Simon Christensen UNTITLED 1 & 2 (2015/23) Set for solo percussion Dur. 16′
For David Hildebrandt
SCORE
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk
Composed with support from the Danish Arts Foundation. 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
Instruments: Five drums, two hi-hats, a set of maracas and two pairs In addition, two small tables are required.
Simon Christensen UNTITLED 1 & 2 (2015/23) Set for solo percussion
Set-up:
Dur. 16′
Tom 14"
UNTITLED . . . . for percussion solo 1.Hihat Table
1.Tom 16"
All the drums must have a lot o This allows the shells to bounc Paper clips, attachable sizzles The tuning of all the drums sho between the highest drum and Tom 12" Tom 10’’ The sound of the two 16’’ toms
2.Hihat The Hi-hats should be damped rows PERFAttach ORMEat R least four 2.Tom 16" of pap Tab The bottom cymbal and the top the Hi-hats should only be perf
The shell shakers should be wr
Each table should have two set The choice of sticks or mallets PERFORMANCE NOTES Instruments: Five drums and two hi-hats All the drums must have a lot of single shells attached to the skin close to The two pieces might be perfo This allows the shells to bounce on the skin of the drum creating a "rattle" Paper clips, attachable sizzles or other objects that makes InInstrumentation addition, two small tables are required. TITLskin ED rattle, #1 . . : Notation for UNthe Five drums, two hi-hats, a set of maracas and two pairs of shell shakers. The tuning of all the drums should be fairly low and close in sounding "pitc Two small tables are also required. 1.Tom 16" and Tom 10" should b between the highest drum and the lowest drum. andthe Tom 14"ofshould The sound of the two 16’’ toms should differ2.Tom slightly16" from rest the drb Tom 12" can be performed with Set-up: The Hi-hats should be damped with duct tape or similar to make a fairly dr Tom 14″ Tom 12″ Tom 10″ Attach at least four rows of paperclips or sizzles to each of the Hi-hats, all Hi-hat 1 Hi-hat 2 Set-up: Tom 14" Tom 12" Tom 10" The bottom cymbal and the top cymbal should not touch each after being the Hi-hats should only be performed with the feet, except the ending of U Table
Table
Hihat 1
Tom 16″
Tom 16"
Performer
Tom 16″
PERFORMER
Table Hihat 2
The shell shakers should be wrapped around the wrist on each hand, but o
Each16" table should have two sets of mallets or regular drumsticks lying read Tom Table
ofthe sticks or mallets is up to the performer - brushes should All the drums must have a lot of single shells attached to the skin close toThe the choice edges of drums. Single shells: Shell be shaa The two pieces might be performed together, but they can also be perform This allows the shells to bounce on the skin of the drum creating a ‘rattle’ like sound. Paper clips, attachable sizzles, or other objects that make the skin rattle may also be used. Use ambassador skin Notation for UNTITLED #1 . . : on the drums. 1.Tom 16" and Tom 10" should be performed with the right hand, the 1.Hi-ha 2.Tom and Tom 14" should be performed with the left hand, the 2.Hi-ha The tuning of all the drums should be fairly low and close in sounding ‘pitch’: the 16" maximum range Tom 12" be performed must not exceed a major third between the highest drum and the lowest drum. Thecan sound of the two with both hands; upward stem indicates right h The Tomdiffer 10", slightly Tom 12" and 14"theshould have single shells attached 16″sound: toms should from theTom rest of drums;all they mayfour be tuned to the same pitch. to the skin in each corner, allowing the sh
bounce on the skin of the drum and make a kind of "rattle" sound. The Hi-hats should be damped with duct tape or similar to make a fairly dry sound. Attach at least fourtuning rows ofof paperclips or sizzles to each the Hi-hats, allowing to ‘sizzle’. "pitch". The bottom cymbal The all the drums should beoffairly low and closethem in sounding and the top cymbal should not touch each after being ‘splashed’ with the foot: the hi-hats should The player should strive for a maximum range of a minor third between the highest drum and the lowest drum. only be performed with the feet, except the ending of UNTITLED #2…
The two 16" toms may be tuned to the same pitch.
The shell shakers should be wrapped around the wrist on each hand, but only shells: Shell shakers: The Hi-hats should only be performed with the feet. They shouldSingle befor damped with duct tape to make a fairly dry sound. UNTITLED #2… The two toms 16" should each have a strap full of shells attached to the drums, allowing all the shells to bounce on the skin of the drum. Each table should have two sets of mallets or regular drumsticks lying ready for performing. The choice of sticks or mallets is up to the performer - brushes should be avoided.
Each table should have two sets of mallets or regular drum sticks lying ready for performing. The of sticks or performed mallets istogether, up to the - though brushes should be avoided. Thechoice two pieces might be butperformer they can also be performed alone. Notation for UNTITLED #1… • Tom 16″ and Tom 10″ should be performed with the right hand, the Hi-hat 1 should be NOTATION: performed with the right foot. • Tom 14″ and Tom 16″ should be performed with the left hand, the Hi-hat 2 should be Tom 16" and Tom 10" should be performed with the right hand, the Hi-hat 1 should be performed with the right foot. performed with the left foot. Tom 14" and Tom 16" should be performed with the left hand, the Hi-hat 2 should be performed with the left foot. • Tom 12″ can be performed with both hands; upward stem indicates right hand, downward stem Tomindicates 12" canleft behand. performed with both hands; upward stem indicates right hand, downward stem indicates left hand.
Untitled #1 q = 100
percussion solo Simon Christensen
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3
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Left hand
Move left stick to the table on the left side in a slow motion (MOVE)
>
Leave stick on table and hold your hand still! (LEAVE)
> x œ >x œ x œ ≈ ‰ ‰ œœ ‰ ‰ œ ≈œ ‰ ≈œ œ
Take a new stick and move your hand in a slow motion towards the next stroke (TAKE-MOVE)
3
5
3
MOVE (l.h.)
LEAVE
TAKE-MOVE
> 3 > 5 >3 >5 3 43 >x x x x x x œ œ œ œ œ ÷œ ‰ ‰ ≈œ œ ‰ ≈ œ œ ‰ ‰ œ œ ≈ ‰ œ œ ‰ ≈ ‰ œ œ ≈ œ œ 5
MOVE (l.h.)
Move the right stick to the table on the right side in a slow motion
÷
LEAVE
TAKE-MOVE
Leave stick on table and hold your hand still! (LEAVE)
Take a new stick and move your hand in a slow motion towards the next stroke (TAKE-MOVE)
œ œ ‰ œ x œ œ≈ œ x œ œ ‰ œ x œ > > 3 5 > 5
49 Right hand
MOVE (l.h.)
LEAVE
TAKE-MOVE
LEAVE TAKE-MOVE œ MOVE (r.h.) ≈œ xœ œ ≈œ x œ œ ‰ œ ≈xœ œ ‰ œx >3 > > 3 5
Simon Christensen: Untitled #1 - solo percussion 3 -
>
œ œ > x œ œ ÷œ œ ‰ œ x ≈œ œ‰ œ xœ œ‰ œ x œ ≈œ‰ œ x œœ ‰ œ œ ≈œ‰ ‰ œœ > 3 LEAVE MOVE (l.h.) > > > > 5
MOVE (r.h.)
55
LEAVE
5
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TAKE-MOVE
3
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TAKE-MOVE
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61
TAKE-MOVE
3
MOVE (l.h.)
3
5
MOVE (l.h.)
LEAVE
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73
÷
MOVE (l.h.)
{ e = q } q = 200
∑
TAKE-MOVE
86
÷
100
÷
43 ..
TAKE-MOVE
˙.
MOVE (r.h.)
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MOVE (l.h.)
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MOVE (l.h.)
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{ q. = q }
TAKE-MOVE
.. 42
q = 133
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114
MOVE (l.h.)
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3
Simon Christensen: Untitled #1 - solo percussion 4 -
LEAVE
÷ x J
132
j ‰ œj ‰ œ
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5
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138
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MOVE (l.h.)
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156
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Simon Christensen: Untitled #1 - solo percussion 5 -
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÷
250
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256
q = 266
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262
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268
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274
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280
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283
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∑
5
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MOVE (r.h.)
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42
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286
q = 112
5
3
5
{ h = q. }
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292
5
3
3
Simon Christensen: Untitled #1 - solo percussion 7 -
3
5 > q = 84 298 5 > 3 x ÷ œ œ œ œ œ ≈ œ œ œ x œ œ œ œ œ œ x œ œj ≈ œ œ œ x œ œ œ œ œ œ x œ œ > > > 5 3 p f p f p f p f f p
{ h = q. }
5 > >j 3 > x j x ÷ ≈ œ œ œxœ œ œ œ œ œ œ œ ≈ œ œ œxœ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ J > > > p fp f f p f p f p f 5 q = 63 > 3 5 j x j > j j j 308 5 3 x x x ÷ ‰ œ œ œ ‰ x œ œ œ œ œ œ ‰ œ œxœ œ œœ ≈xœ œ œ œ œ œ ‰ œ J J J > > p f f f p p f p 303
3
5
3
> j x j j 3 ÷ x œ œ œ œ œ ≈ œ œ œx œ œ x œ ‰ œxœ œ œ œ œ ≈ x œ œ x œ œ œxœ ≈ œ J J J J > > p f p f f p f p 3
>
5
313
÷œ J
318
÷
322
j œ œ
q = 47
5
x œ œ > f
x ≈
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3
5
j >j x œ œ œ x œ œ œ œ ‰ J f p 5
3
œ œ œ œ œ ≈ œ œ œœœ œ ≈ œ œ œ œ œ 5
3
≈ 9 16 ≈
5
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5 P sempre
q = 47
3
5
≈ œ œœœœ œ œ œœœ œœ 11 9 ÷ 16 ‰. Œ Œ ≈œ œ œ œ ≈œ 8 œ œ œœœ œ
327
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≈ œ œ œœ œ œ 15 ÷ 16 ‰ Œ ≈œœ œ œ œœ
331
‰ . 85
œœœ œœœ
q = 58
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44 œ œ œœœ ‰
∑
q = 47
÷ 85
336
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≈ œ œ œœœ œ œ 24 9 16 ≈ œ œ œœœ œ œ
3
q = 58
œ œ œ œ œ
‰ œ œœœ œ
Œ
11 16
Œ Œ Œ
15 16
∑
85
œ œ œœœ œ
œœœœ œ
‰ . ‰ 118
3 3
œ œ ‰ œ œ
q = 58
3
3
q = 47
≈ 78
q = 58
3
q = 47
q = 58
3
x‰ ‰ œ œ œ x > f 3
3
œ œ œœœ œ œ
{ h = q. }
3
3
45
∑
q = 47
≈ œ œ ‰ œ œ œ
42 ≈
3
œ œ œœœ œ œ 3
Simon Christensen: Untitled #1 - solo percussion 8 -
44
MOVE (r.h.)
LEAVE
MOVE (l.h.)
LEAVE
∑
∑
9-
Untitled #2 . . percussion solo
7 q = 54 Throughout the whole piece, both arms should draw a circle in front of your body. Always have the arms stretched out. 4
Simon Christensen
*) rapido poss.
gradually
2700 2
Seed shaker around right wrist
360/00 2
2 270
Seed shaker around left wrist
900
0
(bouncing tremolo)
2 180
gradually towards next position
0
3 rapido poss.
900 1
900
sub. 0o 2
7
900 1
sub. 1800 3
900 1
2 180
1 90
0
00 1
10
1 180
1800 3
13
2700 2
0o 2
1 90
0
0
2 270
2 180
0
0
0
2700
900 1
0
0
1 180
0
seed shaker & maraca 270 2 270 2 180
o
0
2 180
3
2 180
0
0
0
900
900 1
0
3
00
1 90
0
00 1
0
00 1
0
0
900 1
0
90 1 180 2 270 1 180
2 270
0
**) Never dampend the Hi-hat.
0
00
2 270
0
o
0
0o 2
0o 2
2700 2
0 2 **) 90 1 90
1 180
00
1 180
0
2700 2
2 270 **)
2 180
00 1
1800
900
900 1
1 180
00
0o 2
16
1 180
0
2700 2
00 1
0
270o
1 90
900 3
00
3
2700 2
1 90 (bouncing tremolo)
*) To accomplish really fast and dense shake with the hand, rotate the wrist from side to side. 4
00 1
0
00 1
0
2700 2
5 00
molto
900 3
0
molto
3
0o 2
1 90
0
***) Avoid any attack, draw small circles with the wrist. Like a continuous white noise sounding from the maraca. Simon Christensen: Untitled #2 - solo percussion 10 -
1800 3
0
2 270
2700 2
2 180
3
270o
900
come sopra
***)
1800 1 1800 3
8 4 2 270
19
2 180
0
0
270 2 0 2 7 4 1 180 2 270
6 4 90 ****) 1 90
00 1
900 1
0
0
seed shaker & maraca
270o
0
0
8 4 1 180
25
1 90
0
0o 2
2700 2
0
28
0o 2
900 1
3
0
0
3
0
900 1
90 1 90 sempre sim. 0
0
2700 2
00 1
0
3:11
2 270
2700 2
2 270
3
0
3
1 90
0
0
3 0o 2
1 90
1 180
0
0
3
900 1
5 3 8 3 4 4 4 sub. 180 4 270 180 1 903 1 180 2 2 sempre 0o 2
900
3:5
900 1
00 1
0
0
0o 2
3
2 180
2 180
0
0
3
0
2 180
0
3
0
00
2700 2
3
2 270
0
00
2 270
0
3
1 180
3 00
2 270
0
2700 2
1 180
0
270o
0
0
1 90
00 1
3
3
00 1
3
270o sempre sim.
0
2 180
3
2700 2
00 1
0
0
00
0
2 180
0
1800 2 1800
0
00 1
00 1
2700
0
1 90
900
900 1
37
1 180 2270 3
3
6 *) 7 270 4 180 4 2 270 2 180 3 1 180 1 90 3
180 3 1 180
34
o
900
900 1
1800
1800
0o 2
02 90 1 ****)
00
3
31
2700 2
00 1
00
3
****) Molto secco; the maraca should sound like a firmly closed Hi-hat played very dry with a thin drum stick 22
900 1
o
0
0
0
0
Simon Christensen: Untitled #2 - solo percussion 11 -
0
270o
6
2700 2
6 4 5 5 2 180
41
1 3:11 90 1 5 6 3 90 180 6 5 4 4 Leave 2 270 4 2 180 270 3 maraca! (only shaker) sub.
0o 2
6 4 90 1
shaker) 45 (only 2700 2 0o 2
0
2 4
0
2 270
6 4 1 90
1 90
0
1 4
6 4 2 270
1 90
2 270
0
900 1
1 180
0
0
2 180
0
180
0
0
1 1800
0
0
2 180
0
1 90
0
1 180
0
0
900
900
5 270 4 0
0o 2
2 270
0
900 1
2 1800
0
7 4 2 270 270
0
2 2700
7 4 1 180 180
270o
2 180
0o 2
900
0
1 90
6 4
2700 2
0
0
00
(Right hand: Avoid sound from the shells)
1 180
0
0
7 4 180 2 180 0
2700
6 4 2 180
2700 2
00 1
0
60
0
0
0
0
Leave maraca!
0
1 180
55
Sudden shifts in direction!
0
00 1
50
270o
0
900 1
1 180
0
7 4 1 90
00
00
1800
0
00 1
3 4
7:5 7:5 sempre sim. Hi-hat's *****) 7:5 7:5 7:5 *****) 64
7:5
q = 68 / e = 136
sempre sim. 7:5
*****) With the seed shaker on your arm, slide from side to side directly on the Hi-hat; lift the shells slightly after the accentuated last stroke, so the Hi-hat can ring a little bit.
7:5 7:5 7:5 7:5 7:5 7:5 7:5 7:5
7:5
7:5
7:5
Simon Christensen: Untitled #2 - solo percussion 12 -
molto rit.
4:5
4:5
4:5
8'