Earle Brown: sign sounds (1972) for chamber orchestra by Edition Peters

Nr. 11141

EARLE BROWN SIGN SOUNDS (1972)

EARLE BROWN

SIGN SOUNDS (1972)

Score (transposed)

HENRY LITOLFF’S VERLAG / C. F. PETERS Ein Unternehmen der EDITION PETERS GROUP FRANKFURT/M. LEIPZIG LONDON NEW YORK

Earle Brown

SIGN SOUNDS (1972) Commissioned by New York State University at Albany for the University-Wide Student Composers Festival at Potsdam, New York, October 1972.

Score (transposed) Instrumentation

Performance Notes SIGN SOUNDS is an “open-form” composition in which

Flute

the sound-content is written and controlled in “proportional

Bb Clarinet

notation.” The final form of each performance of the

Bass Clarinet

composed elements will be different according to the

Bassoon

musicality and sensibilities of the conductor. There are two pages of sound material for the soloists (celeste,

Trumpet

piano, harp) and four pages of sound material for winds,

Trombone

strings, and percussion. See directions for performance for FOLIO (1952-53) and /or AVAILABLE FORMS I and II

Glockenspiel

(1961 and 1962) or NOVARA (1962), excerpted below.

Xylophone Vibraphone Marimba Celeste Piano Harp 2 Violins Viola Violoncello Double Bass Seating on stage: Strings

front left

Woods / Brass

front right

Piano

mid left

Harp

mid center

Celeste

mid right

Percussion rear Duration: variable The conductor needs an arrow indicator with numbers 1-4 (provided with score) to show the musicians which page to perform from.

NOVARA (1962) Directions for Performance Score and Structure

It must be understood that the performance is not expected

The conductor may begin a performance with any

to be a precise translation of the spatial relationships but

event on any page and may proceed from any

a relative and more spontaneous realization through the

page to any other page at any time, with or without

involvement of the performers’ subtly changing perceptions

repetitions or omissions of pages or events, remaining

of the spatial relationships. The resulting flexibility and

on any page or event as long as he wishes.

natural deviations from the precise indications in the score are acceptable and in fact integral to the nature of the

The numbers of the score pages to be played from are

work. The result is the accurate expression of the actions of

indicated to the musicians by a movable arrow on a placard

people when accuracy is not demanded but “conditioned” as

displaying the page numbers 1 to 4 — the number and

a function within a human process.

arrow being clearly visible to all members of the group, and the arrow comfortably within reach of the conductor.

Conducting The conducting technique is basically one of cueing; the

It is suggested that the podium be wide enough or that

notation precludes the necessity and function of “beat”

enough music stands be used as a podium for all four

in the usual sense (although the conductor does indicate

score pages to fit next to one another so as to be visible to

the relative tempo). The page which contains the event

the conductor at all times during the performance. (In the

to be played is indicated by the arrow, as previously

parts, all of the events on all of the pages are visible to the

explained. The number of the event to be performed is

musicians without the necessity of page turns.)

indicated by the left hand of the conductor — one to five fingers. A conventional (right-hand) down-beat initiates

Time Notation

the activity. The relative speed and dynamic intensity

There is a built-in factor of flexibility in the notation and

with which an event is to be performed is implied by the

scoring of this piece because the availability of forms is

speed and largeness of the down-beat as given with

based on letting go of the idea of metric accuracy. This

the right hand. Nearly all of the events in the score have

is achieved through the notational system used in this

been assigned dynamic values. These are acoustically

work. This system, which I have called a “time-notation,” is

accurate in terms of instrumental and ensemble sonority

a development of the work in FOLIO (1952 and 1953) and

and balance and must be respected as written, although

most clearly represents sound-relationships in the score as

the conductor may “over-ride” the indicated dynamic

I wish them to exist in performance; independent of a strict

values and raise or lower the over-all loudness.

pulse or metric system. The conception of the work is that the score presents It is a “time-notation” (now generally called “proportional

specific material having different characteristics, and that

notation”) in that the performer’s relationship to the score,

this material is subject to many inherent modifications,

and the actual sound in performance, is realized in terms of

such as modifications of combinations (event plus event),

the performer’s time-sense perception of the relationships

sequences, dynamics, and tempos, spontaneously created

defined by the score and not in terms of a rational metric

during the performance. All events are always prepared by

system of additive units. The durations are extended

a left-hand signal and initiated by a down-beat from the

visibly through their complete space-time of sounding and

conductor; the size and rapidity of the down-beat implies

are precise relative to the space-time of the score. It is

the loudness and speed with which the event is to be

expected that the performers will observe as closely as

performed. The conductor must, as with any notation, insist

possible the “apparent” relationships of sound and silence

on accurately articulated relationships from the rhythmic

but act without hesitation on the basis of their perceptions.

“shape” of phrase and pitch sequences in this work.

The right hand of the conductor may indicate the entire

EVENTS:

section to play or, if pointing to one or more individuals, that they perform their material as soloists out of the ensemble.

Winds and Brass

The conductor may stop or start an event at any point

Page 1. Articulate fermata last notes.

creating fragments and “bursts” of sound. The conductor may introduce a fermata at any point. The two hands of the

Page 2. Sparse textures.

conductor, in addition to above, are used in the traditional way to control loudness, tempo, changes of both, and to communicate conditions of style, nuance and expressivity.

Page 3. Three pointillistic events. L. H. 1+2+3 followed by one down-beat means play through entire 1, 2, 3 line. Conductor may decide to make entire line repeat

SPECIFIC INSTRUCTIONS for the 1972 performance can

until stopped.

be found in correspondence between Earle Brown and the conductor Dan Asia, dated 1972.

Page 4. Six-note chords. Sustain each until conductor stops the continuity or changes to next chord by

PAGES:

down-beat directly to wind section. (On long sustain, breathe when necessary, as undramatically as

Strings, Winds, brass and Percussion:

possible and return to your note.) Size of down-beat

Pages 1 & 2

indicates relative loudness. Watch for changes of tempo, loudness, interruptions of given continuity

Pages 1 are highly articulate, though in “proportional

and changes of page and left-hand event-signals!

notation.” Suggest that each musician learn his or her parts as if solos. Pages 1 and 2 may be conducted as full

Strings

ensembles or “taken apart” and done as individual solos, duets, trios, etc. Rehearse spacing (proportional) and

Pages 1, 2 & 3. Same instructions as WINDS.

sound-color and dynamics very carefully. May be conducted at all tempi! Rehearse same material very fast to very

Page 4. L. H. 1 = 5-note chords (see page 4 winds).

slow. Proportional notation (spacing) must be respected

L. H. 2 = Harmonics. Each instrument durations free

at all tempi. Overall dynamics may be raised or lowered by the conductor as in the raising and lowering of tempo. Get accuracy but be flexible in vertical synchronicity.

(not controlled by conductor) ||:

:|| repeat if wished.

L. H. 3 = “Wrong” side of bridge. All 4 strings of instruments random tremolo.

Proportional notation is pro rhythmic variations — performance to performance.

Percussion Page 1. Articulate. Page 2. Graphic notation with textures and dynamics. Two sectionally cued points:

and

. Be very

accurate with entrances and dynamics. Page 3. As with WINDS and STRINGS.

Page 4. Three-note chords for each instrument. Each

At this point, percussion, strings, and soloists are

vertical chord in rhythmic continuity may be

“looping” (dense texture). Strings are very articulate and

synchronized by conductor or started by down-

come to a concluding fermata. You can re-start section

beat from conductor and free durations and chord

or any combination of solos. Winds have a conducted

changes by percussionists.

chord sequence.

Soloists

ENTIRE ORCHESTRA IS ACTIVE: to initiate or change

events, conductor must have page indicator (1, 2, 3, 4) and Page 1. Events 1 + 2 + 3 (+ 4 in piano) may be individual

left-hand indications absolutely accurate and clear to all.

(only L. H. 1 or 2 or 3 or 4) or L. H. 1-2-3(4) in

The sections are geographically seated. Conductor must

sequence followed by a single downbeat = entire

indicate clearly if he wants the entire section or a single

line as scored (not synchronized by conductor).

solo instrument.

The three soloists may be overlapped in any way. Indicate directly to each soloist, stops, starts, increase of speed and/or loudness. Any combination — with or without WINDS, STRINGS, and /or PERCUSSION. Page 2. Event 1: “open-hand” clusters (follow rhythm and range) repeating :||. Events 2: articulate figures. Events 3: (celeste-points :||) (piano points :||) (harp, same). remember that you can create many overlapping events.

For example: Start percussion page 4 (independent changes, repeating, pp, direct to them cue). Move arrow to page 3, cue strings (points repeating); percussion continues page 4 until otherwise changed. Move arrow to page 2, cue celeste, piano, and harp (clusters repeating). Move arrow to page 1, cue strings (articulate detail, non-repeating until re-cue). Move arrow to page 4, cue winds (conduct chord sequence in strong, rhythmic changes).

be physically articulate.

sign sounds (1972)

Litolff/Peters Nr. 11141

Earle Brown (1926–2002)