Our Lovèd Dominion Bless for piano six-hands composed by JASON DOELL (2015) Toronto commissioned and premiered by the junctQin keyboard collective
GENERAL INSTRUCTIONS 1) Each player will need two rubber mallets, and a soft-bristle medium-width (4-8cm) paint brush. 2) Like a typical score, you read this score left to right. Every measure that is to the right of the designated hands is played by those hands regardless of any other symbols that may intervene. For example, in section A, hands 1/2 do not enter until the second comlumn while hands 3/4 and 5/6 enter in the first. 3) Measures are organized into columns as a space saving tactic and as a device to impress upon the performer the importance of the space between the gestures/textures. These spaces are to be imbued with the same amount of intent as any note played. I think that the concept of ‘ma’ in Japanese painting is particularly good analogue of what I’m I would like the audience to experience during these pauses. Please keep this in mind while rehearsing/performing. 4) Columns are played in sequence from left to right. A system of symbols provides distinction between simultaneous and contiguous sound events (see below). 5) Specific instructions for a particular column will be printed directly above the corresponding column (see figure 4). NOTES FOR READING THE SCORE Measures that are initially connected by a common barline, as in figure 1, are to begin simultaneously. Though measures may be connected by an initial barline (indicating simultaneous entry), this does not necessarily mean that the instruments will play in time with each other or complete their passages simultaneously. The initial connecting barline ONLY indicates simultaneous entries of the instruments that share this barline. Subsequent to entry Figure 1 – simultaneous entry material that is not measured or clearly given a specific rhythm, musical material should be played freely with an ear to the cumulative texture/gesture (see material in figure 1). If there is a meter given or there are specifically notated rhythms after a simultaneous entry (see figure 2), the affected groups of hands should play the material as they would from a normal score. In figure 1, there is no
relationship to a pulse. Conversely, when there is a time signature, everyone shares the same pulse. When a time signature is present, the pulse should be between 50-60 bpm. Final note about meter vs no meter – when there is no meter, note-heads do not have a specific value. Black noteheads are shorter than open note-heads. However, each notehead does not need to maintain the same duration. For example the short and long note-heads in figure 1do not have to maintain equal values. All the black note-heads can have different time values so long as they are noticeably shorter in duration than the open note-heads. Similarly, the open noteheads can have different time values so long as they are noticeably longer than the black note-heads.
figure 2 - simultaneous entry with time signature
Columns that have large numbers in front indicate a series of contiguous entries (see firgure 3). The number in front of the corresponding set of hands indicates the order of entries. If a number is in between two sets of hands, those hands enter at the same time in the sequence. For example, in figure three, the bottom two sets of hands enter together and are then followed by the top set of hands. The same system of playing metered vs unmetered material still applies. These numbers only indicate the sequence of entries and not their timing. The performer determines the precise moment of entry when it is their turn in the sequence. For example, the performer who is executing the 2nd entry in the sequence may choose to enter two seconds after the entry of the 1st figure 3 - contiguous entry passage or they may choose to enter six seconds after the entry of the previous passage. The choice is the performer’s to make. PERFORMERS: Please exercise good taste and do not forget that an audience is listening when determining your entrance. While waiting seconds is acceptable, minutes is not. Let your sense of the texture/gesture guide you through you decision. Lastly, use of mallets and brushes are indicated with standard percussion symbols (seen enclosed in rectangles – circle at the top a a stick figure 4 - mallets and brushes
is the mallet, three lines is the brush) above the passage they are to be used (see figure 4).
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