Erstarrung

Erstarrung for ensemble

Evan Gardner 2009

for Ensemble Intercontemporain

Instrumentation 1 flute, piccolo 1 flute, alto flute 1 oboe 1 oboe, english horn 1 clarinet in Bb, Eb 1 clarinet in Bb, Bass Clarinet 1 bass clarinet, contrabass clarinet, Bb clarinet 1 bassoon 1 bassoon, contrabassoon 2 horn 1 piccolo trumpet (Bb) 1 trumpet in C 2 trombone 1 tuba, euphonium percussion 1 timpani C,F+cymbal, crotales, pitched gong, marimba,tam, med Tam, bongos (set of 4 tuned from low to high), pitched gong, sus china, maracas, spring drum percussion 2 bell plate (lowest C), waterphone, bass drum, snare, sus cymbal, 2 triangles, ocean drum, tubular bell (suspended above a bucket of water with bungee cord for gliss effect), tambourine, lion’s roar, slapstick, steel drum, crotales, water tam (small tam dipped in a large bucket of water) percussion 3 tubular bells, vibraphone, thunder sheet, tam, large tam, xylophone, crotales, flexitone, toms, bongos, ocean drum, sizzle cymbal, steel drum, ratchet, vibraslap harp piano, guitar pick, a wooden wedge, brush of split bamboo or wood, tightly wound 3 violins 2 viola 2 violoncello double bass (5 string preferred) (vln 3, vla 2, vlc 2 prepare strings with paper-clips) Score in C.

Performance Notes

Key Click Percussive sound resulting from fingering keys on the instrument without blowing. In some cases, light blowing might be helpful to reinforce the sound.

For all instruments Dynamic markings with quotation marks indicate the intensity of the performance action and not the resulting absolute volume of the action.

Indicates a slap tongue Indicates a slap tongue with as little pitch as possible.

Accidentals are valid for notes they directly precede or for notes directly repeated.

Tongue ram. (Fl.)

Niente

Indicates a percusive effect in witch the hand slaps the mouthpiece of the instrument with the palm of the performers hand. The resulting sound is a light popping, percussive effect. The reed should be removed.

Quarter tone sharp Three Quarter tones sharp Quarter tone flat

Brass

Three quarter tones flat

Square note heads are to be performed tonelessly. The performer fingers the specified note but only blows air, not pitch.

Slightly sharpened. Roughly a 1/6 tone degree. Slightly flattened. Roughly a 1/6 tone degree.

n.v. v.n. v.m.

Harmon tremelo

Unless specified, all notes are to be performed non vibrato. non vibrato vibrato normale vibrato molto

Indicates a quick tremelo effect with the hand rapidly covering and opening the exit of a harmon mute. Indicates a percusive effect in witch the hand slaps the mouthpiece of the instrument with the palm of the performers hand. The resulting sound is a light popping, percussive effect.

Indicates a unmeasured tremelo for strings and a flutter tongue for wind and brass. Mute, dampen. A sudden stopping of sound as if cut short electronically. For string instruments, silently dampen all other strings such that they are prevented from vibrating.

To be performed on the trombone. Indicates the lowest possible vibration/flutter to achieve a low and rumbling glissando.

Notes in parentheses with a trill sign above indicates the note that is to be trilled. When a trill to the same note is indicated, use an alternate fingering.

Indicates a split note effect. Largely unpitched.

Percussion Downbow, breath out Upbow, breath in.

Winds Square note heads are to be performed tonelessly. The performer fingers the specified note but only blows air, not pitch. The is to remove their mouthpieces when performing this action. The bassoon is to blow into either B or C key. Diamond note heads are to be performed as a mixture of both pitch and breath noise. The resulting tone quality should be light and airy. (Fl.& Cl.) Transitions between performance techniques are indicated by an arrow. Mutliphonic passages are notated with suggested fingerings and the desired pitches. If the given fingering does not work, the player is encouraged to explore alternatives that will preserve the notated pitches as faithfully as possible.

Much of the percussion writing attempts to convey as clear a musical meaning without indulging in unneccessary complexity of notation. When creating rich, multiphonic sounding resonances on a tam with a stick or a superball, there is a great deal of possibilities available to a performer to modulate and alter the sound in terms of dyanmics, spectral richness, and general pitch. To acheive this result with the precision of a violin or clarinet, would appear to be very unlikey. I have therefor endeavored to indicate the a simple, yet detailed idea of the sound evolution I would like to acheive when using these techniques. I encourage the performer to focus more on the intention of the sound and the realizing the general idea more than worrying about precision in performance, which as stated earlier, is something that might not always be possible. The following graphic indications represent various tools and mallets and ways of attacking the instrument. Soft mallets Hard mallets Sticks Super Ball: small, medium and large sizes are used.

Jazz brush Soft, large mallet; represents idiomatic mallets used for Tam, Tubular Bells.

Piano The following tools are to be used: dulcimer beaters, fluted stick, steel drum beaters, guitar pick, and ebow.

Hard, large mallet; see above

One hand attacks the keys of the piano while the other hand used the finger to mute the string close to the bridge. The effect is similar to that of a palm muting on a guitar and should strive to maintain a clear sense of pitch, yet a muted quality of sound.

Fluted/ribbed stick Bow Hand, fingers The location of contact between a given beater and the percussive instrument (tam, cymbal, b.drum) is indicated with the following notation. Center

The ebow is an electromagnetic too for guitarists that creates sympathetic vibrations in electric guitars allowing the instrument to sustain indefinitely. If placed properly on piano strings this tool can also create a perfect sine wave of indefinite sustain within the piano. It is important to note that the sine wave can become quite powerful and the pedal should be used to keep the vibrations from becoming overbearing.

Middle Edge Rim The degree of sonic complexity found in scraping a tam with a stick, or using pressure with a superball, or bowing a cymbal is indicated in four degrees of complexity. Single tone, More tones, richer higher partials More noise, richer sound

In certain sections, the pianist is asked to use a fluted/ribbed stick to play on the inside of the piano. These actions are notated using the piano clef shown here. This clef is used to specify percussive actions that take place inside the pianos on the various strings, or braces.

Extremely noisy and complex tone

Controlled, pitched stick friction is achieved by carefully agitating the Tam along the surface of the instrument with a stick. The technique can be executed at both quite and loud volumes.

This affect is achieved using a guitar pick on the inside of the piano on the other side of the string bridge where the strings are fastened to the instrument. This is the opposite side of the tuning pegs.

Strings

The superball is also capable of creating low pitched, moaning pitched effects when great pressure is applied to the surface of the instrument. This technique is most often employed with Tams and the bass drum. Notation indicates a general pitch contour.

The waterphone requires a special notation. This instrument is capable of a wide range of different pitches and registers, yet specific pitches are indeed quite difficult to reproduce. Within the normal five staff line, I have indicated the general contour of the pitched line to be performed. On the line below I have indicated the water modulation amount. It is to be noted that the resulting pitch can vary greatly depending where the bow meets the brass rod. The closer to the base of the instrument, the higher the partials.

Bridge clef Replace the traditional clef and depicts the shape of the instrument's fingerboard-strings-bridge. Wherever is occurs, it indicates the approximate position on the instrument where the action is to be performed rather than specific pitches. Body clef Represents the shape of the instrument and signifies action to be performed on the instrument. String clef Indicates actions to be performed behind the bridge on the strings. Each of the four spaces between the line represents a string. Tail clef Indicates actions to be performed on the tailpiece of the instrument. Peg clef Indicates actions to be performed on the tuning pegs of the instrument.

Dead stroke

A toneless, airy sound created by bowing directly on the bridge while covering the strings. The bow pressure and the speed of the bow must be sensitively balanced to obtain a direct and audible result.

Mount a middle C tubular bell with bungee cord such that it hangs and can be easily pulled down into a bucket to achieve a water glissando effect.

Played with pressed bow. The result should be a dry rattling sound, strongly "perforated." A whining, smudged, or otherwise distorted tone should be avoided at all costs. The bow can be held with the fist.

JetĂŠ technique, or bouncing the bow on the strings.

Highest note, when pizzicato, sounds like a wood block

Hammer pizz. Indicates left hand "slapping" string to achieve sound. The right hand does not perform this action. The multiphonic sign indicates the player should bow the string such that two or more clear tones result. This can be achieved by exploring the angles of the bow meeting the string, bow pressure, and location. (Cb.) This kind of legno technique is to be performed on a muted string, such that the resulting sound is veiled and woody. The fingers should stop the strings as if playing a harmonic but all the reall harmonics should be muted with secondary fingers. Stopped pitched should be heard as a weak shading of the brightness of a bowed sound. Applies to both the battuto and tratto variations.

Indicates a pronouncedly veiled, non vibrato intonation with a predominant bowing sound. The fingers should stop the strings as if playing a harmonic but all real harmonics should be muted with secondary fingers. Stopped pitches should be heard as a weak shading of the brightness of a bowing sound. Execute at a high stop on a low string. This is notated with a diamond and flaut. written above the staff.

Violin 3, Viola 2, and Violoncello 2 are asked to prepare their instruments with paperclips in the beginning of the piece. This technique is perfectly safe for the instrument provided paperclip with a plastic coating are used. This prevents any damage inflicted by stracthing the string from metal to metal contact. Paper clips on strings provide a very unique metalic, multiphonic sound, and by bowing in front of the paper clip and behind it, one can acheive a wide variety of results. Bowing in front of the paper clip Produces a multiphonic sounding like pitched noise with the ability to increase the noise content by means of bow pressure and location Bowing in fron of the paper clip (Partial) Bowing behind the paper clip Produces a more noise oriented sound with bery little pitch content. Bow pressure and speed change the quality of this sound as does the fingered pitch location, though no actual pitch results.

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