The Slow Splintering by Jacob Gotlib

The Slow Splintering for string quartet, percussion quartet, and electronic sounds

Jacob Gotlib

Instrumentation Percussion I 4 graduated Thai gongs 4 graduated temple bowls Percussion II Vibraphone Crotales Percussion III 3 graduated wine glasses Tam-tam Percussion IV 2 suspended cymbals Bass drum Violin I Violin II Viola Violoncello

Duration: 12â&#x20AC;&#x2122;24

Program Notes: The Slow Splintering loosely follows the sonic and physical trajectory of glass shattering -- an initial explosion, a cracking and fissuring, a breaking apart into shards, and the settling of those shards -- in slow motion, taking place over 12 minutes and 24 seconds.

Stage Layout: The instrumentalists should be arranged in two arcs across the stage, with the string players comprising a smaller, inner arc and the percussionists behind them in an outer arc. The conductor stands in the center front in a traditional placement. The two loudspeakers are placed on the outer edges of the stage in front of the conductor and ensemble. The following diagram illustrates: Perc II

Perc III

Perc I

Perc IV Vln. II

Vcl.

Vln. I

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Conductor Speaker Left

Speaker Right

During the performance, the hall should be completely dark and the performers’ and conductor’s music should be illuminated only by stand lights.

Technical Notes: In order for many of the delicate string effects to be audible, the string instruments must be amplified. Each instrument should be mic’ed as closely as possible to prevent the “bleeding” of the other instruments, ideally with small lavalier microphones attached to the bridge (e.g. DPA 4080-BM). However, any high-quality condenser microphones will suffice.

Due to the precise synchronization that is necessary between the instrumental parts and the electronic playback, the conductor must conduct from a click track. This is included as a separate track in the electronic playback file. The levels for the electronics and the strings should match those of the percussion. All the sound groups should be as equal in volume as possible.

Percussion Notes: For all percussion, particular mallets and mallet changes are indicated in the score. In passages where particular mallets are not specified, the choice of mallets is left to the discretion of the performer. All sounds should always be allowed to vibrate, unless indicated with a mute symbol in the score. Feathered beams indicate metered accelerandi and deccelerandi, lasting the length of the bracketed duration, e.g.

a deccelerando lasting two beats.

an accelerando lasting five beats.

Percussion I Percussion I contains two sets of instruments in its setup. On a small table should be four graduated temple bowls, (or â&#x20AC;&#x153;singing bowlsâ&#x20AC;?), arranged from low to high. In the score, they are notated on the lines of the staff. Four graduated Thai gongs should be hung on a rack from low to high. In the score, they are notated on the spaces of the staff. At rehearsal marking J, the performer is instructed to overturn the temple bowls, and until m. 167, to play on the bottom part of the bowls. This will create a thin, sharp sound. The bowls will be notated with x-shaped noteheads in this section. At mm. 167-170, the performer is to overturn the bowls to their original position and to drop small coins into the temple bowls.

This will create metallic, slight bouncing and rolling sounds. If possible, use small coins such as pennies or dimes.

Percussion II Percussion II plays a vibraphone and a set of crotales. These are notated on the same treble staff, but it is indicated verbally which instrument is to be played in a particular passage. Throughout much of the work, both the vibraphone and crotales are to be bowed. The particular type of bow is left to the discretion of the performer, but always use the entire length of the bow. The bowed sound should last as long as possible -- the durations in bowed passages simply indicate at which point to begin bowing, not how long the sound or bowing motion should last.

Percussion III Percussion III plays a tam-tam and a set of three graduated wine glasses (pitches are nonspecific). The tam-tam parts are notated on the bottom line of the staff with x-shaped noteheads, and the wine glasses are notated on the top three spaces with regular noteheads. The tam-tam is to be struck with various beaters and bowed, all of which are indicated in the score. As with Percussion II, the bowed sound should last as long as possible -- the durations in bowed passages simply indicate at which point to begin bowing, not how long the sound or bowing motion should last. The wine glasses are to be rubbed on their rims with the performerâ&#x20AC;&#x2122;s fingers, creating a crystalline drone. In rehearsal markings G-J, these drones often last a long time. If the glass must be re-attacked to continue the drone, it should be done discreetly.

Percussion IV Percussion IV plays two suspended cymbals and a bass drum. The cymbal parts are notated on the top two lines of the staff with x-shaped noteheads, and the bass drum is notated on the first line with regular noteheads. The cymbals are to be struck primarily with snare drum sticks and bowed. Any other mallet changes are written verbally in the score. Except in tremolo passages, the cymbals should always be attacked on the top of the cymbal, like a ride cymbal.

The bass drum is struck occasionally, but in much of the work, a superball mallet should be dragged across the head of the drum, producing a growling or rumbling sound. In mm. 129-135, the performer is instructed to strike the drum gently with a snare drum stick, allowing the stick to bounce freely against the drum head. Allow the stick to bounce as long as possible at the soft dynamic level (pp) before re-attacking at the next note.

String Notes: The string parts contain a copious amount of extended techniques and nontraditional sounds. For this purpose, many of the directions for sound production are indicated verbally in the score (e.g. “col legno battuto” or “arco ord.”). Particular bow placement on the string is important in much of the work. “SP” means sul ponticello, “ST” means sul tasto, and “N” means normale. For sul ponticello passages, play as close to the bridge as possible to produce a very metallic but still pitched sound. Arrows between bow placement indications (SP N) signify moving the bow gradually from the first position at the beginning of the passage to the second position at the end of the passage. Harmonics are notated in the following manner:

where the bottom note indicates either the pitch to be stopped or the open string on which the harmonic is played and the top note indicates the harmonic to be fingered. If the bottom note corresponds to an open string, play natural harmonics whenever possible. X-shaped noteheads signify playing behind the bridge on the open strings indicated:

Ricochet or jetĂŠ bowing is used extensively throughout the work. Passages that employ ricochet bowing are notated as follows:

In passages such as the one above, the durations indicate where the attack should occur temporally, not the length of the bounce. Allow the bow to bounce as long as possible before the next attack. Noteheads with an arrow, e.g.

signify playing the highest note possible on the instrument.

indicates erratic, nonspecific glissandi originating from the starting pitch.

indicates striking the open strings with the palm and allowing them to vibrate freely.

indicates repeating the passage in the box until the arrow stops.

triangular noteheads indicate striking the body of the instrument with the palm of the left hand.

The Slow Splintering

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Perc. III

Perc. IV

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& & % %% %% %% & & &

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Perc. II

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# 3

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6& & 6&C&

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Perc. III

Perc. IV

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# +%

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sul III

sul II

/&9 =/&9 = /9 = /9 =/9 = /9 = /9 = /9 = /9 = 5 # 5 5 5 5 5

Perc. I

Perc. II

Perc. III

Perc. IV

/9 /9 /9 /9 /9 /9 /9 /9 /9 /9 /9 /9 /9 /9 1 "" sim.

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(

sim.

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= /9 /9 /9 /9 /9 /9 /9 /9 /9 ! # " &9 ) / 3 3 3

Perc. I

Perc. II

Perc. III

Perc. IV

! "

( /9 = ) * #

wine glasses

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metallic

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Perc. IV

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temple bowls

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thai gongs 3

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Perc. II

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Perc. IV

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Perc. IV

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bass drum drag super-ball mallet

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electrical buzzing

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crotales (bowed)

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vibes (struck) 3

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107

Perc. I

Perc. II

Perc. III

Perc. IV

(

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thai gongs 3

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Perc. I

Perc. II

# *

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vibes (bowed)

crotales (bowed)

overturn temple bowls

motor: fast

Perc. III

Perc. IV

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Perc. III

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Perc. IV

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127

Perc. I

Perc. II

thai gong

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motor: slow

Perc. III

Perc. IV

Tape

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Vln. II

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136

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Perc. II

vibes (struck)

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motor: med

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Perc. IV

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Perc. III

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Vln. II

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thai gongs

ppp

cymbals (bowed)

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147

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Perc. II

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Perc. III

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Perc. IV

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April 30, 2008 Kansas City, MO