"Quartet (lens 1)" for clarinet, voice, percussion, and piano

JE L AN I N . S U R P R I S

Q ua r t e t

f o r vo i c e , c l a r i n e t , pi a n o , a n d pe r c us s s i o n

2 0 2 2 )

“Quartet”

Explanatory Note:

“Quartet” is a large scale piece that explores a contextual narrative of a light spectrum being analyzed by the mind's eye. Within each “lens” the color of the instrumentation changes exposing a new nature to the sound. Each player should keep in mind Written for the early formation of the Ensemble UNKWN in the Spring of 2022 at the Schwob School of Music. The version presented is the edited version which follows their performance of the first lens.

Instrumentation: voice, clarinet, piano, and percussion

Duration: ca.7 minutes

Musicians: Gavin Gourley, voice Daniel García, clarinet Gary Gordon, percussion Noah Waddell, piano Jelani Surpris, conductor

Kenneth Butler (b. 2000)

“Surrounded by enigma

The gloaming devours

This place of madness Consumes my very soul shush my shouts Blinded cannot see Dawning may be near Climbing through descending shadows”

General Technique:

Raise or lower the pitch by 1/4 tone or 3/4 tone (ie. ). I understand that intonation and sound color are closely related. Ultimately, the player should choose the best possible fingerings.

Dashed decrescendo informs the player to naturally allow the decay of the sound previously produced

ord. = return to original technique after playing alternative technique

A dashed arrow line indicates that players should gradually transition from one technique to the next.

Symbol =

quasi senza tempo = indicates for the player to continue playing without a pulse or given tempo; these sections are accompanied by non existent bar lines

Repeated aleatoric figures are written within a pair of repeat signs followed by a thick line.

ended and only give a general suggestion for stopping the phrase. They are notated as such.

Symbol =

(

Notes with thick beams attached to the tail end of the head inform the player to sustain the given pitch or technique in cohesion with the rest of the ensemble.

Example = Semi aleatoric and aleatoric devices are accompanied by an overarching bracket to show the duration in which the texture should be played.

Symbol =

Voice:

Unless otherwise instructed, Glissandi are meant to be played with rhythmic accuracy and precise pitch differentiation. Singers are encouraged to willingly employ theatricality in their performance of these glissandi while keeping in mind the musicality of the phrase.

Square noteheads indicate that the singer speak plainly but within a general region specified by the notehead. Symbol =

“X” noteheads indicate that the singer should employ a glottal vocal “rattle” to the given lyric. The intended lingual sound is notated in parenthesis.

Example = Diamond noteheads indicate for the singer to use a whispered timbre within their normal vocal dynamic range. The singer should omit pitch inflection as well.

Symbol = Rounded triangle noteheads indicate that the singer should shout with musical effect and little pitch inflection.

Symbol = A triangle notehead without pitch information indicates singing a high pitch vocal fry. These are usually accompanied by glissandi.

Example = A Z stem attached to a normal note stem indicates singing with a low smooth vocal fry. Pitch accuracy should still be considered when performing this technique.

Example = Clarinet:

Flutter tongue markings are accompanied by a 32nd note tremolo marking and the text “flz.”

Symbol = Bissbligandi are notated with an “N M” staff text; the N represents a natural tone and the M is a muted tone.

Symbol = Multiphonic fingerings are provided in the score.

Piano:

Sforzato markings indicate that the pianist should strike the keys with an intense weighted force initially.

Tremolos on the piano require double and triple stroke finger rolls. If the required speed is unattainable then using separate fingers on both hands to tremolando is acceptable.

Symbol =

Percussion:

Instrumentation:

Bass Drum

Snare Drum (as resonator)

Tam tam

Large china cymbal with rivets

5 triangles of varying sizes (low to high = large to small)

Two resonant metal plates (as thunder sheets)

Timpani

4 tuned gongs (low to high = large to small),(pitches of percussionist’s preference)

5 Crotales (pitches of percussionist’s preference)

Marimba

Shorthand Instrument Changes: [name]

BD = Bass Drum

TT = Tam tam

CYM = Large China Cymbal

TG = Tuned Gongs

MAR = Marimba

TS (#1) = Thunder Sheet

TS+SD (#2) = Thunder Sheet and Snare Drum Resonator

TR = Triangles

General Key =

*page v for further notation information

Mallets:

An assortment of mallets of varying densities should be gathered to achieve timbral and spatial accuracy. Additionally, the player should have triangle beaters, supernal mallets, and a bass bow.

Percussion Notation

Bass Drum Symbols: An x notehead on the bass drum line indicates playing on the rim of the drum with harder mallets. The marking used is “rim.”

Example =

Bass Drum may also be resonated by a super ball mallet (sb). A visual guide for the movement of the mallet is given at each moment requiring its use. The corresponding symbols are listed below.

Example = Thunder Sheet (TS#1)

The player should strike this thunder sheet normally with a mallet of their choosing. The sheet should not be shaken or flexed as a technique.

Notation =

Thunder Sheet + Snare Drum(TS#2)

The player should allocate a snare drum to act as a resonator in “Quartet.” The Snare should be placed behind one of the thunder sheets (thick metal plates) vertically with the snare “on.” Mallet hardness should be determined by the player; whichever color the performer prefers in cohesion with the overall texture.

Symbol =

Large China Cymbal

The large china cymbal should be played as normal but may also require bowing. The marking used is “arco.” Varying pressures are required for bowing the cymbal if instructed. “X” note heads indicate to strike the cymbal normally.

Symbol =

hbp = high bow pressure (*contact to the cymbal) lbp = low bow pressure (*) np = no pressure(*)

Crotales

The player should choose 5 differently pitched crotales and place them on the skin of the timpani. These crotales will act as resonators when bowed in combination with the “wah wah” from pedaling the timpani. The marking used is “arco.” Their notation is marked using “stemless” noteheads.

Notation = (low to high)

TMP +CROT:

The “wah wah” timpani and crotales pedaling effect is marked with the words, “Pedal.” The player should adhere to the waveform shape provided.

Example =

Tuned Gongs:

The player should choose 4 Tuned gongs differently pitched tuned gongs to be hung. They should be played normally with mallets of varying timbre. Their notation is marked using “small” noteheads.

Notation = Triangles:

The player should choose 5 triangles at different fundamental pitches from low to high. They should be played with triangle beaters that achieve maximum resonance.

Notation =

s v /

P E DAL D OWN ?

#

[ C Y M] h b p a r c o [ B D ] ( s b )

b œ b œ b œ œ B œ B nœ œ œ œ œ œ

s v / [ TR ] > > [ B D ] ( s b )

( p mo l t o so s ) s h a ff mo l t o so s ( p mo l t o so s ) s e n z a t e m po , ( 1 5 ' ' 2 5 ' ' ) 1 3

P E DAL D OWN

b œ

s e n z a t e m po , ( 1 5 ' ' 2 5 ' ' ) s h a nœ nœ nœ œ ‚ ‚ ‚ ‚ œ œ