…durat(A)ions: "broken landscape" (2013) by Jason Thorpe Buchanan

www.jasonthorpebuchanan.com

…durat(A)ions: “broken landscape” for Iktus

Percussion by

JASON THORPE BUCHANAN

First Draft Copy – October 3, 2013

EQUIPMENT:

Perc. I

Perc. III

1 Kick Drum (w/pedal) 1 Prepared Snare Drum w/splash cymbal (10”) (w/extension springs, see performance notes) 2 Toms (10-16”) 1 pair Congas 1 Wooden Simantra 2 Brake Drums Bamboo chimes

Amplified Box (see performance notes)

16-19” Dark Crash Cym. (suspended) 16-19” China/Effect Cymbal (reverse suspended) (see performance notes) 1 Large Wind Gong (flat, 20-24”) A Washtub or Metal Garbage Can Glass bottles in burlap or cloth sack

Hi-Hat 2 Toms (14-18”) 1 Metal Simantra 18-21” Dark Crash Cym. (suspended) 18-21” China/Effect Cymbal (reverse suspended) (see performance notes) 20-23” Dark Cymbal (w/handle) 1 Large Tam-Tam 2 small metal bowls or canisters A drinking glass Bass Bow

Finger Cymbals 2 small metal bowls or canisters Bass Bow ___________________________________

___________________________________

Perc. II

Perc. IV

Large Bass Drum

Kick Drum (w/pedal) Prepared Snare Drum w/splash cymbal (10”) (w/extension springs, see performance notes) 2 Toms (12-16”) 1 pair Bongos 1 Wooden Simantra 2 Brake Drums

Hi-Hat 2 Toms (16-20”) 3 Roto Toms 1 Metal Simantra 1 Medium-Large Suspended Dense Metal Sheet 1 Spiral Trash Cymbal, suspended 1 Prepared Rivet/Sizzle cymbal (suspended) 2 small metal bowls or canisters 19-22” Dark Cymbal (w/handle) Bass Bow Superball

17-20” Dark Crash Cym. (suspended) 17-20” China/Effect Cymbal (reverse suspended) (see performance notes) Small Wind Gong (16-20”) (*or* Med Tam-Tam) Finger Cymbals 1 large thunder sheet (w/pedal) (heavy metal chain draped over it) A drinking glass Light Bulb Chimes (see performance notes) Bass Bow

AUDIENCE

Hi-Tom

PERCUSSION I s

se Den l a e M t t e h S e

Concert Bass Drum

PERCUSSION II

al Spir h Tras

Hi-Hat

PERCUSSION III

Bass Bow

Lar g eT a m -Tam

Dark Cymbal w/ handle

Trap Table

Metal Bowls

t al

w Bo

le Sizz al b Cym

a Sim

ss Ba

Metal Simantra

a ntr

Hi-Tom

d Box Amplifie

b Ta

Hi-Hat

Low-Tom

Hi-Tom

Bo w

Low-Tom

Dark Crash & China Cymbals (rev. sus)

m Roto-To

Dark Cymbal w/ handle

Prepared Kick Snare

Wooden Simantra

Dark Crash & China Cymbals (rev. sus)

Small Wind Gong Large Thunder Sheet w/ pedal & metal chain

Prepared Kick Snare

Cong

splash

ap Tr

d Large Win

g on

splash

Metal G a rbage Ca n *or* Wa shbucket

Gong

sB ow

antra

Bas

Sim Wooden

Tra p

Tab bal

Lightbulb Chimes

ls ba

Low-Tom

Cym

Brake Drums

ym C er ng

Hi-Tom

w Bo

ger

ss Ba

Fin

ap Tr

Glass Bottles in a burlap sack (hanging)

e bl Ta

Bamboo Chimes

Brake Drums

PERCUSSION IV

Low-Tom

Dark Crash & China Cymbals (rev. sus)

PERFORMANCE NOTES (rough draft): A large wooden box must be built, with two large extension springs attached to four of its surfaces (horizontally and vertically), and a number of other smaller extension springs mounted symmetrically throughout. One inner surface should be covered with metal tacks or studs, and contact microphones may be mounted to each inner surface, along with a stereo pair of condenser microphones. Lightbulb chimes may be built using a combination of old lightbulbs and glass ornaments. It is suggested to use an elastic cord for each of the lighter ornaments or bulbs with glue or epoxy, and for the heavier bulbs to use fishing line or a similar plastic thread with glue or epoxy. A circular object that the bulbs can be tied to, such as a clock face (pictured) or simply a wood/plastic disc with holes drilled in it will be sufficient. Additionally, two snare drums should be prepared by threading thin extension springs, such as those found in “thunder tubes” through the drumhead and using a lightweight epoxy to secure them in place. This work requires a stopwatch slowed to approx. 44bpm (multiplied by 1.36). Please email jasontbuchanan@gmail.com to acquire a Max/MSP patch that should be displayed on a laptop in front of the performers, and can be triggered remotely by iPhone/iPad. Individual percussion parts need not be synchronized precisely between one another, they exist rather as approximate simultaneities governed by the stopwatch. Because of this, there is a great deal of freedom built into the possible interpretation of the work. The score therefore is a guide or point of departure and is not meant to be executed verbatim; it is one possible realization of the event streams that make up the skeletal structure of the work. There should be a sense of fluidity or elasticity in the interpretation of the notated rhythms.

DYNAMIC & TEMPORAL INDICATIONS: All dynamic markings should be considered relative, indicating the extremes of each instrument while utilizing a given technique. For example, the maximum amplitude (dynamic level) possible

with lightbulb chimes (without breaking) is lower than that of snare drum. In the same way, all temporal indications, such as accel. or decel. markings (below), are completely relative to the rate of rearticulation directly preceding or succeeding the indication. If there is no rate specified, it is left up to the discretion of the performer to determine a musically appropriate interpretation. In other words, the number of beams does not indicate a precise subdivision, but rather an increase or decrease of speed.

NOTEHEAD TYPES: Triangular noteheads typically represent dense metals such as brake drums and metal simantras, while x noteheads represent thin metals (such as cymbals) or glass. Bowed cymbals will sometimes be notated with some combination of diamond noteheads and x noteheads. “U” noteheads represent drums such as bongos and congas, with closed noteheads representing toms and roto-toms (agogically) and open noteheads kick or bass drums.

[+] signs indicate “closed” sounds, such as a tam, gong or a metal sheet damped with two bowls or metal canisters, or a cymbal depressed on the head of snare or bass drum. [o] or [-] signs indicate “open” sounds, such as a tam, gong, or a metal sheet that is struck and immediately released so that it rings, or a cymbal that is raised and no longer in contact with a drumhead. In the case of the prepared snare drum, the cymbal is raised and lowered like a hi-hat, and the instrument can be struck either on the metal surface or drumhead. Again, the execution needn’t be completely precise, but rather approximating the gestures, behavior, and sound quality is most important. These passages should always have a quasi-improvisatory feel.

VOCALIZATIONS: Vocalizations are written using IPA (International Phonetic Alphabet) with some parenthetical English translations for unintuitive pronunciations. It should be understood that the text must not be intelligible, rather the performer should aim to simply produce the types of syllables indicated, a sort of gibberish, mumbling, or schizophrenic muttering, always whispered and hoarse/percussive or chant-like. The IPA is utilized explicitly to eliminate any meaning/coherence/semantic content. Even if the pronunciation is not accurate, it will be closer to what I have intended than if I were to write the syllables in plain English. AD LIBITUM: Many passages are marked “ad libitum.” It is my intention that the improvisational passages will be informed by the types of gestures and textures in the rest of the work, and these will be assimilated into your gestural palette. These passages may be as sparse or as dense as you like, although some physical simultaneities will necessitate a more sparse treatment based on the other musical material. ***Note: Many of the notational indications in the score have been communicated directly to the performers verbally for the initial premiere performance, which took place October 4th, 2013. Further revisions of the score for publication will include keys and diagrams that indicate notation and performance practice more precisely. Any questions may be directed to: jasontbuchanan@gmail.com Performance duration: approx. 13 minutes for Oct. 3, 2013 version.

. . . durat(A)ions: "broken landscape"

6:5"

(q = c53)

c. 6.75 seconds

O! O

("!"!)

for Iktus

Percussion 0.

M E T A L

¿! O

l.v.

BAMBOO CHIMES

(repeat whenever possible, ad libitum)

999999 999999

¿!

Œ tttttttttttttt ( p to F ad libitum) PREPARED SNARE DRUM (pull springs)

*Cymbal stands will need to be weighted and wingnuts tightly locked with felt in order to bow cymbals freely

M E T A L

SPIRAL TRASH (BOWED)

l.v.

—! Oæ ã

( Œ)

M E T A L

;p££££££ p f

θɪ θred

l.v.

( Œ)

ROTO TOMS

BASS DRUM (w/superball)

(soft mallets)

P££££££££££££r.h.

Ø œ œ

BASS DRUM (w/palm of hand)

l.v.

(dynamics and rearticulation ad libitum)

Œ 0.

( $)

zə (si)

œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

AMPLIFIED BOX: WOODEN SIDES (w/fingertips)

AMPLIFIED BOX, LARGE DIAGONAL SPRING (bowed)

˙ £££££££££££££££££ 3 3 3 3 3 3

¿!

PREPARED RIVET/SIZZLE CYMBAL (bowed)

VOCALIZATIONS

V O X

‰.

("!"!) —! Ú ££££££££££££££££££ ; Oæ ãããããããããããããããããããããããããããããããããããããããããããã l.v.

(repeat whenever possible, ad libitum)

*All vocalizations are to be performed in a hoarse, voiceless whisper (without pitch). Contour, dynamics, and other parameters are ad libitum unless otherwise indicated. Any rhythms are suggestions, but the character should feel elastic and spontaneous. Parenthetical text should be read with irregular patterning; can be reordered, omitted, or reiterated ad libitum. l.h.

AMPLIFIED BOX, LOWER RIGHT NODE (bowed)

III

X 9 9 9 9 9 9

CONGAS (smooth)

^“p ££££££££££££ BAMBOO CHIMES

LARGE WIND GONG (bowed)

l.v.

VOCALIZATIONS

2013

(th) (thread)

PREPARED RIVET/SIZZLE CYMBAL (bowed)

l.v.

Jason Thorpe Buchanan

^“p £££££££££ !

*Cymbal stands will need to be weighted and wingnuts tightly locked with felt in order to bow cymbals freely BOWED CYMBALS

kɑːn (con)

‰

sə

**Each measure (0.5 in score) is equivalent to approximately 6.75 seconds in real-time i.e. 0:10 = 0:13:05 1:00 = 1:21 2:00 = 2:42, etc.

WOODEN SIMANTRA (rolled)

––––

(so)

(soft mallets)

O! O

son

( Œ)

‰.

ʃn̩

¿ . }}}}}}}}}}}

P œ

(dynamics and speed ad libitum)

‰

l.v.

LIGHTBULB CHIMES

*Cymbal stands will need to be weighted and wingnuts tightly locked with felt in order to bow cymbals freely

fər

(tion)

w/ right hand BOWED CYMBALS

AMPLIFIED BOX: METAL STUDS (drinked glass)

! ££££ “

# $

...durat(A)ions: "broken landscape"

2 0.

VOCALIZATIONS œ

ʃəs

£££££

9l.v.Œ

M E T A L

l.v.

O! tttttttttttttttttttttttttttt O ( p to F ad libitum) (character ad libitum)

£££££££££££££££ Œ # (sim. ad libitum) # F

;

GLASS BOTTLES IN A CLOTH SACK

££££££££££££££££££££££££££££££ # P p (sim. ad libitum) 0.

M E T A L

¿!

"¿ O

l.v.

SPIRAL TRASH (BOWED)

œœ œœ

poco decel.

¿! O

¿!

ALTERNATE FREELY BETWEEN SPIRAL TRASH & PREPARED RIVET/SIZZLE CYMBAL

¿ O

l.v.

AD LIBITUM ——

accel. reart.

0. ˙

ʃn̩

Œ (

% .

ʃəs

zə

P to f ad libitum)

(scious)

3 œ

fə

M E T A L

££££££££

˙ ˙

ʃəs

(scious)

(phi)

ðə

F % . œ

sə

(the)

0. V O X

(is) PREPARED SNARE DRUM (pull springs)

(si)

(a)

22 22 22

CONGAS

(soft mallets)

decel. reart.

ã }}}}}}}}}}}}}}}}}}}}

(sim. ad libitum)

‰

(so)

$ Œ

son

l.v. ("!"!) —! . —" Oæ . AD LIBITUM ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã O (tion)

AMPLIFIED BOX, LOWER RIGHT NODE (bowed)

III

pɑː

zə

# % .

l.v.

METAL SIMANTRA (pulsing)

VOCALIZATIONS

M E T A L

(scious) BOWED CYMBALS

PREPARED SNARE DRUM (pull springs)

CONGAS (smooth)

‰.

6 œ

zn̩d ɪm

spek

ʃeɪdz

(sand)

(shades)

SCRAPED TAM (+ drinking glass)

l.v.

AMPLIFIED BOX, SPRING (w/drinking glass)

% .

θaʊ

¿! O

(thou)

nɪŋ

əl

(ning)

(al)

*use a drum stick perpindicular to the face of the tam to produce a quasi-bowed sound

££££££££££££ p F (sim. ad libitum)

30 Œ

zn̩d (sand)

5 œ

trəm ʃeɪdz (trum) (shades)

fiːl

% . œ

wɪθ θruː (with)

(through)

‰

ɪŋ (ing)

tttttttttttttttttttttttttttttttttttttttttttttt p to F ad libitum)

(

...durat(A)ions: "broken landscape" 0.

40 V O X

M E T A L

təd dʊ

¿ O

M E T A L

son

ʃn̩

l.h.

66 6 6

ʃəs (scious)

(

‰

siz

siːvd

% . œ

kɑːm sə

5 œ

əv spen kæ

(so)

kən kluː ʒn̩ ɪn kæ

luː spen

(con)

‰

(sion)

son

5 œ

ʃn̩ tə

mæ

(sion)

kwə

KICK, PREPARED SNARE w/CYMBAL (open and close intermittently)

AD LIBITUM

son sɔːt

ðə næ :

siz

(sought)

: fi œ

siːvd

bə :

sə

(cieved)

(so)

sərz

: pri

spen

WOODEN SIMANTRA

666 666 666 666 6666

mə :

‰

spen

AD LIBITUM ˙ £££££££££££££££££££££££££££££££££££££££££££££££

pp to F ad libitum)

45 Œ

("!"!)

F ad libitum)

BASS DRUM (articulations)

BASS DRUM (w/superball and/or cymbal)

5 œ

‰

% ‰.

ʃeɪdz son

zənts

(shades)



‰

 ‰   

AP 0.

f ad libitum)3

>¿ ¿ > œ œ œ œ œ. ¿. œ 5

TOMS, HI-HAT

œ.

(sticks)

œ.

! ¿. O.

¿ Œ

WIND GONG (bowed)

Œ WIND GONG (w/finger cymbals)

ø PAD LIBITUM f (

ad libitum)

øp

œ. % O O %

keɪm

l.v.

: ɡɒn ən :

(came)

>O · .

AMPLIFIED BOX (w/ mallets)

—! Oæ ãããããããããããããã

AMPLIFIED BOX (bowed)

l.v.

TAM (drinking glass articulations)

ttttttttttt p to

œœ

(vocalizations should be in rhythmic unison with some component of the improvised bass drum part)

fə

spuːlz (reɪ taɪm nəs baɪ lɑː ri ɪm mə rə æz tə tuː bi dʊ he njəs)

(shades)

(vocalizations should be in rhythmic unison with some component of the improvised snare/cymbal part)

ʃeɪdz son zənts baɪ spek ədʒ

M E T A L(

WOODEN SIMANTRA (rolled)

(

əv

(dynamics and character ad libitum)

(hold drinking glass lightly against tam to produce buzzing)

V O X

: hi

teɪn

(tion)

22 22 22 22 22 22

M (bowed cymbals cont'd) E T A L

V O X

99999 99999 (repeat whenever possible, ad libitum)

ãŒ

("!"!)

sə

(so)

l.v.

V O X

III

O! O 22 22 22

>·

Œ (

P to f ad libitum)

ß r

ðɪs

("!"!)

: baɪl pliːt ðə :

zents

ʃn̩

(dynamics and rearticulation ad libitum)

999999

...durat(A)ions: "broken landscape"

7:5" 1. V O X

0 œ

saɪəns son sɔːt

6666 ã 666 666 666 666

(sought)

: ðə :

: moʊ ə temp :

ʒər

ʃn̩

: ɪt ɪm taɪm pliːt : wʌn

ʒərz

son

;

ˆˆ AD LIBITUM

(

son

(tion)

‰

F ad libitum) œ

ʒn̩

saɪəns

(sion)

7 œ

spek

(bass drum cont'd)

( ‰).

(iːv ədʒ kjə kəm reɪ fɪkst ðə li)

7 œ

taɪm

ʃn̩

(tion)

—— —— —— —— —— —— —— —— —— —— —— —— —— —— —— —— —— ——

accel. reart.

æz

% . œ

spek

ðə speɪ

kstə

%‰

:ə œ

kəm

“

spek

99999

( Œ)

 .

mənt :

Aß

kəm (com)

1. œ

də (di)

nɪŋ

(ning)

%‰

: ɔːr œ

taɪm

æz

œœ

pliːt

‰.

 .



TAM TAM (w/ glass or bowl damped)

pp to F ad libitum)

% .

‰.

(spa)

(spec)

speɪ

}}}}}}}}}}}}}}}}} (

15 œ

AMPLIFIED BOX (studs w/drinking glass)

CHIMES p ! LIGHTBULB ££££££££££££££

(com)

: n̩ rət ɪz bɪ :

(jux)

(tion)

zents ʃn̩

: prə trəm dʒʌks :

M E T A L

£££££££££££££££££££££££££££££££££££££££££££

III

V O X

9999

(xta)

1. V O X

l.v.

speɪ kstə (spa)

—— —— ——

(hard mallets)

¿ O

7 œ

("!"!)

WIND GONG (bowed)

METAL SIMANTRA

(q = 44)

: tɪks :

! ¿ O

BRAKE DRUM (w/coins)

CONGAS (articulated, pulsing)

; pp

Œ Ø )))))))))))))) Œ

CONGAS (smooth)

pp to F ad libitum)

(q = c53)

! £££££££££££££ (

5:5"

6:5"

(sures)

: ðət dəd :

(sure)

V O X

(q = c62)

kstə (xta)

TAM TAM (w/ stick end)

# ß

£££ # ‰.

ɪt :

5 œ

kən

PREPARED SNARE DRUM (pull springs)

WOODEN SIMANTRA (rolled)

l.h.

(

–– – –

(hard mallets)

pp to F ad libitum)

tttttttttttttttttt P

> > ¿ ¿ ¿œ ¿œ

KICK CHAIN SHEET + CYM on SNARE

(sticks)

>¿

+ cymbal on snare o cymbal off snare O cymbal on sheet ç

5 5

¿O >¿ # ç

> > ¿ ¿ ¿œ ¿œ 5

¿O >¿

ç 5

(q = c62)

9 9 (ttttttttttttttttttttt p to P ad libitum)

! ££££ p F

CONGAS (smooth)

O! O

ði

M E T A L

—— —— —— —— —— —— —— —— —— —— —— —— —— —— —— —— 6

r.h.

spiːd

III



M E T A L

‰.

5 œ

ɪn

‰

steɪts

5 œ

ɡl̩ɪŋ

bət

‰ 5

‰.

ðə

tttttttt

> > > > ¿ ¿ ¿œ ¿œ ¿ ¿%¿œ ¿œ ¿ Œ ã > ¿O >¿ O¿ ¿ 5 5 # 5

ç5

dʊ

LIGHTBULB CHIMES

#5 ç

‰

ði

% . œ

P (hard mallets)

BONGOS (smooth)

œ œ œœœœ œœ œœœœœœœœ œœ BONGOS (articulated)

£££££ #

son saɪ ti

! £££ “

seɪm

: wʊd sloʊ :

(repeat whenever possible, ad libitum)

; %

œ œ

sloʊ

saɪəns

(slow)

œœ œœ œœ

ROTO TOMS

l.h.

( ‰)

daʊn (down)

( %) > ( %) > ( ‰ )

METAL SIMANTRA (roll)

££££ Œ # F

seɪm

ðə

%Œ

——æ ad libitum (6x ) —— ad libitum (5x ) æ > ( %) ( %) ( ‰ )

! ¿ O

( Œ)

poco accel. reart. poco decel. reart.



GLASS BOTTLES IN A CLOTH SACK

‰

1. œ

splɔːr

(splore)

30 œ

% . œ

tɪ kwɑːn tɪv

! ¿ O

("!"!)

(sents)

(tion) (ti)

(repeat whenever possible, ad libitum)

>—— —— —— —— – – – –

METAL SIMANTRA

3 œ

(sim. ad libitum)

*if instrument is too large to bow, use a drum stick perpindicular to the face of the tam to produce a quasi-bowed sound

O! O

te ʃn̩ tə juː (u)

l.v.

SCRAPED or BOWED TAM

zents

(hard mallets) w/ left hand

V O X

j r

: vɪ fər meɪ : saɪəns œ

9999999 9999999

: ʒərz kəm wʌn ðət :

("!"!)

%‰

tempo & rhythmic accentuation, accel & decel, lateral motion ad libitum

( Œ)

sloʊ

l.v.

(tam w/stick end cont'd) ££££££££££££££££££££££££££££££££ ( pp to F ad libitum) M % . E . Œ Œ Œ T A L

£££££££££££££££££££££££££££



(slow)

(speed)

1. V O X

Œ l.v.

SPIRAL TRASH CYMBAL ROLL (w/mallets)

poco decel. reart.

BOWED CYMBALS

: dʒə rə :

(the)

;

seɪm

PREPARED SNARE DRUM (pull springs)

M E T A L

...durat(A)ions: "broken landscape"

7:5"

ALTERNATE FREELY BETWEEN WIND GONG & BOWED CYMBALS

ɪn

ti kaɪnd ə

AMPLIFIED BOX (rolled, wooden side/top)

# œ

(a)

5 œ

ə tə

(i) (to)

l.v.

# (sim. ad libitum)

( " ! " ! )(repeat whenever possible, ad libitum)

999999 999999 —. —

BRAKE DRUMS

ØŒ

...durat(A)ions: "broken landscape"

6 1.

40 V O X

3 œ œ

spiːd kwɑːn ti nər tɪ

M E T A L

("!"!)

(cymbals cont'd)

tɪvte tə

(ta) (ti)

999999 999999

45 %

3 œ

ɪks (də mʌl niː nə) kaɪnd

əv

(mul) (nei) (ni)

l.v.

‰

(of)

5:5"

(q = 44) 1.

tə

(to)

(hard mallets)

^“ ££££££££££££££ 11

(

M E T A L

(metal simantra cont'd)

BASS DRUM (smooth)

æz III

F ad libitum)

sted

l.h.

(tam cont'd)

(amplfied box cont'd)

1. œ

45 Œ

3 œ

ɪŋ

wəl

(ing)

(is)

(hard mallets)

sub

damp inside roto toms w/left hand

‰.

3 œ

ːəs l.v.

(

ɡɪn

ɪts

SCRAPED or BOWED TAM (+ drinking glass)

Aß

‰.

P to f ad libitum)

¿! O *use a drum stick perpindicular to the face

 .

(sim. ad libitum)



%  .

% .

of the tam to produce a quasi-bowed sound

2 >2 > > >˙ œ œ œ œ >˙

çp

(ther)

(ous)

+DRINKING GLASS (lightly, buzzing against tam)

TOMS / CONGAS / KICK

: ðər :

(splore)

( ‰)

: ɪn meɪn ʌp mɪŋ :

w/ left hand

(dynamics and character ad libitum)

P ! £££££££££££££££££££££££££££££££££££ LIGHTBULB CHIMES

M E T A L

œœœœ

ROTO TOMS (articulated roll w/right hand)

l.v.

F splɔːr

(ci)

BOWED CYMBALS

p poco decel. reart.

poco accel. reart.

(fi)

saɪ

mæ

: fə :

O! O

˙ £££££££££££££££££££££££££££

AD LIBITUM

M E T A L

;

(hard mallets) BASS DRUM (articulated)

11 11

BRAKE DRUMS

BAMBOO CHIMES

; pp

l.v.

“ 999999999 999999999

WOODEN SIMANTRA (articulated roll)

(hard mallets)

–– –– –– –– –– –– –– –– –– ––

2 >2 œ œ œ ˙ ˙ (new quintuplets slower; 7:5 ratio) TOMS / BONGOS / KICK

(sim. ad libitum)

(maintain approx rate of rhythm, disregarding new 'tempo')

çp sub

...durat(A)ions: "broken landscape" 1.

55 V O X

tʃər

‰

dʊ

7 œ

ɪn rekt sɪm θruː bi ʃn̩

(be) (tion)

ðət

(that)

7 œ

ƒ7

‰

tɪ

5 œ

tɪv

mæ

tə

(ta)

ði

(ti)

hens

(the)

(hence)

‰

ʃn̩

: ne li :

ʃn̩

(tion)

% . œ

ʃoʊn θruː

(tion)

(q = c53)

: neɪ mə :

(shown) (through)

2 >2 2 >2 >2 66 6 66 66 6 > > > > > ‰ % ‰ œ œ œ œ œ œ œ œ œ œ œ œ 6 >˙ œ œ >˙ ˙ 6

WOODEN SIMANTRA

2. V O X

ə tuː ði

2 >2 >œ œ > > > % œ œ œ œ œ œ >˙ œ œ >˙ ˙

ã œ ˙ . œ >œ œ >œ œ ƒ

6:5"

ði

(the)

% . œ

5 œ

>¿ l.v. ß ( %)

trə

wl̩

(tro)

(will)

ƒ pp

TOMS / CONGAS / BRAKE DRUMS

sub

% .

stɪk

dʊ

‰.

ʃn̩

ɪz

(tion)

ðər (ther)

‰

piːs

(piece)

‰

kɑːn (con)

ʃn̩ (tion)

1> 2 2 >œ 5

sə

tə

(si)

‰.

(to) BASS DRUM (w/ mallets)

BASS DRUM (smooth)

(roto toms w/damping cont'd)

WIND GONG (crash)

(sim. ad libitum)

˙ £££££££££££££££££££££££££££ ˙ ˙ . > #

;

(sim. ad libitum)

(hard mallets)

AMPLIFIED BOX, SPRING (w/drinking glass)

III

M E T A L

% . ã

! 5

R .



% .

:ɪ œ

θruː

M E T A L

(through)

ã >œ˙

2 ‰ œ

kən

pɪk viːl

oʊn

 ‰.

ɪn

SMALL WIND GONG (smooth/sustained w/finger cymbals & stick)

(dynamics and rearticulation ad libitum)

SMALL WIND GONG (articulations w/finger cymbals & stick)

AD LIBITUM

(dynamics and rearticulation ad libitum)

}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}} (

pp to F ad libitum)

: ʒə

(is)

(ex:



əv :

AD LIBITUM

(metal bowl/rin or canister possible as substitute for glass) AMPLIFIED BOX: METAL STUDS (drinked glass)

2. œ

AD LIBITUM ©©

(ex:

rhythms ad libitum)



ði

(the)

ad libitum)

sətʃ (such)

ɪt

brɪŋ ə

pɔɪnt

: li wl̩ :

¿ O >ƒ (w/finger cymbals) WIND GONG (crash)

l.v.

də

( Œ)

bl :

7:5"

...durat(A)ions: "broken landscape"

8 2.

10 V O X

‰ . 5

ʃn̩

M E T A L

1> 1 >2 ã œ >œ œ>

M E T A L

V O X

! ¿ O

ɑːn di

seɪ

‰.

5 #

: ɪf

> >œœ 2 ‰ œ 2 %

ten

2.15 œ

seɪ

5 œ

‰.

bət

III

‰.

ʃəs son trə

5 œ

ði

(tro)

2.15

laɪf :

2.20

‰ .

(the)

taɪm

CYMBALS (rattan scrape)

1 1 1 2 > >2 1 >2 2 %œ œ> œ % œ œ >œ œ >œœ >œ

(scious)

l.v.

əv

‰.

: ɪt

tə

əz :

ðə

(ta)

1> 2 > 1 1> % 2 % 11 > 12 2 1 1 2 ‰ >2 ‰ % 2 2œ œ % œ> 2 % 2 ‰ 2 œ >œ œ œ>œ>œ œœ 5

# 5

2.25

x. 5

1 > 2 > 1 1 1> 2 2 œ œ>2 5

%) > ( %) > ( %) > ( ‰) ( ——æ ad libitum (6x ) —— ad libitum (5x ) % % æ ( ) ( ) > > > ( %) ( ‰)

1 % >2 2‰ .

l.v.

sub

ði

ðər (əv nɔːr ə dəd te plɪs) (nor)

(ded)

l.v.

 .  .

METAL SIMANTRA

ã }}}}}}}}}}}}}}}}

(reɪ

dʒəz

(shown)

¿.

l.v.

(ges)

J ‰   J

! ¿ O

V ‰p ADPLIBITUM

("!"!)

(plic)

SCRAPED or BOWED TAM (+ drinking glass)

( Œ)

( ‰).

ʃn̩ (rɪ pliːt kən) ʃoʊn (θruː mæ ðət ɡræspt ʃn̩) tʃər (fə) (shown)

(through)

(ture)

ad libitum)

5 œ

sɪm (oʊn ɪn)

(hold drinking glass lightly against tam to produce buzzing)

ß(metal bowl/rin or canister possible as substitute for glass) 3

ɪt)

vər

HI-HAT (w/mallets)

(

reɪ

ʃoʊn

2.15

—! . Oæ .ãããããããããããããããããã

l.v.

SIZZLE CYMBAL (w/mallet)

ß p

tempo & rhythmic accentuation, accel & decel, lateral motion ad libitum SPIRAL TRASH (prepared w/sizzle chain)

ß ^“£££££££

BAMBOO CHIMES

(cal)

METAL SIMANTRA (roll)

l.v. O! 9 O 9

BOWED CYMBALS

(the)

kl̩

AMPLIFIED BOX, LOWER RIGHT NODE (bowed)

M E T A L

ß Œ

(on)

V O X

(q = c62)

HI-HAT (w/pedal)

AD LIBITUM p to P ad libitum)

(

2.15 V O X

M E T A L

dʒəz

BOWED CYMBALS

( ‰)

3 œ

θruː

O! O

(through)

ðət

("!"!) (that)

‰.

sɪv

(ət ɑːn laɪn æk səz)

9999 Œ 9999

—— —— ——

sɪd (æk əv ) ʃn̩

spaɪt

ʃn̩ (ðət wʌn wɪθ)

BRAKE DRUMS / WOODEN SIMANTRA

l.v.

(hard mallets)

–– –– –– ––

zɪz

‰

stɑːp LIGHTBULB CHIMES

(freely accelerate or decelerate so that the 4:3 polyrhythm gradually drifts apart)

!£ “ P

;

...durat(A)ions: "broken landscape" 2.35

2.30

! ¿ 999 O 999

(side)

l.v.

(bowed cymbals cont'd)

2.40

tttttttttttt

pp to F ad libitum)

(sponse)

Œ Px

WIND GONG (w/rattan)

WOODEN SIMANTRA

V O X

(bi əz ɡræ ɪ

laɪn)

( Œ)

tʃər (əv

əz

ɪn)

(ture)

‰

sɪm (lɔːŋ

pra)

ʃn̩ (tion)

3 œ

kən

poco

‰

ʃn̩ kəm

œ œ

: ɪm œ

ʃn̩

nef

( Œ)

li :

V O X

(

‰

ʃn̩

ʃəs

(dʊ)

(scious)

¿¿! OO

ɪz

(fɝːst

seɪ

ɪm)

(first)

ɪz

% . œ

seɪ

ʃn̩

‰

3 œ

deɪ

ʃn̩

‰.

M E T A L

ã P

(hi-hat w/pedal cont'd)

M E T A L

. (vɪs) œ

sted

(tions)

poco accel. reart.

kən

J 

Œ

( ‰).

(fix)

(tion)

SPIRAL TRASH (BOWED)

V pADPLIBITUM HI-HAT (w/pedal)

(

2.45

ʃn̩

fɪks

əz

"¿ O

ad libitum)

son

—! ££££££££££££££££££££££££££££££££££ Oæ ããããããããã p ƒ p ƒ p ƒ f ß *if tam is too large, use a drum stick perpindicular to the face of the tam to produce a quasi-bowed sound J  }}}}}}}}}}}}}}}}}}}}}}}}}}}} £££££ P F Ú 3 ( pp to F ad libitum) ßP > ç

! l.v. ¿ . Op .

BOWED CYMBALS

poco

V O X

(zənt ti pɒ) ʃn̩z

*Cymbal stands will need to be weighted and wingnuts tightly locked with felt in order to bow cymbals freely III

œ œ

2.45

Œ F Œ

pp to F ad libitum)

stɑːp

(si)

66 66 AD LIBITUM

˙ ££££££££££££££££££££££££££££££ % .

METAL SHEET (w/ rin or glass)

BASS DRUM (w/superball or fingertips)

2.45 œ

11 11 11 AD LIBITUM p P

(hi-hat w/mallets cont'd)

BRAKE DRUMS

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

$ 3

spɑːns (huː ə) sə ðæt (wəz eɪ də ɪm hi)

(space)

PREPARED SNARE DRUM (pull springs)

(

( Œ)

saɪd (rə ɪt) speɪs

WIND GONG (bowed + glass)

M E T A L

AMPLIFIED BOX (bowed)

SCRAPED or BOWED TAM (+ drinking glass)

l.v.

AMPLIFIED BOX, WOODEN SIDES (smoothly w/fingertips or glass/bowl) sub

AMPLIFIED BOX (studs w/fingernails)

sub

AMPLIFIED BOX (springs w/fingers)

TAM TAM (w/ rin damped)

AMPLIFIED BOX, WOODEN SIDES (w/fist)

: kænt ə

( Œ)

££ l.v.

O! O

friː :

l.v. ! ¿. O.

l.v.

: ɪm əz li aʊt :

! ! £££££££££££££££££ l.v. ¿ 999 “ ( pp to F ad libitum) O

WIND GONG (bowed + glass)

BOWED CYMBALS

2.45

("!"!)

LIGHTBULB CHIMES

pre

WIND GONG (bowed + sticks)

¿ O

l.v.

("!"!)

hoʊl

(whole)

5 œ

kri

999 Œ (sticks)

KICK CHAIN SHEET + CYM on SNARE

>¿

> ¿¿ œ

...durat(A)ions: "broken landscape"

5:5"

2.50

(q = 44)

V O X

M E T A L

III

(

M E T A L

3.0

(ʃn̩z wi) spiːk

(ri iːtʃ)

laɪn ɑːn (line)

(on)

¿ O

¿! O

ʃn̩

səz

ðət əz (that)

ɪn

ðɪs

(us)

P to f ad libitum)

% . œ

("!"!)

l.v.

ɪts

sɪd

(this)

ʃn̩

‰

3 œ

ɪz

(tion)

ʃn̩

spaɪt vɪs

‰

(spite)

3 œ

poʊ ɪn

dʊ

‰

3 œ

zɪz ɡoʊz

(goes)

stɑːp

(repeat whenever possible, ad libitum)

l.v.

9999999999999999 9999999999999999 ‰

BASS DRUM

3.0

l.v. ( "!"!) —" Oæ ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

ðət

p to P ad libitum)

% . ã

l.v.

3.0

ALTERNATE FREELY BETWEEN SPIRAL TRASH & PREPARED RIVET/SIZZLE CYMBAL

¿ O

O! O

BOWED CYMBALS

(each)

poco decel. reart.

( (hi-hat w/pedal cont'd)

(brake drums cont'd)

‰

M E T A L

(q = c71)

j 2.55

(terc)

(wooden simantra cont'd)

V O X

(zeɪ le) ʃn̩z (tɜːrk) ðət (meɪk əv) ðiːz (dɑːk) zəb ðen (ti əv) ði (tions)

8:5"

(mallets)

˙.

(tam w/rin damped cont'd)

(

‰.

! ¿ O

SCRAPED or BOWED TAM (+ drinking glass)

AD LIBITUM

‰

P to F ad libitum)

Aß

3.0

‰

V O X

rə

5 œ

lɪ

‰ 5

>> > ¿ ¿ œ r œ ¿® ¿ ã ¿¿ >¿ O 5

(dynamics ad libitum)

¿O

# ç

> ¿ ¿œ ¿> R

¿ ¿ œ #

(wind gong cont'd) l.v.

M E T A L

ɪm

>> œ ¿ ¿O

> ¿

‰

5 œ

lə

> ¿¿>œ r ¿¿ O ¿

#5 ç

‰.

>> ¿ ¿ œ %. œ ¿ ¿O

> > ¿ %> ¿¿ œ ¿O ¿r¿ 5

liːvd

¿ ¿ Œ

BRAKE DRUMS (w/coins)

ØP Œ

ɪn

LOW TOM

sub

KICK THUNDER SHEET (w/chain)

œ œ œ ç p ¿

(hard mallets)

j ¿

7:5"

(q = c62)

3.5 V O X

3 œ

ðət

ðə

(that)

3 œ

ət ne

‰

zə

vɪ

3 œ œ

ðə ʃn

WIND GONG

>¿

(laɪn bə ə)

speɪs (space)

>2 2j >2 2 >œ >œ >œ œ œ œ> œœ>œ ˙ ˙˙ >œ ˙ œ œ >œ >œ ˙

( Œ)

ãŒ

¿ O æp Œ

‰ 3

strək

ən

‰

(struck)

stɑːp

TOMS / ROTO TOMS

ƒ# 6

l.v.

j>j j 2 2> 2

œ >œ œ >œ œ >œ œ œ >œ >œ ‰ Œ >œ œ >œ œ >œ . >œ >œ (hard mallets) f

3.15

(sticks)

M E T A L

(q = 44)

3.10

TOMS / CONGAS / KICK

SPIRAL TRASH (rolled) l.v.

ƒ 3#

‰

>œ

3 œ

noʊ

>œ œ

# 6ƒ

‰.

tɪd

>j >j j r j >> j> 2 2 2 2 2 2 2 2 2 œ > > >œ > œ > > % % œ œ œœ œ >œ œ œ œœ œ œ

çp

sub

ƒ #

6 œ

moʊ

ç6

j >j 2 >> 2

>œ % œ >œ > œ œ œ 22>22 >œ >œ AD LIBITUM œ œ ˙ >œ (dynamics and character ad libitum)

œ. œ >œ œ >œ œ œ >œ >œ œ >œ ‰ >œ >œ . >œ œ >œ ‰ >œ œ œ >œ 6

ƒ6

taɪm

KICK, SNARE/CYM

ƒ ç7

% 3

ʃn̩z

ƒ#

3.15 : fens liːvd(lieved) ʊl oʊn :

səz

>œ >œ >œ œ >œ >œœ œ ‰ ‰ >œ œ >œ . (tions)

( Œ)

sted

œ> % >œ œœ œ œœ 6

>œ œ œ >œ

ɪn)

tə (juːst (used)

l.v.

—! Oæ ãããããããããããããããããã ß AMPLIFIED BOX (node bowed)

V ADP LIBITUM f TOMS, HI-HAT

(

3.15

‰.

( " ! " ! ) (freely change location of bow on springs) —! . Oæ . ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã ( P to f ad libitum) ß AMPLIFIED BOX (node bowed)

III

>j 2

3.15

M E T A L

...durat(A)ions: "broken landscape"

5:5"

ad libitum)

zə

PREPARED SNARE DRUM (pull springs)

M (brake drums cont'd) E T A L

ãŒ

WOODEN SIMANTRA

–– –– –– –– ––

ttttttttttttttttttttttttttttttttttttttttttttttt (pull springs cont'd) P TOMS / BONGOS / KICK >j j KICK CHAIN SHEET + CYM on SNARE 22 2 2 2 > > > œ œ œ >œ œ ® œ œ œ >œ AD LIBITUM ˙ ˙ ( pp to f ad libitum) 5

...durat(A)ions: "broken landscape"

12 3.20

3.30

3.25

‰

( %) .

5 œ

ðə (ti ɪz ər fər) speɪ (laɪn) steɪk (li) ʃn̩ I

(kick, snare/cym cont'd)

(switch to hard mallets when possible)

ƒ %

V O X

12 >2 2 0æ >œ œ œ> œ> 000

TOMS / CONGAS / BRAKE DRUMS

6 œ

zənt

‰.

‰

3 œ

wʌn

‰

sə

kə

‰.

‰

3 œ

ɪt

poco accel. reart.

5 œ

tuː

sub

% .

ʃn̩z

əz

tttttttttttt (

poco decel. reart.

æ p ß

‰.

WOODEN SIMANTRA (articulated roll)

PREPARED SNARE DRUM (pull springs)

3.30 œ

ɪn

sə

‰

əv

> > > œ œ œ œ >œ >œ œ œ œ . œ >œœ œœ ã % œ> œ >œ % >œ >œ ‰ >œ #

V O X

III

M E T A L

œ œ. œ >œ >œ œ

BASS DRUM

‰.

AD LIBITUM ( P to f ad libitum)

‰

˙˙ ˙

‰

˙. > ç

‰.

˙ ˙ > ç

( ‰)

: ʌn bɪ per :

tə tə ("!"!) — Oæ ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

ən

‰

3 œ

bl̩

vər

pæst

ɪn

zeɪ

‰

moʊ

METAL SHEET (struck)

(

AD LIBITUM P to f ad libitum)

j ˙ ˙ ££££££ ˙> ˙ ˙ ˙> ‰ ˙ ˙ > P BASS DRUM (w/superball or fingertips)

lə

əv

‰

tɪd

——æ

METAL SIMANTRA (roll)

pɔɪnt

baɪl

l.v.

# (nət

j >% ‰ ˙ ˙˙˙˙ ˙ p Jç>

3.30

(toms, hi-hat cont'd)

V O X

HI-HAT

p to F ad libitum)

3.30

AMPLIFIED BOX

(articuated sounds, not sustained)

AD LIBITUM ©©© (

pp to f ad libitum)

s) LIGHTBULB CHIMES

M E T A L

(pull springs cont'd)

tttttttttttttttttttttttttttttttttttt

(snare/cym + thundersheet cont'd ad libitum)

! ££££££££££££££££££££ “ (

KICK DRUM

P to F ad libitum)

AD LIBITUM (irregular; dynamics and rhythm ad libitum)

7:5"

(q = c62)

3.35 V O X

(laɪz)

ðət

M E T A L

5 œ

zəz ðə (son) ðət

5 œ

ðəm

‰.

teɪk

CYMBALS

tttttttttttt

(q = 44)

3.40

‰.

5 œ

əd

prə

‰

lɪ

‰

M E T A L

zə

‰

ɪf

spiːk

ã ˙ ˙ ˙ ‰. p > 3

% . œ

‰.

(speak)

(metal sheet cont'd)

V O X

˙> ˙ ˙

3 œ

bə

‰.

zə

sed

‰

son

x >2 12 ‰ >% œ .

1 22 % 2 2 2 2 . j 2 2 > % œ> œ> % œ >œ >œœ > 5

3.45

% .

˙ > F

‰

>œœ

ƒ j

speɪs

iːtʃ) sed

(ən

sɪŋ

(fə)

sə

( Œ)

r 1 22 % 2 2 2 > > œ ‰ p

(kɒz ɪn) speɪs

( %)

% .

ðə

ɪt)

(ɡl̩

soʊl

‰

( ‰)

ði

˙.

self

( ‰).

ʃn̩

AMPLIFIED BOX (a CONTRASTING sustained sound OTHER than bowing)

AD LIBITUM (

əz 5

BASS DRUM

AMPLIFIED BOX (any sustained sound OTHER than bowing)

III

(with fingertips)

3.45

(vɪ ne muːv)

>œ >œ >œ >œ >œ œ >œœ œœ >œ œœ œ œ œ œ >œ % œ œ œ œ œ % >œœ œœ

TOMS / ROTO TOMS

r 2 12 >œ

sub

zə

>œ >œ

dɪ

(sing)

sɪŋ (krɒs nət dɪ pɑː kən)

‰

œœ ‰

‰.

sə

taɪm

V O X

2> œ %

CYM on SNARE

‰.

(with fingertips)

12 . 2 22 % 12 2 2 2 x x x xœ > >œœ> ‰ . œ > > œ œ . J 5

3.45

l.v.

TOMS / CONGAS / BRAKE DRUMS

...durat(A)ions: "broken landscape"

5:5"

AD LIBITUM

pp to f ad libitum)

ã ©©©©©©©©©©©©©©©©©©©©©©©©©©© (amplified box articulated, cont'd)

(

pp to f ad libitum)

M E T A L

£££££

(kick drum cont'd) (irregular; dynamics and rhythm ad libitum)

speɪs səb

6 œ

3.45 œ

( %) ( %) œ

6 œ

ti (mənt) soʊl (li) ðə (aʊər) self kɑːn ði (pjʊr) ʃn̩ sten ʃn̩ ʃɔːrt (our)

——

(short)

—— —— —— —— –– –– –– –– –– –– –– –– ––

BRAKE DRUMS & WOODEN SIMANTRA

‰.

ʃəl (shall)

zækt

(continue pulsing regularly with variations on this pattern)

(ləp

reɪ)

...durat(A)ions: "broken landscape"

14 3.50 V O X

% ‰

5 œ

2 œ >œ2 ã œ ‰ ‰ ƒ

ðə

J 

right hand w/ hard mallets

V O X

III

M E T A L

sten

‰ x˙ % ˙ 3

‰

ʃn̩

3.55

‰.

22 12 2 2 2 > % œœ .. > œ ‰.

ʃn̩ ði

tend

DARK CYMBAL (w/handle) on BASS DRUM

‰

œœ >

tɪv 5

œ ‰.

œ œ. > P

12 2 %œ > % J

ʃn̩

‰ >œœ ..

4.0

5 œ

‰.

ɪn

5 1 22 % 2 2 2 2 2 > œ œœ > ‰ œ> ‰

‰.

‰

% . P! Œ

ɑːn

‰

‰ ‰

ʃn̩

ʃɔːrt

 %  ( ‰)

x˙ ß

ɪŋ

(ing) teɪk

ʃɔːrt



(short)

: sten œ

: ɒf ɪks əz tret :

˙ ß

x>˙

5 œ

J



x˙j ‰ . %

(short)

səb

‰

(sub)

ðə

‰

səb

speɪs

% .

speɪs

5 œ œœ

soʊl

  

əv

% .

METAL SIMANTRA

self

mənt

x>˙j Œ ß

 ( %)

ɡreʃ

mɪs

—— —— ——5 >—— % Œ P !

dɪ

1 ‰ 2 2 ‰. > œ >œ % >2 >œ >>œ œ œ ‰.

1 2 >2 œ2 2 > % œ œ.

4.0 œ

M E T A L

1 2 %2 >œ ‰ > .

(tro)

>œ

trə

J 

x>˙j Œ ß

J

x>˙j

4.0

‰ 3

: ɑːn ten lɪ muːv :

ʃn̩z

(space)

: li təd

moʊ :

(tions)

(amplfied box contrasting sustained sound cont'd)

ã ©©©©© Œ (articuated sounds cont'd)

AMPLIFIED BOX (CONTRASTING articulated sound)

AD LIBITUM ©©©©©©©©©©©©©©©©©©

(

pp to f ad libitum)

4.0 V O X

ʃn̩

: əv ɪgz :

poco decel.

(brake drums & wooden simantra cont'd)

WIND GONG

l.v.

sub

( ‰).

ðeɪ

bi təm) speɪ dʒek

(ret l.v.

ʃl̩

‰

θɪŋz (things)

tə

% . œ

bl̩

poco decel.

œœœœœ 6

sub

...durat(A)ions: "broken landscape" 4.5

% .

V O X

% ã‰

1 2 œ2 > .

ƒ 5

V O X

ər

(are)

‰.

M E T A L

‰

ɪn

% .

zɪks

ʃl̩

% ‰

vɪz

(tial)

WIND GONG

3 œ

triːt

Œ Œ

6 6

Œ

% x˙ Œ ß

spek

əz



% 6 6



% x˙ Œ ß

‰

‰ Œ

3 œ

taɪm



‰

:ə

triː :

% .

 3

x˙ ß

ðə

J 

P F

ã©©©©©

M E T A L

œ >œ 5

% œ>

1 2 2 2 >œ ˙ > >œ ‰ 5

4.15

SPIRAL TRASH BOWED (w/sizzle chain)

l.v.

1. 1 22 >œ2 œ > œ >œ œ> 2œ> jœ œ % % œ > ˙ ˙ ‰

zəb

CYMBALS

AD LIBITUM (brake drums & wooden simantra cont'd)

(slowing, becoming more sparse ad libitum until complete decay)

ɪn

ðeɪ

spek

‰.

5 œ

ɑːr

PREPARED SNARE DRUM (pull springs)

(

spɑːns

99 999999 (dynamics and rearticulation ad libitum)

: ər tɪv :

4.15

("!"!) —! — Oæ ãããããããããããããããããããããããããããããããããããããããããããããããããããããã O ß : pɑː taɪm ðət ʃn̩ ðɪn : zaɪdz sonz :

(sponse)

ttttttttttttttttttttttttttttttt P to F ad libitum)

("!"!)

AMPLIFIED BOX (node bowed)

(amplfied box contrasting sustained sound cont'd)

ʃl̩ :

M E T A L

( ‰).

1 % 1. 22 >2 œ j% œ œ > j œ >œ >2% 2 ˙ ‰ ‰˙

¿! O

teɪk

: vli dæd

: tə dək maɪnd eɪ :

V O X

+KICK DRUM

V O X

III

4.15

l.v. x x > 1 F 1 1 > 1 >r ‰. ‰ 2 2 >2œ 2œ 2 . œ œ> >œ % >œ % œ2> > œ œ2 2 . œ >œ œœ ® 2œ 2>œ œœ> œ> >œ ‰ ‰ ‰ ‰ % # 5 ç > 5# ç 5 5 5 5 ç 5 # F

ən

% .

ãŒ

% .

4.10

¿æ. (rolled) O.

WIND GONG

l.v.

7:5"

...durat(A)ions: "broken landscape"

5:5"

(q = c62)

GLASS BOTTLES IN A CLOTH SACK

(q = 44)

4.25

4.20

>2 >2 2 > >2 œ˙ œ œ œ œ

WOODEN SIMANTRA

I Fl.

ã >œ ‰ œj œ 5

TOMS / CONGAS / KICK

poco accel.

66 66 66 66 66 66 66 66 66 66

çp 5

sub

sonz II

M E T A L

99 Œ

ãŒ

% . ˙

spɑːns

4.30 l.v.

CYMBAL CRASH

(TACET 10"; 4:30-4:39)

4.30

> —— ——

ðɪn

METAL SIMANTRA

! ¿ O

WIND GONG (bowed)

——æ —— æ ç œ >± >± >>œ% >œ%> p œ œ (sponse)

TOMS / ROTO TOMS METAL SHEET (struck)

‰.

xxx w/ left hand x ( Œ) x

sub

( ‰)

: kænt dʊ :

—— ——

sə

: kænt :

—— ——

4.30

V O X AMPLIFIED BOX (any sustained sound OTHER than bowed node)

III

l.v.

M E T A L (coins, rough metal, center of spring bowed, etc.)

AD LIBITUM



 

TAM TAM (w/ bowls)

ç O

R .

   .



4.30 V O X

: pɑː taɪm ʃn̩ sonz :

: ʃn̩

l.v.

M E T A L

ãŒ

BRAKE DRUMS / WOODEN SIMANTRA

AD LIBITUM ( P to F ad libitum)

2 œ > œœ >œ ˙

˙ ˙

TOMS / BONGOS / KICK

>2 5

taɪm : PREPARED SNARE DRUM (hit/pull springs when possible)

> >2 2

(

ttttttttttttttttttttttttt P to f ad libitum)

>2 >œœ >œ >œ >œœ œœ >œ œ œœ >œ >œ ˙ ˙ j 2

j 2

>j> j> 2 2 >2 2

j 2>

j 2

% >œ ˙

œ >œ œ >œ œ œ œœ œ

>j >j j 2 2>2

>œ œœ

>j 2

œ œœ œ >œ % œ >œ

...durat(A)ions: "broken landscape" 4.40

4.35 I

ãŒ

V O X

M E T A L

ðət



V ‰ P¿ ¿

HI-HAT (w/pedal)

III

% ã .

(tam cont'd)

ʃn̩

>˙ >œ œ .

ƒ 3

kænt

2 >2 2 >œ œ ˙ >œ

2 >2 2 >œ ˙> >œ œ

TOMS / CONGAS / KICK

   ! R ( Œ)

kænt

METAL SHEET (w/bowls)

4.45

J

kænt

2 2 2 >x x x x œ >œ ˙> >œ ç pp CYM on SNARE

sə

( ‰)

: tə friː :

ß5

  p

J ! ß

ʃn̩

( ‰)

:ə wə :

(tion)

M E T A L

zaɪdz (sides)

4.45

.

zaɪdz (sides)

( ‰)

‰

ðɪn



(thin)

% . P

% . F

‰.

J

( Œ)



( ‰).

(edge)

‰

(edge)

( Œ)

R ££££££££  ! TAM TAM (scraped with perpindicular stick or knitting needle)

ß p

sub

! ß

(edge)

. 6



(crash!)

( Œ)

dʒek

( ‰) # ‰ (choke!)

: taɪm : (time)

(hit springs when possible)

tttttttttttttttttttttttttttttttttttttttttttttttt WOODEN SIMANTRA >j >j j >j > >j > > > j >j j j> j> j j >j> j> j j 2 2 2 2 2 2 2 2 2 2 2 > > 2 2 22 22 2 > >2 2 2 > 2 2> 2 2> 2 2 2 > > 2 2> 2 2 66>6 6 >66 .. ® >6 œ > > > > > > > > j > % % % % ® ® % % ® œ œ œ > œ œ œ œœ œ œ œ œ œ œ œœ œ >œ œ œ >œ œ œ œ œ >œ œ œœ œ >6 AD LIBITUM ã >œ œ œ œ ˙ ˙ ˙ ˙ œ œ ˙ œ œ >œ >œ >œ ˙ >œ >œ >œ ˙ (wooden simantra cont'd) 5 5 5 5 7 7 5 p 9 4:3 9 7 p ß p7 ƒ ß p7 9 sfffz ß sub

sub

: kən ðeɪ :

(jec)

4.45 V O X

sub

4.45

%

...durat(A)ions: "broken landscape"

7:5"

(q = c62)

4.50 V O X

% . œ

5 œ

O! ££ O P

(q = 44)

4.55

5.0

BOWED CYMBALS

sonz spɑːns

rə

l.v.

GLASS BOTTLES IN A CLOTH SACK

BRAKE DRUMS / WOODEN SIMANTRA

Ø66 11 66 66 11

ß p

3 œ

saɪəns baɪ

.

kɑːm

M E T A L

‰

( ‰)

III

sə

zəb

ʒn̩

baɪl

( ‰).

: ən :

V O X

–– – –

( Œ)

kəm (com)

(wooden simantra cont'd ad libitum)

‰.

( Œ)

ðə

(the)

5 œ

5.0

5 œ

tend tɪv te stret trat ter steɪ ʃn tɪn ex ti reɪ kɑːzd (caused)

ß p

spek

θɪŋz

(things)

(tion)

(ty)

( ‰) ( ‰)

‰.

kɒz

ʃl̩

speɪ

HI-HAT (w/pedal)

¿ ¿. ß

¿¿

(ti)

( ‰). ( ‰).

¿¿ ¿ ¿ 5.0

(w/ left hand mallets)

—— —— —— —— ß

poco decel.

p TOMS, ¿ ¿ ¿HI-HAT ¿¿¿

‰.

ɪm

kʌ

‰.

(crash!)

poco decel.

œœœœœœ

WIND GONG (w/ mallets)

tɪ

juː

METAL SIMANTRA

¿ ¿ ¿ ¿ ¿ >¿

ø #æ

sub

( ‰) ( ‰)

# (sim. ad libitum)

sub

%) > ( %) ( ‰) ( %) > (%) > ( %) ( %) ( ‰) ( ——æ ad libitum (6x ) > —— ad libitum (5x ) % % % % > ‰ ( ) ( ) > ( %) ( %) ( ‰ ) æ > ( ) ( ) >( )

VŒ

AMPLIFIED BOX (rolled, wooden side/top)

ƒ p

tempo & rhythmic accentuation, accel & decel, lateral motion ad libitum

w/ right hand (mallets)

ãŒ

AD LIBITUM

METAL SIMANTRA (roll)

( Œ)

: lɑːs fərz :



( Œ)

ç6

% .

( ‰)

( ‰).

: təd nə tɪv dəd :

V O X

j j



(metal sheet w/rin cont'd) II

‰

KICK, SNARE/CYM

sub

5:5"

l.v.

—— —— ——

BRAKE DRUMS

Øp

lər

5.0 œ

J

TAM TAM (w/ rin damped)

ß ‰.

‰

P ç

ðɪs

(this)

> > > > ¿ % . ¿ œ% œ % ¿ œ % ¿ ¿ ¿O >¿ ¿ ¿r 5

KICK CHAIN SHEET + CYM on SNARE

poco accel.

(r.h. stick)

sub

...durat(A)ions: "broken landscape" 5.5

M E T A L

^“££££££££ø BAMBOO CHIMES

(

(kick, snare/cym cont'd ad libitum)

M E T A L

l.v.

ʃn̩

( ‰).

ət

5.15

self

: kwət ne :

septs ʃl̩

> ¿¿ œ

! ‰ 

J

sti

‰

(‰.

R

‰

sɪk

sɪŋ

steɪt

% 5

sɪs

seɪm steɪt

sti

: rə s faɪv wʌn : wə



TAM TAM (w/ rin damped)

AD LIBITUM P to f ad libitum)

5.15

ɡɑːt

> > > > > ¿ ¿ ¿ œ % . œ% œ œ % ¿ ¿O >¿ ¿ ¿ l.v.

AMPLIFIED BOX (springs and/or studs with bowls)

(

: reɪ hʌn z:

ßç

:z ðər :

w/ right hand

( %) 

WIND GONG (w/ Cym from Snare)

l.h.

AD LIBITUM

.

‰.

( ‰).

: bə pər ðə :

5.15

(tam cont'd)

M E T A L

pp to F ad libitum)

: con can ðiːz : zent

V O X

AD LIBITUM

(

(cont'd w/both hands)

ã AD LIBITUM

III

l.v.

(metal simantra cont'd) w/ left hand

METAL SHEET (w/HARD or METAL mallets)

M E T A L

—— æçAD LIBITUM

(ad libitum)

  .

WIND GONG (combination of sustained & damped sounds)

WIND GONG (any sustained/un-damped sounds)

p to F ad libitum)

5.15 : iːv welθ mədʒ ɪŋ : pliːt

5.10

sub

5 œ

θriː

tɪv

‰

5 œ

% . 5

tend kwɑː

> > > > > > > . ¿¿ % ¿ % ¿ ¿ ¿ ¿ ¿ ¿ œ œ œ œ% œ % œ . %œ œ ¿O ¿r ¿r >¿ l.h.

l.h.

sub

ç5

sub

‰

5 œ

tɪ

stret

> > > ¿ œ ‰ ¿œ% œ 5

‰.

5 œ

ðət

steɪ

> > > ¿ œ % ¿ ¿ . œ ¿¿ œ r ¿O ¿ ¿ > l.h.

5 œ

> œ ¿ ¿ 5

% ‰.

5 œ

ʃn̩

> > % ¿œ% œ p5

sub

tɪn

> > ¿ œ % ¿ ¿ 5

¿ %¿ % >¿O >¿ 6

(q = c53)

5.20

...durat(A)ions: "broken landscape"

6:5"

‰

3 œ

ðə

ən siːs

ði

sen

F ‰

5 œ

sɪŋ

self

‰

5 œ

ʃn̩

5 œ

θruː

œœ œœ >œœ œœ œœ

: reɪ ɪn bi moʊ :

M (wind gong cont'd ad libitum) E T A (combination of sustained and damped sounds) L

V O X

5.25

spɪ

faɪd

ʒər

5.30 œ

ʃn̩

 ( ‰) 

zəz

ß ß ß

(sure)

(tion)

ðə

M E T A L

BASS DRUM

ðɪn

əz

w/ left hand

( ‰).

V O X

sɪk

 

(tam w/rin damped cont'd) (edge) III

M E T A L

5 œ

ðɪs

! ß

kəm



‰

ɪt

‰



‰

˙ > ç

‰

3 œ

məst

% .

ðə

fər

‰

ʃl̩

!‰   J

speɪ

‰.

saɪəns trænz

6 œ

sli

5 œ

kən

‰.

¿.

ter

tret

bi sept

˙ ‰ ˙. ˙ % ˙.

ɪnk

‰

% . l.v. ç

‰

>>> % ã œ œ ¿ ¿ ¿ >¿ œ p 6 ç

sub

6 œ

jet

‰.

>> > >>> ¿ %. œ œ ¿ ¿ ¿ œ ¿ %. ¿ œ œ ¿ ¿ ¿ œ ‰. >¿O >¿ >¿ >¿ >¿ ¿O >¿ 6 6 ¿

sub

ʃn̩ təd

‰

METAL SIMANTRA (roll)

moʊ

‰

3 œ

kʌ

ç 3

‰ ‰.

( ‰)

tempo & rhythmic accentuation, accel & decel, lateral motion ad libitum

——æ —— p æ

˙ ˙æ

> ç

kɒz trat ðə θriː ter dʒəz tɪn



sub

irregular rearticulation

( ‰)

ç p

$ 6

ad libitum (6x ) ad libitum (5x )

% . œ

3 œ

stret ðət tɪ steɪ tend

‰

tɪv te

% .

ʃn̩

nə

ɪl

ət

% . œ

təd self

METAL SIMANTRA (roll)

( ‰)

tempo & rhythmic accentuation, accel & decel, lateral motion ad libitum

% ‰

5.30

(yet)

(wind gong cont'd w/cym from snare l.h.)

‰

——æ —— æ

çp

sub

ad libitum (6x ) ad libitum (5x )

( ‰)

5.30 V O X

sub

.

l.v.

r ˙% ˙ ß p

tə

‰.

5.30

poco decel.

‰.

ßç

w/ right hand (metal simantra cont'd ad libitum)

TOMS

œœ œœ œœ œœ œœ œœ œœ

(hard mallets)

ðə

poco decel.

% ‰.

self

5 œ

ɪt

(q = 44)

5.35 V O X

M E T A L

ði

tuː

: əv friː : œ

( Œ)

son

ʃn̩

taɪm

 .

zənts

F 6 œœ

ɪn

dʒəz

>œ >œ >œ . œ >œ > œ >œ œ % œ >œ œ œ >œ œ >œ

ãŒ

trə

(ges)

TOMS / ROTO TOMS

ƒ #

‰

3 œ



trænz

‰

ç3

‰

(q = c62)

5.40

‰

III

M E T A L

œ œ

dʒʌks (jux)

stə

>—— —— ——

BRAKE DRUMS

(toms cont'd)

ã œœ œœ œœ 3

ƒ ç

3 sub

p poco accel.

ðə

‰

tend

‰

ç3F

‰

3 œ

ʃn̩

ɪm

tuː



ði stend

P3 ç ß F %

zɪks

tə

dək

‰

5.45

%

P F

spuːlz

ðət

( Œ)

: ðɪs rə :

%

5.45

Ï œ

trænz θruː ðɪs

‰

BASS DRUM

: baɪ əv ðr̩ wʌn : sɪns speɪs tə te œ

(since)

(ti) (ta)

% % . P

(turn)

: tɝːn ðət ɪŋ njuː rɪ ə: ɪŋ eɪdʒ zent œ

££££££££££££££££ ˙ ˙. $

>> ß

BASS DRUM (smooth)

5.45 œ

3 œ

tɪ stə dʒʌks ti ʃn̩

( ‰)

: dʊ kʌmz ɪn ɪŋ :

(jux)

3 œ

təd

‰

tuː speɪssɪns

AMPLIFIED BOX (articulated sounds)

©©©©©©©© P to f ad libitum) ( ‰)

BOWED CYMBALS

‰

fɔːr

‰

(fore)

3 œ

tɪŋkt (tingt)

ɪz

dʒiː

‰

(ge)

tər

ʃn̩

999 999

: niəs reɪ pɑːrts æf :

O! O

‰

("!"!)

l.v.

dʊ

ɪt

seʃ sək tə te tɪv BOWED CYMBALS

(

V O X

sub

>œ >œ > > œ œ œœ

ƒp

(crash!)

>œ œ > >œ œ œœ >œ

tə

(tion)

¿¿! OO

‰

ʃn̩

...durat(A)ions: "broken landscape"

7:5"

5:5"

l.v.

TOMS 5

œœ œœ œœ œœ œœ

5.45 œ

sək seʃ ʃn̩

‰.

( " ! " ! ) (repeat whenever possible, ad libitum) (sesh)

(tion)

tə

‰

3 œ

nʌð

(noth)

tər

‰

3 œ

kɑːzd (caused)

‰

tɪŋkt (tingt)

təd

poco decel.

‰

kən

ƒ œ

tuː

‰

5 œ

ti sɪnsspeɪstɪ

99999999999999 99999999999999 ƒ

22 22 22 22 22 22 22 22 22 22 22 22 22

BONGOS (articulated)

...durat(A)ions: "broken landscape"

22 5.50 V O X

M E T A L

.

Œ j

‰

ʃn̩ tər dʒʌks

(tion)

( Œ)

ãŒ V O X

(jux)

œ œ

stə tɪŋkt



ã££££££ (bass drum cont'd)

vɝːt tuː təd

‰

(scess)

ʃn̩

ə ti

: tə % twiːn te : tɪ tɪv œ

WOODEN SIMANTRA

l.h.

(

M E T A L

tɪv te

‰

(cymbals cont'd)

9 9 22 22 22 22 22

(bongos cont'd)

ðr̩

‰ .

5 œ

6.5

ðə tə sɪŋ steɪt ðər sɪs seɪm steɪt rəns siːs



WIND GONG

l.v.

1>222 >2 12 >2 22 > ® œœ œ œ œ >œ >œ œ 2

BRAKE DRUMS, CONGAS, TOMS, KICK

6.0

sub

spæn

(edge)

. . p



( Œ)

. %  !

( Œ)

6.0

(q = 44)

: noʊ twiːn dɪ wʌn :

¿¿! OO

siːs

% ‰.

¿ ß

ʃn̩

WIND GONG

l.v.

kən ðɪn

sen ʃl̩

‰

nʌð

("!"!) (noth)

! F

‰

( Œ)

‰

sɪŋ steɪt

sɪst

5 œ



‰ ‰ % .

(crash!) l.v.

BASS DRUM (w/ large mallet)

seɪm steɪt

ðə

(same)

˙˙ ˙˙

sub

˙> >˙ R ƒ

: mɔːr ve :

(repeat whenever possible, ad libitum)

999999999999 999999999999

———— ————————————————

METAL SIMANTRA

( ‰)

: mənd ər :

O! O

l.v.

BOWED CYMBALS

pp to f ad libitum)

sen

ã AD LIBITUM ©©©©©©©© Œ

l.v.

AMPLIFIED BOX (articulated sounds)

pp to F ad libitum)

66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66

III

V O X

6.0

^ £££££££££££££££££ “ (sion)

‰

(

( Œ)

BAMBOO CHIMES

sək seʃ

(vert)

METAL SHEET (w/bowls)

‰

(tingt)

spæn

5.55

5:5"

6.0

ðə

BOWED CYMBALS

l.v.

("!"!)

‰

3 œ

θɪŋ kəz

lə

Œ %

ʃn̩

TOMS

poco decel.

œœœœœœœœœœœœ

‰

mə

99999 99999

3 œ

θɪŋ

‰

3 œ

bə

LIGHTBULB CHIMES

ɪm

‰

sə

ɪt

! ££££££££££ “

(

pp to P ad libitum)

‰.

kəz

KICK / CHAINED THUNDER SHEET (w/pedal)

%¿ ¿ > > ç

...durat(A)ions: "broken landscape"

! £££££ ¿O ( P to f ad libitum)

( " ! " ! ) (repeat whenever possible, ad libitum)

(*throughout the piece glass bottles will gradually break)

6.10 I

6.15

>2 >2 >2 ‰ ã œ ‰

2 œ˙ > ƒ

GLASS BOTTLES IN A CLOTH SACK

% 22 2 ‰ 2 > > > >x x x >x x œ% œ˙ . œ œ >˙ . œ œ% ˙ . ç 5

2 œœœœ % > ß

CYM on SNARE

6.25

l.v.

9999999 TOMS

66æ

WOODEN SIMANTRA (rolled)

sub

WIND GONG (bowed)

6.20

œœ œœ œœ œœ œœ # sffffz

6.15 5

ã ‰ ˙ ˙ ˙ >œ ‰ R > 5 P ç

œ œ 5

œ œ œ ‰ œœ %œ œ%œ ‰

˙ R > ç

œœœ œ œ œ œœ œ œ œ œ œ œ % œœ œ œ % ‰ œ ‰. œ % ˙ ˙ # ˙ > # J R R ç > ç 5

œœœ œ œ œ œœ œ œ œ ‰ œ œ œ œ % œ ‰. ˙ # P R > ç 5

œ œ œœ

œ p

%œ

˙ J

6.15 V O X

III

M E T A L

ðən

‰

3 œ

θɪŋk (think)

ðen

% .

3 œ

ði

‰

pæs

9999 9999 Œ

ðə

mæ

‰

3 œ

ʃn̩

3 œ

zɪʃ

ðer̩

‰

>¿

steɪt

TAM TAM (crash)

(bowed cymbals cont'd)

ã œœ œœ œœ œœ

poco accel.

Aƒ

AMPLIFIED BOX (articulated sounds)

©©©©

# ( pp to f ad libitum)

‰

% .

3 œ

ðən

( Œ)#

œœ œœ œœ œœ œœ

sffffz r5

ʌð

sɪŋ

TOMS

(oth)

(choke!)

¿ ¿ ¿

HI-HAT

TOMS 5

œœ œœ œœ œœ œœ

sffffz

6.15 VOCALIZATIONS

V O X seɪm œ

: ðen tə ði ðer̩ :

5 œ

sɪŋ ðən steɪt njuː rid

>¿

(new)

r % >œ2 ‰ . ˙

CYMBALS

TOMS / BONGOS / KICK

ãŒ

ç 5

‰ œ œ % œ2 œ œ œ2 œ > J ß # > F 5

‰

3 œ

zem

ðə

‰

ðə dʒən sɪŋ steɪt

l.v. 3

3 2 œ œ œ œ ˙ ‰ > œ˙J #œ > 5 ç ç

(gine)

(sing)

ðən rə

5 œ

zɪʃ ʃn̩ θɪŋk steɪt

sɪŋ

ʃn̩ fɪ

: mɪ wər ɑːn əs : ɪf steɪt tə œ

self

PREPARED SNARE DRUM (pull springs)

tttttttttttttttttttttttttttt p to F ad libitum)

(

...durat(A)ions: "broken landscape"

6:5"

6.30

5:5"

(q = c53) œ

zem rə I

M E T A L

5 œ

‰

ðə sɪŋ ðə steɪt

5 œ

% .

6.35

zɪʃʃn̩ ðə əv

5 œ

steɪt seɪm ðən

(then)

(wind gong cont'd)(repeat whenever possible, ad libitum)

5 œ

ß Œ

kɒz

kwɑː

zen

12 1 > 1 2

p : te

5 œ

tɪv :

M E T A L

——æ ad libitum (6x ) —— ad libitum (5x ) æ >

ç p sub

V O X

ROTO TOMS

prə

——æ —— æ p ç

‰

2 >œœ 2 >˙

kæ

% Œ 6

tə

BASS DRUM

poco decel.

‰

zem

ðə

ər

‰.

1> 2> 22 >œ œ œ

3 œ

kwət

> œ2

kʌm

(just)

5 œ

ðə

5 œ

kl̩

wʌn

aʊər

sub

2 œ

>œ

6.45

: ter he trat :

kloʊz

ðə

(our)

>2 2 2 >2 2 2 >2 1 >12 22 >œ œ >œ œ >œœ œ œ œ 5

‰

6.45

Î ‰

(quate)

AD LIBITUM

# œ

dʒəst

% .

METAL SHEET (w/mallets)

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

3 œ

METAL SIMANTRA (roll)

tempo & rhythmic accentuation, accel & decel, lateral motion ad libitum

( Œ)

: tɪ njəs ti :

sɪm

WIND GONG

sub

(think)

999999999

ã œœ œœ œœ œœ p

(q = 44)

ðə sɪŋ ði ðen ðən kɒz tə dəb zɪk ði steɪt θɪŋk (sing)

ðer̩ ɪf ɑːn

V O X

6.40

3 œ

steɪt

‰

3 œ

sɪŋ

‰ Œ

˙ > ç

%˙Œ 6

sub

%˙Œ >

%˙Œ

træn

‰

˙ > ç œ

tɪ

%˙ Œ

sub

6.45

%˙Œ >

%˙Œ

‰

3 œ

seɪm

j ˙ ‰ > Œ

‰

˙ > Î œ

ɡl̩

METAL SIMANTRA (roll)

III

M E T A L

V O X

M E T A L

sub

‰

5 œ

%. œ

ʃn̩ steɪt saɪd wi spiːk

5 œ

AMPLIFIED BOX (articulated sounds)

(

p to F ad libitum)

siːs

bɪ tə

KICK / CHAINED THUNDER SHEET (w/pedal)

¿¿ ¿ ç> > > –– –– –– –– –– –– –– –– –– ––

tttttttttttt

WOODEN SIMANTRA

6.45

(pull springs cont'd)

ãŒ

AMPLIFIED BOX (CONTRASTING articulated sound)

Œ poco accel.

——————————————————————

BRAKE DRUMS

steɪt

( ‰).

5 œ

suːm

: ðət ðɪs ʌn ɪn :

poco accel.

poco decel.

5 œ

soʊ

poco decel.

‰

sli

...durat(A)ions: "broken landscape" 6.50

5 œ

M E T A L

>2 >2 p

x œ

V O X

sə

ðə

roʊl

5 œ

ðə prə

6.55 œ

əv

‰.

5 œ

% .

muːv

ðə

ði

5 œ

wʌn

>2 >2 1 >2 2 2 1 2 >2 >2 1 2 >12 . . % >œ œ œ œ >œ >œ œ >œ >œ 5

%Œ

‰

plɪs

l.h.

.

ã‰

V O X

‰

‰.

steɪt

˙ >

%˙Œ 6

%˙ Œ > 6

%˙Œ

l.h.

˙>

ç j3

x˙

.

l.h.

siːs sɪŋ

>˙ ‰

7.5

tuː

PREPARED SNARE DRUM (pull springs)

tttt



nat

kʌm

ʃn̩

l.h.

% ‰. x˙

: ri həz eɪʃ :

l.h.

>˙ ‰

.



‰. > ˙

tɪv fər

l.h.

x˙ .

tɪ

‰

kwɑː

j œ ‰.

p 5

‰

M E T A L

ãŒ

¿¿ ¿¿ #ß

steɪt blaɪdʒd

kwɑː

22 22 22 22 >22 22 22 22 22 >22 22(irregular 22 22 22 accents ad libitum) BONGOS (articulated)

¿.

kæn bɪ

l.v.

‰ 2 >œ %

spre

‰

kwət trat

>œ œ œ

% Œ

dʒiː

5 œ

mʌl

HI-HAT (w/pedal)

F¿ ¿ ¿

AD LIBITUM ˙ ££££££££££££££££££

(

pp to f ad libitum)

kl̩

( ‰)

: ten lɒŋ əz :

% .

self

(‰.

: ti rep pen mʌl ɪt : æd baɪ

ʃn̩

aɪz

(

! ¿ O

%. œ

3 œ

‰

spiːk kloʊz steɪt

P to F ad libitum)

kɒz

BOWED TAM (+ drinking glass)

P to f ad libitum)

rə

tttttttttttttt Œ

(

PREPARED SNARE DRUM (pull springs)

poco decel.

poco accel.

7.0

(bass drum cont'd articulations ad libitum)

7.0

KICK THUNDER SHEET (w/chain)

BASS DRUM (w/ cymbal smooth)

%ter œ

BRAKE DRUMS

III

——————————————

CYMBALS (rattan scrape)

2 2.

5 5

tɪ lə

l.v.

5 P

ç5

7.0 œ

WIND GONG

1 >2 >2 1 >2 >2 > >2 1 >2 >2 P Œ œ œ œ >œ

BASS DRUM (w/ cymbal preparation)

>œ

tɪn laɪf tə

sub

6 œ

7.0

l.v.

sub

saɪd

...durat(A)ions: "broken landscape"

26 7.10 V O X

5 œ

ã œ. V O X

kɒz kwɑː

œ >ƒ

prə

>œ

5 œ

te tɪv

‰.

təd

% .

2 % 1 ‰.

‰.

7.15 œ

diːd

>2 2 >œ ‰ œ >œ ‰ .

F 5

7.15

‰

ɪks

>2 >2 . ‰

5 œ

ðəs tʃuː

(thus) (tschoo)

% >2 2 p

5 œ

ʃn̩

‰.

% . 5

θɔːt rɪ

(tion)

(thought)

1 >2 >2

œ >œ

7.20

ði

ʃn̩ tə ðɪn

1 >22 >œœ

noʊ vər

7.25

‰

5 œ

θred ʃə tuː ðə dʒiː

(thread)

x x 1 1 22 2 >2 2 1 >2 >2 % œ œ >œ >œ œ ‰ >œ œ .

GLASS BOTTLES IN A CLOTH SACK

2 5

sub

ʃn̩

wə

AD LIBITUM pp to P ad libitum)

pp to f ad libitum)

7.15

Œ M E T A L

(

AD LIBITUM ( P to f ad libitum)

P to f ad libitum)

THUNDER SHEET w/FINGER CYMBALS (scraping/sustained)

 

son

5 œ

ʌð (oth)

AD LIBITUM ‰ ( ¿. 5

(

‰ ¿. 5

P to f ad libitum)

¿ ¿ ¿ ‰ ¿. 5

%¿

LIBITUM ¿ ) AD (sim. ad libitum)

‰.

>œ

tʃuː

% >2 .

>œ % œ œœ

x 5

tuː

—— æ ç p

self

METAL SIMANTRA

sub

( " ! " ! ) (change bow speed/position ad libitum) —! — Oæ ãããããããããããããããããããããããããããããããããããããããããããããããããã O ß

ləs

P to f ad libitum)

(thunder sheet cont'd)

ƒ ( P to f ad libitum)

KICK / CHAINED THUNDER SHEET (w/pedal)

‰.

©©©©©

7.15

Œ Œ

suːm

: meɪnz ( Œ) ɪŋ :

AMPLIFIED BOX (articulated sounds)

(

M E T A L

AMPLIFIED BOX, SPRING (w/drinking glass)

(bowed tam w/drinking glass cont'd)

‰.

(bass drum cont'd articulations ad libitum)

(

III

(tschew)

M E T A L(

sub

SIZZLE CYMBAL (w/mallet)

>œ

AMPLIFIED BOX (node bowed)

ses

‰

ɪn

‰

% . œ

plɪs

sə

...durat(A)ions: "broken landscape" 7.35

7.30 I

V O X

>2 œ %.

>œ 2 ‰

KICK DRUM

6 œ

ʃn̩

% ‰

% %

3 œ

%p . œ

( Œ)

M E T A L

(bass drum cont'd)

ƒ TOMS / ROTO TOMS

>œœ . œ œ œ >œ œ œ œ >œ >œ . œ œ œ % œ >œ œ >œ >œ œ

sub

40 !££££££££££££££££££££££££££££££££££ 7.

P to f ad libitum)

(

‰

ʃn̩

WIND GONG (scraped with stick or metal)

Œ r ¿

¿ ¿

METAL SHEET (w/mallets)

‰.

% . œ

ɪn

BOWED CYMBALS

M (thunder sheet cont'd) E T A L

‰

——

—— —— —— —— —— —— –– –– –– –– –– –– –– –– –– –– ––

BRAKE DRUMS / WOODEN SIMANTRA

tə

HI-HAT (w/pedal and mallets)

AD LIBITUM P to f ad libitum) > > œ œ œ >œ œ œ œ œœ œ œ >œ œ œ œ >œ >œ œ œ œ œ œ œ œ > > > % >œ œ % >œ œ œ œ % % % ‰ œ œ œ œ œ œ œ œ œœ >œ œ >œ œ >œ > > > œ œ œ œ œ œ œœ

nuː

P to f ad libitum)

‰

l.v.

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

V O X

poco decel.

‰.

(verse)

(sim. ad libitum)

(amplfied box cont'd)

M E T A L (

vɝːs

Œ III

00 00 00 00 00 00 00

WOODEN SIMANTRA

ər

O! O

l.v.

! ¿. O.

f ß

% WIND GONG

5 œ

‰.

soʊ

(

sub

‰

—— —— —— —— ——

sli

METAL SIMANTRA

‰

teɪn

( " ! " ! ) (repeat whenever possible, ad libitum)

5 œ

steɪt ði

əv

5 œ

prə

iː

7 œ

wɪθ

kɑːn

99 99 99 99 99 9 99 99 9 ( Œ) l.v.

poco accel.

səb

sub

¿ ¿

mənts

( Œ)

l.v.

KICK THUNDER SHEET (w/chain)

–– –– –– –– –– –– ––

WOODEN SIMANTRA

¿ ¿

...durat(A)ions: "broken landscape"

7:5"

(q = c62)

7.45

7.50

: iːtʃ əv ðəm ə : ɪŋ

zənts (wind gong cont'd)

£££££££££££££££££££££££££££ P to F ad libitum) CONGAS (pulsing)

M E T A( L

00 00 00 00 Œ ã

ˆˆ

(sticks)

22 22 22

poco accel.

VOCALIZATIONS

θɪ θred

5 œ

taɪm

M E T A L

V O X

tɪn

O! O

BOWED CYMBALS

% .

kɑːn deθ

6 œ

tə

kɑːn

‰

––––––– ã –––––––

(wooden simantra cont'd)

poco decel.

("!"!)

œ œ

sez den

l.v.

5 œ

! ¿ O

WIND GONG

sɪv

Œ 9 99 99 99 9()

ɡræ

5 œ

tʃeɪndʒ

l.v.

5 œ

ʃəl

kstə

(change)

l.v.

.



5 œ

baɪ mə

‰.

Œ Œ

tɪk

ði

¿ F % ¿ ¿ ¿ ¿¿ ¿ ¿( ) œ œ œ œœ œ œ

TAM TAM

5 5

( Œ)

( %)

5 œ

nəs

‰

5 œ

 .!

TAM TAM (w/ bowls)

‰

: mənts seɪm son əv ə : niəs rə

ʃn̩

5 œ

duː

tə

l.v.

>¿

rə

J

pliːt

CYMBALS (w/sticks)

(

wʌn

‰

hɝː (her)



AD LIBITUM pp to F ad libitum)

tə

dʊ

% . 5

teɪn

ðə

 ! ( ‰) .

AMPLIFIED BOX, WOODEN SIDES (w/ bowls)

kwə

!   ( %)

æz

( ‰)

( %)

> >> ¿œ ¿ œ œ ¿ 5

‰

KICK CHAIN SHEET + CYM on SNARE l.h.

(sticks)

AD LIBITUM ( P to f ad libitum)

mənts

( Œ)

l.v.

ɪm

lɑː

ðr̩

TOMS, HI-HAT

( " ! " ! ) (repeat whenever possible, ad libitum) œ

θred

‰.

999999 999999 #

METAL SHEET (w/ rin or glass)

ɪŋ

nəs

V O X

reɪ spuːlz

œ œ œ >œœ œœ œ œ œ> % >œ œ >œ œ >œœ œœ ã p6

x R

KICK, SNARE/CYM

(hi-hat cont'd)

III

(sticks)

( Œ)

ƒ ( pp to f ad libitum)

(th) (thread)

x JF

WIND GONG

(q = 44)

7.55

AD LIBITUM

Œ M E T A L

5:5"

‰.

nɪks

5 œ

pɑːn

> >l.h. > >l.h. l.h. o ¿o ¿>o > > ¿ ¿ ¿ œ œ œ œœ œ œ ® > ¿ ¿¿ ¿ ¿ l.h.

sub

l.h.

sub

...durat(A)ions: "broken landscape" 8.5

8.0

jet

(yet)

(cymbals cont'd)

M E T A L (

: ɪm dʊ æc ɪn :

pp to F ad libitum)

>1 %œ

M E T A L

III

M E T A L

( Œ)

: ɔːl ɪt poʊzd ə :

>œ >1

>œ

ʃn̩

zents

>œ

ses

( ‰)

‰



kən

‰

5 œ

siːvd l.h.

. > ã œ¿ ¿ ¿ ç

5 œ

tuː



‰

% Œ

‰

kl̩



5 œ

% .

mə

saɪəns

son

lɑːθə

əv

zents ʃn̩

tə

fər

BONGOS (pulsing)

sub

% . F

> > > > > > l.h. l.h. l.h. l.h. l.h. l.h. l.h. l.h. l.h. l.h. l.h. > > >> > > >> > > > >> > ¿ œ ¿ ¿ œ œ œ œ œ ¿ ¿ % . ¿ œ ¿ œ¿ œ œ œ œ % œ ¿ ¿ ® ¿ œ ¿ œ ¿ œ œ œ œ % œ 22 22 22 22 22 >¿ ¿ ¿> ¿ ¿ >¿ ¿ ¿ >¿ ¿ ¿ß 5 p

kluː

ðɪs

VOCALIZATIONS

ði laɪn

ðə

spek

>œ >œ % >œ .

AD LIBITUM ( pp to f ad libitum)

(amplfied box cont'd)

V O X

(metal sheet cont'd)

V O X

( Œ)

: ri he tuː njəs :

TOMS / CONGAS / BRAKE DRUMS

(kick, snare/cym cont'd)

V O X

( ‰).

8.10

BASS DRUM

(line)

3 œ

bi rʌn

LIBITUM ˙ AD ( pp to f ad libitum) > ç V O X

sək

spek

‰.

J

( Œ)

( ‰).

6 œ

ɪn

ʃəl



(edge)

‰

speɪ wɪθ

əz

accel. reart.

( Œ)

kstə

5 œ

kəm ʃn̩ decel. reart.

kəm (com)

...durat(A)ions: "broken landscape"

7:5"

(q = c62)

8.15 V O X

‰.

M E T A L

8.20 œ

œœœœ ã œœœœ V O X

ɪŋ fek

son

(ing)

V O X

III

M E T A L

V O X

‰

.

‰

mənt

‰

dʊ



( Œ)

təd

‰.

9999 9999 ( Œ)

( Œ)

ʒər

¿! O ß

laɪn

SPIRAL TRASH (BOWED)

l.v.

‰

ʒərz

wer

("!"!)

l.v.

METAL SIMANTRA

—————————— ßp

moʊ den

bət

nɪŋ

reɪ

tɪn

nɑːt ɔːr ɪn (or)

5 œ

moʊ

( Œ)

poco accel.

%. œ

ɪn

l.v.

sənz

%. œ

ədʒ kəm

% . œ

wʊd

( Œ)

l.v.

( Œ)

CYMBALS

5 œ

dʒə

(age)

(

pp to f ad libitum)

poco decel.

8.30

: hɑːw dʒiː əv tər :

BOWED TAM (+ drinking glass)

(com)

l.v.

AD LIBITUM ããããããããããããããããã AMPLIFIED BOX (any sustained sound)

(

pp to f ad libitum)

8.30 œ

‰ ‰

3 œ

ɡl̩ɪŋ

steɪts

(gling)

‰

‰.

ɪn

‰.

WOODEN SIMANTRA

kən

00 00 00 00 00 00 00 00 00 00 00 00 ßp sub

PREPARED SNARE DRUM (pull springs)

poco accel.

poco decel.

r 2

> >˙ œœ ˙ >œ

TOMS / CONGAS / KICK

AD LIBITUM ƒ

‰

Œ ( p to F ad libitum) 22 22 22 22 22 22 22 22 22 22 22 22 22 22 Œ ã 5

O! O

BOWED CYMBALS

WIND GONG (bowed)

l.v.

METAL SHEET (w/sustained sounds)

! ££££££££££££££££ “

M E T A L

8.30

("!"!) l.v. ! —! — ¿ Oæ ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã O O AMPLIFIED BOX (node bowed)

LIGHTBULB CHIMES

F 3

spɪ

F ß

sub

son mə

8.30

pp to f ad libitum) Œ

(bass drum cont'd)

(

pp to F ad libitum)

(

ƒ ‰

“

WOODEN SIMANTRA

ɡroʊ kəm

BAMBOO CHIMES

(q = c53)

^ ££££££££££££££££££££££££££££££££££ ¿!

speɪ

8.25

6:5"

(

tttttt P to f ad libitum)

TOMS / BONGOS / KICK

>˙ œ >œ ˙ 6

...durat(A)ions: "broken landscape" 5:5"

(q = 44)

8.35 I

(cymbals cont'd)

>r 2

>> r 2 2 2>

>> 22 ® 2 .

r >2 2 ã >œ >œ >œœ >œœ ˙ œ >œ œ ˙ ® >œ˙ œ >œ œ >œ >œ œ œ r 2

V O X

x ® >œ >œ œ

>> 22 2

ði

>4 > >j >2 > 2 2 2 2 2

>r 2

>œ œ >œ œ >œ˙ >œ >˙ œ œ œ ˙ œ 9

sub

8.40

>œ

r œ

(metal sheet sustained sounds cont'd)

: dʒə rə :

spiːd

j> œ œ

>j 2> 2

˙œœœœœ

p ç p sub

> œœ

œ œ

sloʊ

saɪəns

(slow)

AD LIBITUM pp to f ad libitum) ( ‰).

: ək ðə moʊ reɪʃ :

ɔːrd (cord)

% R

2 2

>2 >œr r 2 œ œ >œ . % >œ >œ ˙ >œ >œœ ® œ >œ

>r % >r 2 > 2 2

(

xxx

METAL SHEET (w/sustained AND damped sounds)

V O X

>œ œ >œ

(speed)

M E T A L

III

(the)

M E T A L

xxx

GLASS BOTTLES IN A CLOTH SACK

kən

taɪm

sɔːt

(time)

(sought)

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (

pp to f ad libitum)

tə

>2 2 3

>œ >œ >œ 6

¿ O

TAM (scraped with perpendicular stick)

(amplfied box cont'd)

ðə

‰.

>2 >2 % œ >œ >œ . >œ œ

>j >j 2 2>

‰

5 œ

> 3 2 2 2

‰ >j 2

œ >œ œ >œ œ >œ >œ œ ‰ 5

5 œ

6 œ

2 5

>j 2>

% . œ

wər

22 2 >2 2 2 ® œ œ

(

pp to f ad libitum)

‰

6 œ

ən

j 2

œ >œœ œ >œ

œ >œ >œ % >œ >œ œ 6

‰

son

>œ

mæ

>j 2

>2 % >œ œ % œ 6

...durat(A)ions: "broken landscape"

32 8.50

8.45

slowly remove sack full of glass bot

( ‰)

daʊn (down)

M E T A L

ɔːr

ɪn

seɪm

ðə

təd

tles from stand, shaking them vio lently until finally smashing the m

on/into hard metal plate or was htub

hen

læk

kən moʊ (bɪ ðət wʌn

‰

M E T A L

tə bi ʒərz baɪl kəm)



% .

5 œ

æz

tə

( ‰)

mæ

(fi)

voiced!!!

>¿ ( ‰). l.v.

saɪ

pɑː

mɪŋ

ɡɪn

% .

ɪŋ

əs

ɪts

( ‰).

ðət

splɔːr (splore)

(choke!)

l.v.

(choke!)

x >

(ci)

l.v.

% .

5 œ

pɔɪnt

kɑːn

dʒən

voiced!!!

(gen)

AD LIBITUM ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã AMPLIFIED BOX (any sustained sound)

(

pp to P ad libitum)

9.0*

: fə saɪ :

SPIRAL TRASH CYMBAL (w/bowls, struck)



sted

METAL SHEET (w/bowls damped)

WIND GONG (crash)

(metal sheet sustained and damped sounds cont'd)

% .

( ‰)

: ɪn læ :

w/left hand large mallet

III

(or)

M (glass bottles cont'd) E T A L

V O X

% .

8.55

l.v.

6 œ

tɪv

kaɪnd

‰ >

‰.

3 œ

tə

5 œ

mæn

> j j j j 2j >j 2r j >j % 2 2 2 2 2 >2 >2 2 ®>2 > > 2 2 2 2 2 2 > > > > 2 2 2 >2 2 œ >œ œ œœ œœ œ >œ >œ % œ >œ œ >œ œ >œ >œ œ >œ >œœ ˙ œ œ >œ >œ œ ˙ œ >œ ‰ ã >œ ® % ‰ 9

>2 2 3

‰

ʃn̩

>j 2

>2 >œr

6 œ

taɪm

>> > 2 2 >2 2 2

WIND GONG (crash)

> ‰ >œ œ œœ 2 >œœ œ >œ œ œ >œ œ >œ J œ ˙ 6

>x .

œ œ

voiced!!!

əz

l.v.

j 2 ®> 2

2 2 >œ 2 % >œ >œ œ >œ 9

®. . œ

trækt

# 2 2 > > 22 2 >œ . (choke!)

*c. 12 minutes and 9 seconds

Rochester, NY --- October 2, 2013

P to f ad libitum)

V O X

(SPRINGS!)

…durat(A)ions: “broken landscape” – Written for IKTUS PERCUSSION, this quartet is in a way (both) a commentary on (and exercise in) the futility of unwavering adherence to rigid systems of organization and the culture embracing intellectual selfgratification that has become rampant in our relatively obscure (and seemingly insignificant) "new music" social system. I have observed this behavior both in myself and in dozens of other composers in my generation, with unnecessarily complex compositional processes that are highly inefficient (and perhaps also ineffective). I find my own artistic motivations (and those of many others) for producing creative work in this manner both troubling and extremely questionable; my compositional processes have become increasingly convoluted, perhaps due to a variety of conflicting external influences (both academic and otherwise), and I truly question the incentive and justification for what we do. This work functions as self-reflection, criticism, and exploration of the creative issues that I have encountered while producing works of this nature, and the artistic issues that arise from varying degrees of complexity on both the part of the composer and performer. Just beyond the realm of possibility (or practicality), the score's notation offers one potential realization of randomly generated time points, blocking out the length of event streams that regulate contrast and form in the work. The composer’s role then was firstly in assigning sonic materials to each of these events, based largely on alignment points between twelve individual streams (three for each percussionist: sustained sounds, articulated sounds, and vocalizations) and guidelines based on contrast /similarity. The entire process became increasingly varied and intricate; some events were notated precisely by parsing data taken from the proportional relationships of event streams to generate rhythmic material algorithmically, while others were worked out intuitively, and some marked only "ad libitum" with an assigned object or sound type and minimal performance directions. I’ve found that this surrender of control allows for greater variability and virtuosic potential by bringing the performer’s own creative experiences and self into the work. The sheer mass of notated information necessitates a state of constant real-time prioritization of select musical parameters or events (at the discretion of the performer) over others, due to both physical and cognitive constraints, resulting in heightened intensity and spontaneity throughout the course of the work. In other words, it is not expected that the notation will be executed rigidly, or be consistent from one performance to the next. Rather, the score is utilized as a point of departure. While both performer and composer are forced to navigate this spectrum between control and loss thereof, my intention is that enough passages are so completely saturated with information that they will gradually infect the performer's gestural reservoir and behavior, informing their quasi-improvisational passages by context alone. A number of homemade instruments are utilized in the work, including lightbulb chimes, prepared snare drums, and a large amplified “box” or resonating chamber with extension springs, metallic studs, and contact microphones, that pull together individual event streams for greater timbral cohesion. The relationships between individual percussion parts are governed not by a conductor, click track, or other audible means, but rather by a digital stopwatch that corresponds to markers in the score. The result is a completely fluid and elastic sense of time, with individual event streams functioning as simultaneities rather than synchronizations, allowing greater interpretive and creative freedom to the performer. The third stream (ahem, of data) for each performer consists of vocalizations, derived from a broken down translation of the Wikipedia article Duration (philosophy): http://en.wikipedia.org/wiki/Duration_(philosophy) into the International Phonetic Alphabet and drastically fragmented/redistributed between each part, with related syllabic groups from each sentence scaled proportionally to the duration of the corresponding event stream. These vocalizations are always obscured/distorted, and assimilated into the texture as abstract timbral coloring rather than tangible semantic content. _______________________________________________________ Jason Thorpe Buchanan’s works have been described by critics and leading composers as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong”, commissioned and performed internationally by conductors and ensembles such as Brad Lubman, Alan Pierson, Jean-Philippe Wurtz, Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Nonsemble 6, IKTUS Percussion, [Switch~ Ensemble], OSSIA, ensemble39, Brevard Music Center Orchestra, Fiati 5 (Italy), Sound ExChange Orchestra, Eastman Musica Nova Ensemble, and TAD Wind Symphony (Japan), among others. Nominated for the 2015 Gaudeamus Prize, his works will be presented by Asko|Schönberg, Nadar Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek in September 2015. His Multimedia Opera Hunger was selected for the Darmstadt Contemporary Opera Workshop with Ensemble Interface (2014), and The Industry FIRST TAKE Opera Workshop in Los Angeles (2015). Awarded a Fulbright Fellowship (2010-11) at the Hochschule für Musik und Theater in Hamburg (Germany) as a visiting scholar, he was recently selected as Artist-in-Residence by USF Verftet and the City Council of Bergen, Norway to complete work on Hunger in late 2015. Additional honors and awards include the ASCAP Morton Gould Award (2014) and the Howard Hanson Orchestral Prize (2014) for Asymptotic Flux: Second Study in Entropy (2013) commissioned by the Mizzou International Composers Festival for Alarm Will Sound, Double Concerto (2014) commissioned by the International Horn Society for soloists Jeff Nelsen, Mike Walker, and the Eastman Musica Nova Ensemble with conductor Brad Lubman, antistasis (2014) for the Tzlil Meudcan Festival (Tel Aviv) with Ensemble Nikel, oggetti 1 (2014) as composer-in-residence for Chamber Music Campania (Italy), both the newEar 4th Annual Composer’s Competition (2013), and selection at the NYC Electroacoustic Music Festival (2014) for Asymptotic Flux: First Study in Entropy co-commissioned by the [Switch~ Ensemble] & OSSIA, 2nd place in the American Prize orchestral composition competition (2012) for Berlin Songs, commissioned by the German/American Fulbright-Kommission and premiered at the Akademie der Künste (Berlin) during the European Fulbright Conference, and winner of the 2014 International Iron Composer 5-hour composition competition in Cleveland, OH. Jason has studied composition with Ricardo Zohn-Muldoon, Carlos Sánchez-Gutiérrez, Robert Morris, Allan Schindler, David Liptak, Virko Baley, Peter Michael Hamel, Jorge Grossmann, Pablo Furman, and Manfred Stahnke, conducting with Takayoshi Suzuki and Brad Lubman, and with Georges Aperghis, Brian Ferneyhough, Raphaël Cendo, Chaya Czernowin, Augusta Read Thomas, Hans Abrahamsen, Philippe Leroux, Clemens Gadenstätter, José María Sánchez-Verdú, and Pierluigi Billone, among others. He is Executive Director of the Valencia International Performance Academy & Festival’s Composition & Contemporary Music Program (Spain) and from 2007-2012 served as founder and director of Melos Music, a composer’s consortium and concert series in Chicago, San Francisco, and Philadelphia. He has served as assistant conductor for Eastman’s Musica Nova Ensemble with conductor Brad Lubman, Graduate Teaching Assistant/Course Instructor for the Eastman Computer Music Center, board member of Ossia, and co-founder, conductor, and artistic director of the ECMC’s ensemble-in-residence, the [Switch~ Ensemble] as a Ph.D. candidate at the Eastman School of Music. He holds degrees in Composition and Music Technology from San José State University and the University of Nevada, Las Vegas, where he taught courses in composition and music theory (2008-2010), receiving the highest honors for excellence from both institutions. Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, a work for saxophone and electronics to be premiered by Andrew J. Allen at the World Saxophone Congress (Strasbourg, July 2015), a work for solo percussion and electronics to be premiered by Peter Ferry (Chicago, 2015), a commission from the New York Virtuoso Singers with conductor Harold Rosenbaum (NYC, 2015), a commission from the Blue Water Chamber Orchestra as winner of Iron Composer 2014 (Cleveland, May 2015), a new work for Distractfold Ensemble to be premiered at the Valencia International Performance Academy & Festival (Spain, July 2015), and a new work for Slagwerk Den Haag to be premiered at Gaudeamus Muziekweek (Netherlands, Sept. 2015).

For more information or to contact the composer, please visit www.jasonthorpebuchanan.com

…durat(A)ions: “broken landscape” First Draft Copy – Oct. 3, 2013