Antistasis (2014) by Jason Thorpe Buchanan

www.jasonthorpebuchanan.com

antistasis For Ensemble Nikel Tzlil Meudcan International Festival and Summer Course for New Music Performance and Composition

JASON THORPE BUCHANAN

First Draft Copy – June 2014

antistasis for tenor saxophone, percussion, and piano, written for Ensemble Nikel, was commissioned by the Tzlil Meudcan International Contemporary Music Festival. The Ancient Greek word ἀντίστασις (antístasis), meaning opposition, is defined as a rhetorical term for the repetition of a word or phrase in a different or contrary sense. This concept is translated into sound through the repetition of a small number of musical gestures, or objects, that are continually recurring and recontextualized so as to contribute to the composite in a different way. There is a stark structural division halfway through the work where the trio begins to play in strict rhythmic unison, with formulaic durations derived from simple mathematical relationships that become increasingly complex. With each repetition of the rhythmic cycle, the space between cycles increases, while material from the first half of the work gradually penetrates the gaps in the formula until it deteriorates completely. The ensemble members drift apart from one another with complete temporal independence until another structural pillar gives way to a recapitulation of sorts, presenting the original material through the lens of having experienced the abrasive, cyclical material preceding it. _______________________________________________________________________________

Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, and electroacoustic music. His works have been described as “an unearthly collage of sounds”, “sharplyedged”, and “free jazz gone wrong”, commissioned and performed internationally by conductors and ensembles such as Brad Lubman, Alan Pierson, Jean-Philippe Wurtz, Marc Lowenstein, Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Nonsemble 6, Iktus Percussion, the [Switch~ Ensemble], The Industry, wild Up, OSSIA, ensemble39, Brevard Music Center Orchestra, Fiati 5 (Italy), Sound ExChange Orchestra, Eastman Musica Nova Ensemble, BlueWater Chamber Orchestra, TAD Wind Symphony (Japan), among others. Nominated for the 2015 Gaudeamus Prize, his works will be presented by Insomnio, Nadar Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek in September 2015. Scenes from his Multimedia Opera Hunger have received performances at the Darmstadt Contemporary Opera Workshop (2014) with Ensemble Interface, The Industry’s FIRST TAKE Opera Workshop in Los Angeles (2015) with wild Up, and the MATA Interval 8 Series in New York City (2015) with the [Switch~ Ensemble] on a concert of new works for Ensemble & Multimedia curated by the composer. Los Angeles Times critic Mark Swed writes: “Jason Thorpe Buchanan's Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a [sic] wailing orchestral effects, cuts the ear like a knife. Buchanan delivers.” 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, with a grant from the American-Scandinavian Foundation. Additional honors and awards include the ASCAP Morton Gould Award (2014) & Howard Hanson Orchestral Prize (2014) for Asymptotic Flux: Second Study in Entropy (2013) commissioned by the Mizzou International Composers Festival for Alarm Will Sound, a commission from the International Horn Society & ASCAP Morton Gould Award (2015) for Double Concerto (2014) with 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 winner of 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 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. He has studied composition with R.ZohnMuldoon, C.Sánchez-Gutiérrez, R.Morris, A.Schindler, D.Liptak, V.Baley, P.Michael Hamel, J.V.Grossmann, P.Furman, M.Stahnke, B.Lubman, G.Aperghis, B.Ferneyhough, R.Cendo, C.Czernowin, A.Read Thomas, H.Abrahamsen, P.Leroux, C.Gadenstätter, J.María Sánchez-Verdú, and P.Billone, among others. He is coordinator of the VIPA Festival’s Composition & Contemporary Music Program (Spain), 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 and Graduate Teaching Assistant/Course Instructor for the Eastman Computer Music Center, as well as board member of Ossia and cofounder, 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. 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 theory (2008-2010), with highest honors from both institutions. Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, a work for Andrew J. Allen (saxophone), electronics, and video (World Saxophone Congress, Strasbourg, 2015), a work for Peter Ferry (percussion) and electronics (Chicago, 2016), a commission from the New York Virtuoso Singers (NYC, 2015), a commission for the Blue Water Chamber Orchestra as winner of Iron Composer 2014 (Cleveland, May 2015), and a commission 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 or

www.melosmusic.com ANTISTASIS FOR ENSEMBLE NIKEL First Draft Copy – March 11, 2014

antistasis

Transposed Score

q = c40-44

T.Sax

eœ. & ‰ eœ.

4$ 4

V O X

‰.

& Œ

THAI GONG

Perc

4 4

Pno

#œ

port.

rate & size of rotation damping sim ad libitum

!nœ

"! #˙.

+ o + o +o +

% p O

port.

# ( dœ )

T. Sx.

3 4

Pno.

ã ‰.

#œ

port.

l.v.

b˙

V O X

5 $4 r

[h]

n˙

j #œ

l.v.

(or plectrum)

el ap scr

˙. ‰

˘ [d] R

r‰

ly ral ate

% V O X

THAI GONG

‰.

& n œÿ œ l.v.b œ > ! 5

" pe ra sc

lat

y all er

l.v.

port.

nO .

+ o + o + ad lib + o + o +

# (d œ ) port.

port.

[4 .

n Oo port.

P 3

port.

B.D.

r‰

( P)

œ &

Dœ

5 w/ superball

l.v.

‰

nœ

[3 b Oo

‰.

n œ.

#œ

port.

" ‰ # œ!˙ j

w/ metal canister/plate or ceramic cup (ramekin) scrape laterally along high strings with pressure

& O

[h]

KICK DRUM

$ P

˙.

OPERA GONG

5 4

ush

#œ

( P)

4 4

$ 5

Œ l.v. O ; œ br

œ. %

œ nœ. bœ œ ! (granulation)

w/ superball

‰. yÿ (F)

+ o + o + ad lib + o + o +

port.

BASS DRUM

scrape w/ stick or canister

V O X

w/ fingernail

˘ [d] R

4 4

; ? œ brush j Œ #œ l.v. J

(

jŒ y ( Fÿ )

[h]

air

V O X

tongue ram

3 4 Perc.

3 4

l.v. ( nœ) ! *prepared in advance with magnetic tape

eœ. ‰ eœ.

air

OPERA GONG

w/wooden stick

tongue ram

3 4

"bowed" w/magnetic tape

& Œ

nœ

[h]

exh.

Jason Thorpe Buchanan May-June 2014

for Ensemble Nikel

Percussion: 2 toms, 2 congas, B.D., kick drum 7 Thai-Gongs: C-4, D b-4, E-4, G # -4, A-4, B-4, C-5 Opera Gong, Tam-Tam, Suspended Cymbal

‰

port.

‰.

( F5 )

Dœ

antistasis

# Oo

#œ.

T. Sx.

& ‰

5 4

nœ.

ã Œ

"! #˙ $

T. Sx.

4 4

THAI GONGS

j & ‰ n œ>n œ Œl.v. ß>

w/back end of sticks

Perc.

Œã

BOWED CYMBAL

4 4

Pno.

& ‰ bn œœ l.v. ß ? Œ Œ j nœ

p 5

& œ œ. ÿ> !

!nœ &

V O X

bœ

˘ [d] R

j œ.

y all er lat

l.v.

( P)

# d( œ )

port.

l.v.

œ ‰. O

œ ?; j # œ l.v. J $ F

, timb. Ÿ ~~~~~~~~~~~~~~~~~~(j) n œ# œn œ > n œ nœ #œ n œb œ ˙ & nœ nœ bœ y œ O p ppp Í Í ß 5 p O 5 pp $ port.

sub

5 4

(

w/ superball

10 1

BASS DRUM

œ $

V O X

w/ metal canister/plate or ceramic cup

e ap scr

nœ

w/metal canister or drum stick very slow scraping

port.

air

[h]

port.

& y

ÚF > F

˙.

y ‰ Œ P F

3 4

Ú P

port.

‰

TAM-TAM

KICK DRUM

[3o

b Oo

OPERA GONG

#œ

port.

OPERA GONG

#œ

q = c40-44

ã&

4 4"

port.

V O X

‰

3 4

r w/wooden stick

4 4

THAI GONG

(,) nœ. bœ.

oscillating, pulsating

e˙

OØ

˘ R

e˙

eœ

[d]

# d˙

port.

& & ‰ y˙. ►► ÿÿ ß % 5

h us br

slap tongue

eœ

[h]

8 "Frozen time"

q = c32

"bowed" w/magnetic tape

& Œ

l.v. j

5 4

Pno.

˙.

# Oo

port.

V O X

BOWED CYMBAL

Perc.

˙.

5 4

3 n' œ˙ R

completely damped w/l.h.

& Œ

(F)

[h]

˘ R w/wooden stick r nœ ! [d]

Œ & nO

THAI GONG

% œ l.v. J

+ o + o + ad lib + o + o +

" . ‰ #œ

antistasis

T. Sx.

#˙

5 4

5 4"

+ o + o + ad lib + o + o +

! & ˙

Pno.

O V O X

Perc.

n˙

(,)

e˙ . e˙ .

port.

[h]

Œ ã

˘ R

# d˙.

‰ y

®Ø O

(F)

(rate of timbral trill)

►►►►►►►►►

BOWED CYMBAL

THAI GONGS 5

l.v.

#œ nœ >

#œ

? Œ

nœ nœ

F▴

& n œ l.v. b ˙ > !

secco

P # >œ ß

¿ J

l.v.

ly ral late e p a scr

port.

& Œ

sub

V O X

‰

r nœ œ œ œ œ œ bœ œ œ œ œ œ > ppp p ç w/yarn mallets

4 4

& Œ ? Œ

sub

' # >œ l.v. nœ Œ R

j bœ

port.

( P)

‰

V O X

‰

j œ Œ œ l.v.

w/ metal canister/plate or ceramic cup

‰

gradual transition: tenuto - staccatissimo - slap tongue - air

[h]

[d]

‰

BASS DRUM

c.4"

►

(F)

‰

pœ œ œ œ œ œ œFœ œ œ œ œ$œ ã

˙ > !

c.4"

depress head with left hand to raise pitch 5 and damp, gradually lower pitch and undamp w/fingertips 10

; œ

damp at coil

l.v.

c.4" brus h

œ l.v.

THAI GONGS

Pno.

port.

KICK DRUM

port.

Perc.

timb.

‰ & nœ n œ ã & ‰. #œ > p F ß ã PÚ >Ú Ú

very slow sc raping

Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 > . n œ ˙ . #˙. Dœ bœ & bœ œ ppp P O P O P 5

4 4

w/metal canister

TAM-TAM or drum stick

T. Sx.

y ( Fÿ )

‰

. j Ÿ˙ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

slap tongue secco 10

[d]

port.

nœ

OPERA GONG

air tongue ram

#œ

port.

j # œ l.v.

antistasis

"Frozen Time" (molto rubato)

T/F+C35

17 1234`te q =m. c28-32 125 + vocalizations and overblowing/bends ad libitum

T. Sx.

n n ww &

4 4

& Œ

Perc.

œœ

p O

( P) 3

? Œ

‰ ‰

Perc.

4 4

Pno.

œœ

‰ ‰

>Ú >Ú J J $ F

5 4

p O p O p O p O p O

‰ &. ‰ . ‰

>Ú J $

>Ú J ç

‰ 5

up and down these two strings ad libitum

sim ad libitum

"Frozen Time" (molto rubato)

'senza vib. Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˘ n 5 .. ( ) +˙ y & =± ‰.

ã Œ

œœ

VERY slowly drag fingernails of left hand laterally

q = c28-32

q = c40-44

4 4

n n ˙˙ ..

19 a tempo

>Ú J $

‰

air

O O ‰ O O ‰ O O ‰ & O O & & O O && O O && O O && O O && O O &

>Ú J p

w/ metal canister/plate or ceramic cup (ramekin) scrape laterally along high strings with pressure

T. Sx.

5 4

œœ

& Œ

œœ

kick pedal erratically trembling & squeaking ad libitum. minimal contact w/ drum head aside from grace notes

[ œœ

œœ

>Ú J

4 ( $) 4

&˙˙

nœ œ

nO O ‰ O O ‰ O O ‰

KICK DRUM

Pno.

œœ ....

18 molto legato

X" .

V O X

port.

TAM-TAM (bowed)

¿ J

‰ Œ

l.v.

molto vib.

tongue ram

. ( P) & yÿ yÿ & yÿ ‰ (F)

ad libitum

=>Oo .

ß # ˙ ? .

very slow scraping

3 4

‰.

l.v.

33 ' n b œœ4˙˙ ..

completely damped w/l.h.

l.v.

air only flatt. & granulation ad libitum

w/metal canister

( ƒ)

ppp

l.v. or drum stick

11.

l.v.

sub

air only

‰.

^ ^

$ V O X

exh.

[h]

œœ l.v. J

(F)

antistasis

a tempo

q = c40-44

(,) n˙. . b˙

T. Sx.

& y®y œ . ˙ . ÿ ppp ( ƒ)

oscillating, pulsating

sub

V O X

4 F˘ 4 ‰.

Perc.

>œ .

Œ ã l.v.

w/back end of sticks

b>œ œ > bœ>

w/ superball

‰.

4 4

scrape w/tip of stick

OPERA GONG

" j

bœ

‰.

pe scra

? ‰.

P ß

w/ fingernail (or coin)

4$ 4 F

port.

$ V O X

5 F ˘4 R

[d]

[h]

TOMS

Œ w/voice

& bO R 5 ß

Œ Œ

‰ ..

bœ > Ï

l.v.

+ o + o + ad lib + o + o +

˙. ‰

[dha]

BOWED CYMBAL

port.

[3 o

n Oo

X" .

P 3

eœ

port.

O O

3 ' b n # ˙˙˙ $

P P

completely damped w/l.h.

port.

Dœ

j ¿ l.v.

j nœ

˙. V O X

+ o + o + ad lib + o + o +

( ƒ)

$ P y

port.

rate of tremolo

>Ú

ggg ggg ggg b œ nœ bœ #œ ç nœ

damping sim ad libitum

overblowing + vocalizations

percussive burst of air

Ï 5 # >œ . l.v. 4 nœ. gn œ & & ggggggg nœ

KICK DRUM

˘ R ! b>œ w/wooden stick rate & size of rotation [d]

œ œ œ œ œ œ œœœœœœ>œ Ó œ

b œ ordl.v.(w/keyboard) > l.v.

& .

CONGAS

ŒH

4 4

Dœ

port.

sub

port.

V O X

4 4

port.

timb.

THAI GONG

26 + œ¨ Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ,) ( ˘ # œ ä .. # œ D œ œ n y œ& n œ. #˙ R n œ n˙ & pp ƒ Ø O $6 ƒ ß

ã ‰.

por

nœ ˙ !$

sub

Pno.

" "bowed" w/magnetic tape

port.

Perc.

air

port.

3 4

j nœ >

T. Sx.

port.

¨ n >œ ˙Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ + œ =œ nœ ¨ ¨ J &. bœn œ pp Í P 5 ß slap tongue

strike with hand

l.v.

‰.

BASS DRUM

# >œ & ‰ nœ ?

air

[h]

4 4

Pno.

3 4

[d]

THAI GONGS

b Oo

V O X

[3o .

tongue ram

œœœ l.v. J

antistasis

eœ

T. Sx.

& Dœ

V O X

Perc.

air

4 4$

‰. yÿ yÿ ( ƒ) F

[h] TAM-TAM

slap tongue secco

►►►►►►►►►►►►►►►►►►

‰.

[d]

ã Œ

tongue ram

®x .. F

4 4 Pno.

w/ metal canister/plate or ceramic cup

slow scra ping late rall

eœ. eœ. & ‰

V O X

4 4

ã œ j Ú

Pno.

4 4 ?

bœ œ

> F ß

y and acr oss strin gs

+>Oo

j œ ‰.

CONGAS

>j 22

l.v.

#œ

port.

30 vox

nœ

zxœ ‰

F ffff sempre ‰ &

j 6

KICK DRUM

(

lower strings should be damped with a heavy book & light felt or cloth inside piano very little definite pitch, primarily attack and resonance

(

j Œ b xœ â F

[h]

[d]

‰

[ngh]

& [dhay ] y y

OPERA GONG

scrape w/tip of stick

l.v.

> ß

BASS DRUM

>Oo .

>Oo

(echo)

‰

œ.

ç % F damp at coil

& 5

l.v.

nœ ! > bœbœ

l.v.

dist.

2222222

#œ !

V O X

‰ ‰

[ngh]

TOMS

Perc.

‰ .& n œ b œ

? ‰.

‰

‰.

‰

11.

poco accel.

T. Sx.

l.v.

guttural vox

port.

THAI GONGS

dist.

fall ad libitum + vocalizations

w/metal canister or drum stick very slow scraping

nœ #œ nœ

timb. Ÿ' ~~~~~~~~~~~~~~~~~~~~~ # œ näœ œ =œ nœ

22 22 œ œ œ œ > & œœ & J ‰ > ƒ ffff j j 6 6 Ú> sempre

5 z

zxœ ‰ ‰ ..

‰

œœ ‰ Ú >

zxœ Œ

j œ

‰ ..

‰

®œ2 œ Œ J œ Ú >

ffff sempre

‰

® Œ b n b xœœxœ œœxœ secco b>n b x >

& xœz &

&œœ

Ú >

& xœxœ œ >

antistasis

q = c48-54

T. Sx.

& Œ

V O X

3 4

1234`5wgBc

d >œ r r œœ n xœ & dist. vox

>œ . œœ ..

* freely substitute alternate multiphonics (i.e. 46, 49, 36)

m. 60 & vary contour of vocalizations ad libitum

sempre

bisb. Ÿ ~~~~~~~~~~~~~~~ (sim. ad libitum) ˘ 32 ˘ >œ d z & &bœ z z ‰ & ‰ r r œœ . œ n xœ xœ ®xœ 5

RHYTHMIC UNISON (+ornamentation ad libitum)

T/Bb - 6 + C2

ƒff

‰.

[ngh]

port.

m.49 m.46 T/D -14 +Bb T/F# -1

`2356B

port.

m.36 T/Eb -23 +Bb

`235

`1456BE

( )( ) ( )

‰.

z z

® ‰

RHYTHMIC UNISON (+ornamentation ad libitum)

OPERA GONG ** additional ornamentation ad libitum should feel extremely free/organic and incorporate fills in other tuplet divisions (2, 3, 6, 7)

Perc.

ã Œ

sempre

3 4

ƒff

B.D. KICK DRUM

? Œ

sempre

ƒff

n xœ

xœx>œœ

Ú >

> ... 5

‰.

b b xœxœœ

j œ

®y . Ú. >

Ú > 5

®>...

&. & xœœxœ xœœxœ > >

n xœ ‰

THAI GONGS

y & n· & n·

l.v.

2 4j

port.

xœ .

œœ ‰ Ú >

‰. ? ‰& 5 # >œ 5 . ‰ œ b n b xœxœœ 5 >

& &

xœœxœ >

5 8

‰

5 J

6> .

5 8

‰ x>œœxœ x>œœxœ

Ÿ>~~ dœ ® r r œœ n xœ xœ ® ‰ 5

& &œœ ®

Ú Ú > >

across wound strings

‰ 5

y‰

xœx>œœ ...

‰

#œ

œœ

Ú. Ú > >

5 & ® ‰.

r œ

Ÿbisb. ~~~~~~~~~~~~~~ ˘ >œ Ÿœtimb. ~~~~ 35 # œœ ‰# œ œ J

CONGAS TOMS

d >œ r r œœ

& ‰

2 4 5

‰

b n b xœxœœ >

nœ #œ nœnœ 34 #œ #œ

Ú >

sim ad libitum

Ÿbisb. ~~~~~~~ >œ . ˘ r r œœ .. ‰.

port.

> ...

  

Pno.

ã y.

b n b xœxœœ > secco

Ÿbisb. ~~~~~~~~~~~~~~~~~ ˘ > 33 d œ œœ

Ú. >



Perc.

œœ

y & &



& Œ

V O X

RHYTHMIC UNISON (+ornamentation ad libitum)

port.

T. Sx.

œ y. Ú >



Pno.

y œœ &scratch Ú w/tip of stick >

LOW TOM

‰

& & ® 5

b n b xœxœœ xœx>œœ >

8 36

T. Sx.

~~~~~~~~~~

V O X

3 4

‰

. ®xœ ‰ ®

Ú >

‰

® &

xœx>œœ

2 4

Pno.

‰

˘ 5

Ú >

œ&

? ® &. b b œœœ œœœ 5

THAI GONG

> .. .

w/tip of stick

xœœ x>œœ ÿ

® Œ

y & n· & n· > Ú >

> ...

b b xœœ >

xœ ®

xœx>œœ

d >œ #œ r r œœ nœ . ‰ & P ( ) O n xœ

>œ # & nœ

y ®y. œ

Ú >

l.v.

˘ > ...

œœ

sim ad libitum

Ÿ~~~~~~~~~ ˘ >œ œœ ‰ xœ

MAINTAIN RHYTHMIC UNISON (+ornamentation ad libitum)

eœ

port.

eœ

sub

3 4 yŒ

j y

3 4 Œ

nœ

‰.

ffff sempre ‰

nœnœ

#œ

‰

xœ

®6‰

‰

MAINTAIN RHYTHMIC UNISON (+ornamentation ad libitum) 5

æ æy œ j ‰ >5 5 5 >5 y . y œ œ œœ Í ƒ Ï Ú Ú >SAX+PNO > 5

¿œ J

MAINTAIN RHYTHMIC UNISON (+ornamentation ad libitum)

bœ

xœ

‰

SAX+PNO

&œ

scrape

˘ 5

Ú >

‰.

®œ y .

Ÿ~~~~~~~~~~~ ˘ >œ . n œœ ..

SAX+PNO

>œ œœ

xœ

# >—

® Œ

j œ

Ÿ~~~~~~~~~~~˘

37 d > œ. & œœ ..

‰.

slow scrape     

b b xœxœœ >

bœ nœ

® & 2 2 œœ & &# · ã  œ  & > j j Ú Ú Ú ÚÚ ÿ> >

d >œ . ® & . r r œœ .. & n xœ xœ

y ‰

Perc.

r& & n œ xœ xœ

V O X

œ bœ bœ 3

T. Sx.

3 4

Pno.

xœ

bœ

Perc.

antistasis

& # œ . b n b œœœ nœ. 6 â

œœœ

‰ 6

œœœ 6

‰

Ú >

œœœ

T. Sx.

Ÿbisb. ~~~~~~~ 40 >œ . ˘ œ. &œ . V O X

Perc.

Pno.

V O X

Pno.

Új

b b œœ œœœ ......

–– – â

œœ

Ú > ˘

5 5 5

˘ ‰

œ.

j œ

Ú. Ú > > ˘

œœ

>Ú

#œ nœ

y &

l.v.

nœ

bœ

b b œœœ b b œœœ

® ‰

® &. bbœ

œœ

Ú >

bisb.

& n œ œ œ œ œ & œj ‰ œœ 2 y œ nœ œ œ œ œ Kr $ ƒ Ú. Ú Ú > > > ˘ > > ˘ . &

y & 2J

‰

OPERA GONG THAI GONGS

& ®y .

>Ÿœ .~~~~~~~~~~~ ˘ 6 J œœ .. ‰ xœ . ®xœ xœ

sub

& b·

® ‰

®& ® b b œœ œ

j œœœ

THAI GONG

>œ ®œœ

5 5

> 6

® ‰

˘>

abrasive multiph. ad libitum

> &œœ222&

 y

Ú >

‰

Ÿ~~~~~~~~~˘ ˘ >œ œœ ‰ ® xœ xœ xœ

Ÿbisb. ~~~~~~~~~~ 43 ˘ Ÿ~~~~~~~~~~~~~~~ > >œ œ bœ œ œ œ & œ & œœ . ® & . œœ #œ xœ x>œ xœ xœ Î p6 ƒ pp Í‰ & Œ 6 ‰. 6

22 ã ®

Perc.

& y y ‰ xœ ÿÿ y jy

> .. & .

slap tongue

xœ

ã & y.

d >œ r r œœ 41

T. Sx.

antistasis abrasive multiph. & vocaliz. ad lib.

‰.

Kr y

œœ

Ú Ú. Ú >>

®‰ œœœ ... œ

> .. .

y ˘ J

œœœ

10 44

T. Sx.

& & xœ &

V O X

>œ œœ ‰.

xœ

6 6

nŸœ ~~~~~~~~ >œ ˘ 45 nœ# œ slap tongue nœ ®´ ´ ®œœ & &. ‰ bœ xœ y y xœ xœ xœ

‰ ‰

Perc.

&. y

y Ú >

& b b œœ

œœ

Ú >

‰

T. Sx.

& &.

V O X

4 4

xœ

‰

œœœ

4 4

Pno.

? ‰

maintain tempo individually, without regard to opposing parts. synchronization is reestablished following event box. ensemble should gradually drift apart. 5

& nœ œ bœ œ ã nœ

> .. . 6

y &

xœ

® ‰ œœ œœœ œœ

bn b œœ

® & 7

scrape

sub

b b œœœ

xœ

®y .

® & œ œœ œ

œœ

Ú. Ú > >

> œœœ

& 6

œœœ

7 Ÿbisb. >œ ~~~~~~~~~~~~~~~~~~ ˘ & . œœ

sim.

® ‰

‰ 7

OPERA GONG

> 6

TAM-TAM

b b œœœ ...

‰

Ÿ>bisb. ~~~~~~~~~~~~~~~~~~ ˘ œ œœ ® ® & ‰ ® xœ xœ xœ xœ Í ƒ xœ .

Ú >

maintain tempo individually, without regard to opposing parts. synchronization is reestablished following event box. ensemble should gradually drift apart.

y .

y œ

Ú >

Perc.

abrasive multiph. ad libitum

Kr y 

TEMPORAL INDEPENDENCE

xœ

TEMPORAL INDEPENDENCE

> ˘

‰

®y  æ 5

>œ ˘ &œœ

   

Pno.

OPERA GONG

maintain tempo individually, without regard to opposing parts. synchronization is reestablished following event box. ensemble should gradually drift apart.

TAM-TAM

TEMPORAL INDEPENDENCE

antistasis

Ú >

œ œ

œœ

˘ œœœ 6

œ Ú >

# >œ L.H. nœ &

xœ

antistasis

>œ nŸœ ~~~~~~~~~~~~~~~~~~~~~~~~~~ œ .. œœ & & xœ ► ► ► ► ► ► ► ► ► ç pp ÿ ÿ ppÿ ÿ ÿ ÿ ÿ ÿÏÿ Î 7

3 4

Perc.

ã ‰

‰

2 r 5 5 25 y

œœ

Ú. >

j y

y J

6> .

j j y y

6 >

#œ nœ nœ nœ bœ #œ & nœ nœ nœ & bœ 6

Ú >

˘ j

T. Sx.

& V O X

xœ

‰

&. &.

Perc.

œœœ2

? ® ‰. b b œœœ œœ 6

‰

‰.

scrap e

œœ

j y

œ œœ

> .. .

œœ 6

‰

œœ2

xœ 2 œœ y

& &.

b b œœ

‰

y RÔ

˘ ® œœ 6

Ÿ~~~~~~~~~~~~~ ˘ >œ ®œœ . ® .

‰

®y . y

> œœ

‰

®‰ œœ

®y

ÚÚ >>

xœ

‰

j y

‰.

Ú >

® ‰. œœ

–– .. –.

bœ nœ

‰.

& b b œœ

 

Pno.

xœ & yÿ yÿ ® xœ ‰ .

bœ

Ú >

Dœ

& &

 yJ

>œ

>œ ® & ® œœ xœ xœ xœ

> ..

# œ . b nbœœœ nœ .

slap tongue

˘j

abrasive multiph. ad libitum

xœ

sub

3 4>

Pno.

timb.

slap tongue

T. Sx.

˘j

œœ œ

& y.

y Ú >

& œœœ

12 T. Sx.

antistasis

n n ˙˙

& . & V O X

xœ ‰

‰

m. 125

[

‰

bœ bœ

xœ . xœ

>œ œœ

‰

& ‰ xœ &

® xœ xœ

‰

TAM-TAM

Perc.

Pno.

2 2 2 2 >2 y

? ® &® b b œœ œœ

>œ & & . œœ

Ú >

œ ã & œœ ®

Ú ÚÚ > >>

Pno.

? b b œœœ ...

œœ

xœ xœ

>. ˘

® 6

œœœ ...

‰

>.. .

œœœ 6

Kr 6> Ú> > ˘

THAI GONG

b b œœœœ

‰

xœ xœ  y

Ú >

‰ ® & œœœ œœœ œœœ 6

> .. .

ÚÚ >>

&. y . ˘ b b œœ œœ

>œ ®œœ

xœ 5

yœ

j œ

> ‰.

6> Ú>

xœ ‰

y  æ

> œœ

œœ 6

œœ œœ

>œ . & & œœ ..

j y

®y

j œ

y 2 2® & n œ œ & œ œ & œ œ & œ œ œœ nO O O O O O O O Ú Ú Ú Ú Ú J J J > >

V O X

l.v.

Perc.

scrap e

Ú >

œœ œœ

T. Sx.

‰

>—

T. Sx.

& V O X

5 4

xœ

® .

ad libitum 5

¿ Perc. ã  

Pno.

ad libitum

b b œœ

xœ

Ú >

‰

œœ œ œ œ œ œ

Ú >

↑

↓

U ¿ J

↑

↓

should become completely frenzied and irregular, until cue from percussion to new tempo

® .

‰

TAM-TAM

Ú >

>œ œœ

ad libitum

‰

5 4˘

antistasis

poss.

Ú >

‰

↑ ↓ 22 222 222222222 2 2

↓

↑ 22& œ œœ œ

↑

↓

↑

↓

should become completely frenzied and irregular, until cue from percussion to new tempo

® œœ 6

T. Sx.

z z

V O X

3 4

zxœ xœz‰ . ‰.

fffƒ sempre

‰ ‰

5 z

zxœ ‰ Œ ‰

& &

xœz

4 4$

dead stroke

& nn œœ œœ ‰ . fffƒ ÚÚ >>

sempre

3 4

Pno.

[h]

fffƒ sempre

? ‰. b n b œœ œœ >> secco

‰ œ‰ Œ œ Ú > 5

(

‰ œ‰ Œ œœ > 5

&œ Œ œ Ú >

4 4

Œ 6

& œœœ >

#œ

nœ

3 4

O Œ

tongue ram

j ‰. yÿ ®xœz Îf ( F )® .

air

rate & size of rotation damping sim ad libitum

!nœ

% ã

"! #˙.

OPERA GONG

w/wooden stick

+ o + o +o +

o +o +

+o+ % p O O

‰.

[d]

scrape w/ stick or canister

‰.

BASS DRUM

3 4

‰

[h]

‰.

port.

THAI GONG

exh.

THAI GONGS

Perc.

eœ. ‰ eœ.

w/ superball

® œ. % Ú > Îf

"bowed" w/magnetic tape

port.

# d( œ )

P l.v.

port.

#œ

l.v.

; ? œ brush j Œ #œ l.v. J O

®‰

bœ ! b œ bn œ >

secco

scr ape late rall y

q = c40-44

antistasis

eœ.

T. Sx.

& ‰ V O X

Perc.

& ã

Pno.

4 4

V O X

[h]

‰

el ap scr

lly era

œ œ (!)(granulation)

q = c32

slap tongue

œœ

Œ œ&

Ú >

(,) nœ. . bœ Ø p

oscillating, pulsating

V O X

3 4

3 r j ‰ Œ n œ œ œ œ œ œ œ Œ & bœ n œ œ œ œ œ œ œ > l.v. > ppp p ç Új Új ß

% V O X

> > ß

bœ

‰

‰ b b& œœ œœ ... b œ ÿ> ç!

j œ.

el ap scr

lly era

5 (P )

&Œ

nœ nœ n œ# œ

˘ R

[d]

port.

Ú >

5 4Œ

V O X

‰.

port.

j œ

Ú >

‰

> 5

P F

[d]

[h]

(F)

‰

5 depress head with left hand to raise pitch and damp, gradually lower pitch and undamp

‰ pœœ

w/fingertips

Œ.

completely damped w/l.h.

damp at coil

nœ. > ß

n3œ J

‰ Œ

►

5F 4

‰ ‰ & ‰. xœœxœ xœœxœ xœœxœ > > >

scrape

# ˙ ..

w/ superball

j œ

BASS DRUM

OP $

port.

Dœ

gradual transition: tenuto - staccatissimo - slap tongue - air

w/ metal canister/plate or ceramic cup

3 4

port.

V O X

port.

[3 o

b Oo

b b xœœxœ > Îf

[h]

OPERA GONG

sub

Pno.

Ú > Îf

q = c40-44

j n œ>

& ‰ #n œœ l.v. ß ? Œ Œ j

˙.

& $y .

OPERA GONG

n Oo

b Oo

TAM-TAM

ãœj r‰

KICK DRUM

& b n b xœœxœ secco > Îf

w/back end of sticks THAI GONGS 5

4 4

˘ R

[d]

5 4

‰

Îf

 5

[h]

˙.

4 4

Perc.

‰.

l.v.

& & ‰ y˙. ►► ÿÿ ß % 5

5 $4 r

‰.

slow scrape  

61 "Frozen time"

T. Sx.

w/ fingernail (or plectrum)

Îf

n˙ & z ® b˙ O xœ 5

nœ

‰.

#œ

( P)

4 4

eœ.

port.

œœœœœFœœœœœ$œ

l.v.