Embers anon

EMBERS (after) for chamber ensemble

H GREISMAN // 2012

FLUTE // BASS FLUTE BASS CLARINET BASSOON HORN TROMBONE PERCUSSION VIOLIN VIOLA CELLO CONTRABASS

PERFORMANCE NOTES

GENERAL // ELECTRONICS

Score in C. Parts are transposed. Accidentals carry through bar.

Arrows indicate a gradual movement from one playing technique to another.

STRINGS SP - sul ponticello ESP - extreme sul ponticello ST - sul tasto CLT - col legno tratto CLB - col legno battuto

Half-harmonic pressure Crush bow/ extreme pressure (Slash through any symbol indicates return to normal playing)

‘Figure-Eight Crackle’ - Rock bow in a figure-eighth pattern on strings with extreme pressure, creating a strained crackling sound. It is sometimes helpful to use one hand at either end of the bow.

Using harmonic pressure in left hand, quickly gliss up and down (about the distance of a M3) with a quick, biting bow stroke

WINDS Breathy - Keep a bit of air in the tone -- approximately half pitch, half air Air - Mostly air in the tone -- only a slight bit of pitch; always accent the onset of the notes Timbral Trill - alternate fingerings on the same pitch

Whisper given phonemes through instrument in a frenetic rhythm

Bisbigliando/Timbral Trill - alternate fingers on same pitch

Split Tone - Aim for a range of partials

Teeth on Reed - pitches will be variable BASSOON

Produce a percussive sound by removing the reed and playing staccato. The effect can also be produced with the reed as long as the player uses very slight air pressure to avoid vibrating the reed.

Wind sounds -- created by using a lot of air noise on the reed. Pronounce consonant ‘F’ in direction of the reed, which will be placed approximately 1cm from the lips.

Wind sounds -- created by using a lot of air noise on the reed. Pronounce consonant ‘SHA’ in direction of the reed, which will be placed approximately 1cm from the lips.

BRASS Inhale through the instrument with exaggeration

Exhale through instrument, placing a sharp accent on the beginning of each note

Fluttertongue or growl without pitch

Trill using tongue or vowels

‘Rip’. Sweep though the natural harmonics. The sweep should sound as a rapid and continuous gesture.

MARIMBA LARGE TIMPANI CHINA CYMBAL SPRING DRUM (preferably large) BRAKE DRUM (hard mallets) TIN COFFEE CAN MEDIUM-LARGE METAL MIXING BOWL TIN FOIL STONES OF VARIOUS SIZES DRY LEAVES IN PAPER BAG (if unavailable, a collection of plastic grocery bags will work) SUPERBALL MALLET GRILL BRUSH

PERCUSSION

TRIANGLE BEATER

Pour stone mix from one vessel to another, creating as much clatter as possible. In this example, stones are going from the tin can to the metal mixing bowl Rake and swirl fingers through stone mix in metal bowl, creating a metallic rustling. Allow the bowl to resonate by keeping it on a trap table with a thin towel underneath Swirl a triangle beater through the rock mixture in the tin coffee can

Drag superball mallet across skin of timpani, creating a dynamic groan

Swirl the bristles around the cymbal with various speed to produce flickering partials

NOTES All Flute fingerings are found in Flutes Au Present - Traite Des Techniques Contemporaines (Present Day Flutes)

by Pierre-Yves Artaud All Bass Clarinet multiphonic fingerings are found in New Directions for Clarinet by Phillip Rehfedlt All Bassoon Techniques are found in The Technique of Bassoon Playing by Pascal Gallois

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