Adrift by Gillian Menichino

GILLIAN ROSE MENICHINO

ADRIFT FOR AMPLIFIED ENSEMBLE (DURATION: 7’ 30”)

ADRIFT FOR AMPLIFIED ENSEMBLE

Instrumentation

Electric guitar Piano Five string electric violin 2 cellos Snare drum, tenor drum, and bass drum

Performance Notes (instruments in order as they appear in the score)

Percussionists: 1. Two percussionists: one player plays the snare drum while the other plays on the tenor drum and both play on the same bass drum located between the two performers. Instruments should be placed very close together so as to ensure comfortable and easy access especially where it is required that two drums are played simultaneously and/or in quick succession from one to the other. 2. Timbales sticks, soft mallets, and medium mallets are required. 3. The snare drum is to be played with the snare off throughout the entire piece. 4. Notation: Snare and tenor drums are notated above the line of the staff and the bass drum is notated below. In both parts the bass drum shares a staff with the snare and tenor drums. 5. Perhaps only light amplification is necessary for the percussion. Aplify as necessary in order to achieve the best balance within the ensemble.

Piano: 1. A conventional microphone should be suspended over the bass strings and to be used for the amplification of the piano. Set the level of amplification high (at a higher level then the rest of the ensemble) so that the suble resonances can be heard. The amplification is for the purpose of magnifying resonances. 2. This symbol is placed over all notes in the piano part apart from the boxed tones. The example below from bar 16 and 17 shows the â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; symbol placed over a note. The performer is to reach inside the piano and with finger tips, damp the string near the peg with enough pressure so that after the note is struck, it sounds loud and clear. After striking the note, let go of the string immediately allowing the sound to carry on vibrating. Tones should sound at written pitch.

3. In the case of the example shown below from bar 38 at letter F (from the passage that extends from bar 38 through to bar 45 and appears again at bars 47 and 63), damp the strings close to the edge with the hand so as to achieve the strongest, clearest sound possible.

4. Glissandi: example below from bar 89 and 90. Glissandi are indicated with a gliss symbol over top and are notated using diamond noteheads. Begin glissandi from behind the dampers with enough pressure to produce the best sound possible. While speeding up, gradually slide upwards towards the octave and be sure to maintain the pressure on the string with finger tips. Each note struck after the starting point should resonate a different harmonic.

5. Bar 106: silently repress the boxed tones and release the notes as indicated in bar 107 after striking the

low A and B flat in the bass section.

Electric Violin, Cello 1, and 2: 1.

Scordatura: electric violin – detune the C string down a whole step to B flat, cello 1 – detune C string down a minor third to an A natural, and cello 2 – detune C string down a minor third to A quarter tone sharp. The score is untransposed, notes are at sounding pitch. The parts are transposed and are to be played just as they read. Be sure to play on the IV string where IV is indicated and also on the IV string as you would naturally play. When notes fall on open G and above where IV is not indicated, refrain from using the IV string as the notes will result with the wrong pitch. Amplification: electric violin and both cellos use a pickup. Alternatively, contact microphones can be used but note that it will not result with the same quality of sound as a pickup.

Electric Guitar: 1. 2.

Scordatura (downtuning): From bottom string to top – C G C F A D. The guitar requires an amplifier and volume pedal and it needs to produce heavily distorted sound and clean chorus sound where indicated in the score. Setting 1: distortion (more on the clean side) with volume pedal (through the amplifiers effects loop where possible) Setting 2: clean with chorus

*Note: In combination with the detuned and distorted electric guitar, the detuning of the string trio (E. Vln Vc. 1, and Vc. 2) add a very dissonant feature to the character of the music. Their IV strings are tuned a quarter tone apart from each other within the space of a minor second and align as such: A natural, A quarter-tone sharp, and B flat.

Inevitably so, it is the case that when I compose I find myself indulging on simply too many ideas. The musical material was mended together, forming the overall structure through a sense of roaming or straying, resulting in a lack of consistency. Awkwardly, fragments juxtapose one another portraying flawed amalgamations of a fundamentally unstable character. I felt the material becoming something overwhelming, possessing too much of a potential, that to which I believe I have yet to live up to. Adrift Written for amplified ensemble, was commissioned for the â&#x20AC;&#x2DC;Vulgar Displayâ&#x20AC;&#x2122; New Music Ensemble to be premiered alongside a series of new works written by some of the North Westâ&#x20AC;&#x2122;s most eminent composers and by those from further afield. Scored for a detuned string section including electric guitar, five string electric violin and two amplified cellos set against percussive forces from the piano, snare drum, tenor drum, and bass drum, the ensemble lends itself to colorful and dynamically abrasive proportions.

Score in C

Adrift

Scordatura: Electric Guitar Tuning: C G C F A D Viola - Tune C string down to B flat Cello 1 - Tune C string down to A Cello 2 - Tune C string down to A quarter tone sharp

(for amplified ensemble)

*Percussionists: 1 player plays snare drum, the other on tenor drum and both play on 1 bass drum. Tenor and Snare drums are notated above the line and the Bass Drum is notated below the line.

Gillian R. Menichino

q = 104 very mechanically

         timbales sticks snare off

Snare Drum Bass Drum

     



     pp

   



   



  

                                     Tenor Drum Bass Drum     timbales sticks



A (strike rim on cross notes)     4         S. D.      B.D.  p sub  

              f

                                                p sub (strike rim on cross notes)

T. D. B. D.

 8

S. D. B.D.



                                                 p sub

T. D. B. D.

         p sub



p sub f sub



p sub

                   

p sub f sub

    

p sub

          

  

    e = e                  S. D.                  B.D.               f

    

          

              

    

          

               T. D.  B. D.    

  

p sub

          f

    

p sub

 = touch string near peg while

 Pno.   15

 



     p espress.





    

p espress.

      S. D. B.D.    f      T. D. B. D.     f







    









con sord.

Vc. 2

using pedal and let ring

 

con sord.

Vc. 1

 

q = 72 Poco Meno mosso



    

        



  







  



   mf

        



 

   

f p sub





 



molto vib.















molto vib.

     



f p sub

 

     

  

                                

 



C    Pno.   20

  f

Vln.

 con sord.  







           pp



   

p sub

Vc. 1

Vc. 2

S. D. B.D.

           pp

 



  

p sub

 

p sub

           *tied notes = let vibrate

       mp

*tied notes = let vibrate

   

                 

 

T. D. B. D.

           f

 





 





 

    

 II



p sub II

  

    



 

 



    

 



  

       











 

 

Pno.

Vln.





 



Vc. 2



   



     

  

     

espress.



                



    

 











 pp

   



sfz

 

    





Vc. 1



 

             mf p mf

     



pp sub



 



      

 

  

sfz pp sub S. D. B.D.

T. D. B. D.







       





       









Pno.

















 



Vln.

  



  

   

Vc. 1

Vc. 2



   

    

 

    

     



   

     

 

 







    



sfz





T. D. B. D.



 pp

 

    



  









  







 3

      

pp sub













       

   sfz

S. D. B.D.



    

   f

 

Pno.

Vln.



 

Vc. 1

Vc. 2

S. D. B.D.

T. D. B. D.







   

  







   



    

 

pp sub





  Pno.  

 

 

   

 

p sub III

  



pp sub

 





 

   

sfz

p sub

                          



e=e



sfz

 







  f













    

 3          



 



   

      

 





   





 



 



 



E  



 

e = e.



Vln.

     



senza sord.

        

senza sord.

   sfz

Vc. 1

sfz Vc. 2

        

senza sord.

sfz

S. D.    B.D.  

   ff

 T. D. B. D.   

   ff

 

           sfz             sfz

 

       



          



                     

pp sub

p sub

                     

pp sub

p sub



         aggressively



f aggressively

sfz

        

sfz

                  

sfz p sub

    

sfz

     f

    

                   p sub

         mf

Pno.







* damp the 'A' string close to the edge. Damp the other notes at randomn distances from the edge between an inch and an inch and a half from edge. Keep fingers down.



 

Vc. 1

Vc. 2



             f



              



              S. D.  B.D.     f mf f mf ff              T. D. B. D.      f mf ff 



         

          

                   

    

 

         

           

 

   

   

  

         

 

   

         

                   



  



 

con vib. ord.





E. Gtr.



( distortion)

Pno.

Vln.





          

 





            

Vc. 1



                           S. D.  B.D.      sfz f                T. D.  B. D.      

Vc. 2



sfz f

   

                 





  

   

         

senza sord.

    ff



  



      ff                              



   

  



   

 

          













  



  



  



       

 

con vib.

    





Pno.                  f 



  

  

E. Gtr.





Vln.

  

Vc. 1

Vc. 2





G        

   





ord.

   



  

 

 

  

 



        ff



sul pont.

         f



sul pont.



           

    

  

sfz

 sfz



   

                                              fp

 

con vib. 47

     

E. Gtr.

Pno.

Vln.

Vc. 1





  



  



   

 

  

  



molto vib. ord.

  f

 ord.   



               sfz

 

   



                   



   

  

                     

             f 

Vc. 2

 ord.          

 f

   

   

 

  

 

  

    

   

       



 

 vib.    7  

(pitch bend)

   

E. Gtr.

Pno.





     

     



    



    f

                                    



 sfz 

Vln.

  

 

Vc. 1

Vc. 2

S. D. B.D. T. D. B. D.



 



              

                          



  

 







 

 



  



 

Pno.

Vln.





 







  







T. D. B. D.





  



 



  



 



 

   



 

 

               

 



















       

            



 fp  

 

 

 





 



        sfz 



S. D.  B.D.



 



 

Vc. 1

Vc. 2





 

  

e. = e  ord.                   



   



E. Gtr.

         

 

 

 

  f

 

sfz





 



  

sfz





sul pont.

 





    

                    

pp sub

                    



E. Gtr.



       

 

       



 



 

Pno.



 

 



    





 

    





 

    

I Vln.

     sfz

Vc. 1

   

p sub

  



      f sub

p sub



ord.

      f sub

p sub

molto vib. sul pont.

         f sub

p sub

  



     



   





    



   



center

f sub







center



f sub

 



 



 

      

p sub



  

      

f sub



  

  

        

T. D. B. D.



I   

     p

S. D. B.D.

      



Vc. 2



molto vib. sul pont.

   



 

   



 



   



    



E. Gtr.

Pno.

Vln.

            

Vc. 1

Vc. 2

e = e.

    



    ff 

 

      ff f           f f  ord.         

S. D. B.D.

    



T. D. B. D.

    









ff ord.



   ff          ff        ff



 

Vln.

  

Vc. 1

Vc. 2





         

   ff

 

   ff

   S. D.  B.D.    f  T. D.   B. D.     f



                                        



 



          f         f                p sub                     p sub

Pno.



       

   

 

          p sub

        p sub              p sub

          p sub

   

                                               J e. = e                       mf p sub

                p sub f                  p sub f

                   p sub f                              p sub ff                                p sub

  

 

 

   p

   

 p IV

 p

     

    

   





   



 

69 e = e

 

E. Gtr.

Vln.



sul pont.

  

     (IV)

Vc. 2

  

S. D. B.D.

  

T. D. B. D.

  

(A.H.)



 

      

Vc. 1

 

(IV)



    







   



  

    

 

soft mallets





soft mallets



 



ord.

sul pont.

  

 

 



  

  

 

     



   mp

  



  



     





   



   

 73



E. Gtr.

Vln.



    

Vc. 1

  

          



 

S. D. B.D.

T. D. B. D.







 

 

psub

p sub

    





        f



  

 ord.

Vc. 2

   



 



  

con vib.



molto vib.

 





         f

     





             f

         



      ord. vib.

   

 

         

sfz

   

         

ord.



sfz



sfz



           sfz

sfz

      

  

sfz



 

      

f sub

  

f sub



E. Gtr.

Pno.

Vln.



  

Vc. 1

Vc. 2

S. D. B.D.

T. D. B. D.









  

 

 

 



       







     



   



    



   

   

    

  

ord. vib. sul pont.



ord. vib. sul pont.

  



  

      



  

  

f sub

 

 

f sub

p sub





        













   sfz    sfz

e. = e



e. 



 

con sord.



ord.



 

sul pont.

    

sul pont.

pp ord.

 

    mf

 

gradually move back to ord.

  

gradually move back to ord.

 

  

(+ = deadstroke) medium mallets center + + + +

     

        ff   

 

         

   

 



         

molto vib.

e = e.

    



   

p sub

S. D. B.D.

  

      

   



molto vib.

    Pno.  

Vc. 2

    

molto vib.



Vc. 1

con vib.



    

         

 

                                        ppp



(+ = deadstroke)

     

+ + + +                                         ppp

medium mallets center

T. D. B. D.



       

M 12 Pno.











Vc. 1

Vc. 2







    



 

           







 





 

pizz.

  f

              



 

              





           



pizz.   f

timbales sticks T. D. B. D.

 

 ord.

  







 ord.

 

gradually speed up

                          

timbales sticks S. D. B.D.

e=e



*While damping the string, begin sliding upwards with enough pressure to produce a clear sound. Start from behind the dampers and move up towards the octave. Be sure to reach top where 'top' is indicated. Each note after the starting point should resonate a different harmonic. *Top

 Pno.   89

gradually slow down

gliss.

                                                 mf 

Vc. 1

sord.  senza   



       arco

  

senza sord.

Vc. 2

    

sul pont. arco





   mf



  



 



   sfz

  sfz





Pno.





                        



Vln.

 

 



     

   

 

     

III IV

  

  ord.        IV

     



  

  





sfz 

  





    

                       

    



   

      

                      

ff sub









   







   

 

ffsub

  

 

sfz p sub

f T. D. B. D.



sfz p sub

S. D. B.D.



Vc. 2

sfz

  

I ord. II

Vc. 1

 

     

ff sub



     





     





N 94

Vln.

  

III

                                                                             p V

      IV

Vc. 1



 

Vc. 2

  



    



 

    



    



 

14 E. Gtr.



  Pno.  

Vln.

Vc. 1

Vc. 2

 

 

 

 

     

  

       

       



  



T. D. B. D.

  



 

   





  sul pont.         ffsub

   

 

pp sub

  

sul pont.

    ff     

 

pp sub













Vc. 2







Vc. 1





ff sub



S. D. B.D.

Vln.

pp sub

    

ff sub

E. Gtr.



                                                       

     



(A.H.)



 













 



O 



 

                             f sub                   ord.                 f sub  ord.                     f sub

S. D.  B.D.





T. D. B. D.





                           pp                           pp   

             

102

  

E. Gtr.

Pno.

      ff



     

Vln.

     

 



 





II III

      pp

Vc. 2



 

     mf  III    IV  III

  

 

 



Pno.



 Vln.

 



  

   III





 



III

  





T. D. B. D.



  



 



damping near edge as original



   ppp    



ppp

  

      

   f

   

  

  

       

  

  

 







 

 



 



 

















pp S. D. B.D.

 

Vc. 2

fp IV

gliss.

 





gliss.

Vc. 1

  

   IV

                                             

sfz



  

top: begin 6 inches from edge.and slow down gradually while sliding down the string back to the edge.

begin sliding up the string up to six inches from the edge while gradually speeding up.





  

  

 104

   

  

 

 

    

bottom edge

gliss.

                        

 

  

Slide down the string back to the bottom edge.

start with damping from top as done previously.

 

    

Vc. 1



 

 

106





E. Gtr.

P                     



(Clean Sound)

    

  

 

      



    

 



  

  

 





   



 





sfz



(



Vc. 1

Vc. 2

       

 

sost.

Pno.

Vln.

silently repress

       

 

III

 )            



    

I 

 

  

  

                                           pp











    







 



 111

    

E. Gtr.

Vln.

 

  

 



                     f sub

   

Vc. 1

Vc. 2







            f sub





T. D. B. D.

 

sfz

ord.

        f sub

S. D. B.D.

sfz

ord.

sfz

          

                    

     pp sub

      pp sub



p sub

   

espress.



        mf f



        mf f



  

 



                 

sul pont.

 

 

  

    

     

                  

 





117

Vln.

 

 

S. D. B.D.

T. D. B. D.

           

 121

Vln.



     



  

   

   





      

sfz sfz sfz

B.D.

T. D. B. D.



     



sfz



      sfz

      

sfz

sfz pp sub

ff sfz p sub

sfz

 



 







  

sfz



   

sfz

    

        

    

sfz

      



sfz

ff sfz p sub

   

S. D. 

   

 

 center center                                              

sfz sfz sfz

Vc. 2



sfz pp sub

sfz sfz sfz

Vc. 1

 

 center center                                               

   Pno.         sfz sfz sfz   

   

sfz



E. Gtr.



sfz

     sfz

ord.

Vc. 2



sfz



Vc. 1

   

 



(distortion)











     

                                             

                                                                                           

                                             



  f    f

    

 

   

     

sfz

 

 sfz   

     

sfz

         sfz          

sfz

   

       124                  ad lib.

E. Gtr.

Vln.

con vib.

  

 

         

con vib

ord. con vib ord.



 

sul pont.  



 

Vc. 1

  ord.

f sul pont.







Vc. 2

  

sul pont.  



 pitch bend three quarters sharp

126



E. Gtr.

Pno.

Vln.



Vc. 2

 p  



Vc. 1





S. D.   B.D.

T. D. B. D.



 

 



 

  



 





  





   

medium mallets



pp medium mallets







 







V ord.

    



ord.





   



   





ord.

 

     





 

  

 

(A.H.)

  





  



  





 



  



   

   pp

                        

   pp

             

sticks

p sticks