing??! try imitate the flutes hahahaha)

shake out tiny birds (but not as tiny as the rest of the strings hehe)

wrap silk paper into a ball

rapid wave-like crushes w/ the bow

rapid wave-like crushes w/ the bow

rapid wave-like crushes w/ the bow

wave-like crushes with the bow s.t.<-->s.p.

wave-like crushes with the bow s.t.<-->s.p.

wave-like crushes with the bow s.t.<-->s.p.