Sam G. music for an open instrumentation, mic'd piano with reverb, and fixed media
Duration: c. 8 minutes
Frank Nawrot 2016 Š Copyright 2016 Nawrot-Watson Music and Frank C.S. Nawrot
Instructions: -Any number of players can play the written melodies. The rhythms of the melodies are up to the performer(s). The piece can also be performed by one pianist with the fixed media track. -The fixed media track should be at a reasonable volume, no louder than the most quiet instrument. -Each player will need a stopwatch. -There will be three beats of metered sound in the fixed media track. AFTER beat three, all players will start their stopwatches in time. -Harmonies in fixed media will change at the start of each new section. Sections are marked with approximate time indicators. -New melodies may be improvised based on the notes of the section the players are in. -When a new section is arrived at, all players must immediately strike the first pitch of the notated melody and then complete that melody before repeating it or improvising. Improvise using only the pitches from the treble-clef staff. When playing with others, do not be concerned with being in unison when striking the first pitch of new section; if a unison occurs, that is okay- and if it does not, that is okay too. -Melodies can be played at any octave at or above the pitches notated in the bass clef staff. For example, in the second section (0:56-1:49) no player should play below the second-space C. -PIANIST: Place a microphone roughly 6 inches above the C3 string(s). The microphone shall be connected to a reverb-effect processor; this can be as simple as a guitar pedal. The reverb settings will be left up to the performer(s). The goal is to augment the fixed media track with the sound of the live piano strings resonating. Drown the signal in as much reverb as the room in which a performance takes place will allow. The processed piano should be played back via stereo speakers and should be no louder than the fixed media track. -PIANIST: The notes in the bass clef are never to be struck. Lift the hammers off of the indicated strings and, using the sostenuto pedal, keep the hammers off the indicated strings for each section. Using the sostenuto pedal will free up both hands to play the written melodies and improvise new ones. Before the piece begins, the hammers should be lifted off of B2 and F3. For subsequent sections, lift hammers off of the bass strings only after striking the first note of the treble clef melody of the section you are in. Keeping the hammers off of these particular strings will make it possible for their different overtones to emerge as they are excited by the vibrations other pitches.
Score for Open instrumentation and Piano + Fixed Media
Sam G. Frank Nawrot
0:03
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Harmonies in fixed media will change at each new section. Sections are marked with time indicators and rehearsal numbers.
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1:49
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3
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use sostenuto pedal to keep hammers lifted off low strings
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2:32
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0:56
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0:56
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2:32
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© Copyright 2016 Nawrot-Watson Music and Frank C.S. Nawrot
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3:02
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Sam G.
3:02
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3:39
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7:03
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4:21
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4:21
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7:03
5:38
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8:03
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? (( ˙˙)) Allow the resonating low strings to naturally decay; the piece ends when the piano can no longer be heard. Other than this, there will be no sound after the 8:03 mark.