2 blasted heath for euphonium and piano Composed by: Jared Isaac Aragรณn Written for: David Abram Grayling Performance Notes: Metronome markings are merely suggestions. This piece contains several extended techniques for both euphonium and piano. The composer has attempted to provide brief yet clear instructions in the score. Euphonium: Throughout most of the work, the euphonium is muted. In addition to the standard mute, the soloist is asked to use two different pieces of fabric to aid in muting the instrument (one piece of fabric at rehearsal letter I and another piece of fabric at rehearsal letter J). The performer should experiment with different fabrics (and possibly colors, for dramatic effect) to find which material provides the most interesting tone colors. X-shaped noteheads indicate a soft, percussive clicking of the valves against their pads. Arrow shaped noteheads indicate the highest pitched sound/noise possible on the instrument; tuning for this extreme range is of little importance. There are two instances where the soloist is asked to explore some multiphonics. Use whatever means desired to achieve multiphonics and explore as much of a range as possible within the specified time, although some rubato is of course desired. In measures 94 and 95, the soloist is instructed to blow air through the instrument, imitating the sound of rushing wind. Piano: Unless indicated in the score, pedaling is left up to the performer. Tone clusters are used throughout, none of which are intended to be on any specific pitches (in one instance, I have made a note in the score instructed the cluster be at least an octave), just make sure to move in the general direction the clusters appear to move on the page. A glass bottle is to be placed on the strings in measure 92; if there is not ample time for the pianist to place the jar on the strings, a page turner or assistant may be required. The bottle may be an old milk bottle or a medium sized wine bottle and must be placed away from the performer, behind the dampers. The performer is asked to press lightly on the bottle in certain measures so as to create minor fluctuations in pitch on the vibrating strings. Towards the end, the pianist is to play glissandi directly on the strings of the piano using the fleshy part of the finger. The final few measures, the pianist may use drum brushes if desired for the ad libitum glissandi. Program Notes: blasted heath is inspired by a short story, by American author H.P. Lovecraft. The story concerns a farmer whose land is struck by a rock fallen from outer space. This rock is of a strange and unidentifiable color; it slowly shrinks, but never loses its heat. As time moves on, the farmer's crops and livestock begin to lose their color and flavor. This piece is an attempt to musically portray the feelings of uncertainty and confusion that must have plagued the farmer and his family. Premiered by: David Abram Grayling, euphonium Jared Isaac Aragรณn, piano Cover Photo: Hawksbill Crag, Arkansas. Jared Isaac Aragรณn
written for David Abram Grayling
3
blasted heath
Jared Isaac Aragón Dark (q = 72)
con sord.
Euphonium
? 4 œ bœ œ œ œ 4 J
{
∑
?4 4# w w “‘ °
3
pp
4 &4
˙˙ ™™
{
&
˙
œbœ
‰ Ó
Œ
pp
pp
˙
Œ
# œ # œ. U 3 ‰ Œ 4 pp possibile
5 4Ó
j #œ ™ œ bœ œ p
Œ
nn ˙˙
5 4 œœ œœ #˙˙ ™™
4 4
rit.
∑
p
‰ 44
4 4 4 4
"
Œ 45 Œ Œ
5 4
pp
3 Ÿ~~~~ U 3 4 " ‰ œ œ œ ‰ 4 Œ Œ œ#œ 4 œ#œ œ ˙ #œ. œ. . mp ppp mp f>> U 3 4 ∑ ∑ ∑ 4 4 °
#
A a little more agitated q = 76 œ œ œ œ œ œ #œ
? Ó
‰ œ #œ nœ. bœ 45 œ ™ -
rit.
?4 4 œœ #˙˙˙ ™™
9
f
œ b œ.
5 4
Œ
œ nœœ ˙˙ œ
w w œ
Ó
ppp possibile
Ó
ppp whisper
? 4 ‰ #œ œ œ œ œ œ 4
{
œ b œ œ #œ
Dark (q = 72)
5
Euph.
˙
pp
4 &4
Piano
3
mf
#˙˙ ˙
3 4 œ œ œ œ œ œ œ 4 œ œ œ œbœ œ bœ œ œ œ 4 . . mp subito . œ. œ n ˙ n œ n œ b ˙ ™ œ 3 4 ˙ œ œœ bb˙˙ ™™ œœ ˙ œ 4 4 œ ° ° Copyright © 2014
4 13
Euph.
bœ œ # œ œ œ œ œ œ
senza sord.
? 4 ‰ 4
{
œ nœ œ#œ #œ nœ œ œ bœ nœ œbœ œ œ™ 43 œ™
nœ #œ œ 4 J 4
3
mf
. bœ. œ. 3 3 nœ œ 4 3 4 # œ œ œ œ œ œ & 4 œ œbœ œ œbœ œ 4 œ. bœ. œ. nœ. bœ. œ. nœbœ œ 4 f p 3 œ œ #œ œ œ œ œ œ 3 œbœ œnœbœ œnœbœ œ 4 ? 4 œ œbœ Œ ‰ œ œJ œ J 4 4 4 non legato
3
B . œ. # œ. n œ . ? 4 #œ œ œ œ œ œ œ œ#œ œbœ œbœ œ œ 4 œ œ #œ. nœ.
16
Euph.
{
p
B nnœœœ nnœnœœ 4 n &4
nnnœœœ nnn œœœ
pp
Euph.
?
{
p
f strident
f
œ œ œ™ Ó J
mf
#˙
b˙
œ b˙ 4 #œ œ œ œ 4 pp
f
?
#œ #œ œ #œ
5 4 n˙ ™
Ó
4 4
5
°
∑
n˙
>. œ œ bœ
bœœ œœ œœ œ œ 5 nœ œ 4 bœ œ nœœ œœ œœ 44 œ œ œbœœ #œ œ œ & pp
œ
. œ. œ. œ. œ. œ. œnœ œ œb œ œ b œ œ œ œ b œ # œ œ œ œ b œ œœ bbœœ œœ œœ œœ # œ. œœ. œœ. œœ. œ mf non cresc.
j3 ™ nœ œ œ œ ‰ œ œ œnœ 45 œ .
3
>. > ‰ nœ ‰ bœ. ‰ #œ >
f
? 4 bœ bœ œ œ #œ œ nœ #˙ 4 œ
19
. bœ. œ™
3
(very abrupt cutoff on high Gb so that sympathetic strings resonate in the piano)
∑
ff
2 4
bœ œ œ nœ #œ 2 4 still pp
∑
2 4
Euph.
≈ ∑
short fermata
23
? 2 4
{
5
C . . 4 œ œ #œ œ bœ œ œ. 4 . . . . mf
C ≈ 2 4 &4 ∑ 4 Ó
Œ
4 ?2 ≈ 4 ∑ 4Ó short fermata
? nœ #œ
27
Euph.
{
& ?
29
Euph.
?
{
. . œ. œ. #œ. œ. œ œ
œ.
Œ
#œ
Œ
mf
mf
#œ.
œ.
bœ.
mf
bœ bœ
œ œ
bœ ™ œ bœ œ # œ œ # œ œ œœœœ # œ œ b œ ™ œ b œ œ # œ.
œ.
Œ
œ œ œ œ ˙™ f
f
œ œ
œ œ
Ó
5
p
œ œ
œ œ
Œ
œ.
Œ
œ
f confidently
œ#œ œ œbœ bœ
œ œ
œ œ
Œ
Œ
œ.
#œ.
j3 œ bœ
3 4 ˙
4 œ œ #œ 4 nœ ‰ œ . . >.
Ó
ff
# œ œ n œ œ œ œ œ œ # œ œ b œ œ b œ. œ. n œ. #œ. 3 #˙ & 4 ?
p
œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ bœ œ bœ nœ œ nœ bœ
œ
œ œ
nœ
œ bœ œ œ nœ œ œ œ #œ #œ
f subito
mf
bœ bœ
bœ. œ.
f
#œ
œ
#œ
œ
3 4œ
ff
˙
4Ó 4 4 4
œ œ œ#œ œ
mf
∑
D
6
(x-shaped notehead: click valves softly against pads)
32
Euph.
?
∑
{
? n#˙#˙˙
Euph.
?
{
∑
œ.
#œœœ Œ œœœ Œ . .
™ ? #œ
{
œ bœ œ J J
#œœœ Œ .
Œ
∑
p
> Œ ‹. Œ
Œ ∑
pp echo
œ.
> Œ ‹. Œ
p misterioso
4 Œ Ó 4 #œœ œ.
∑
Ϫ
œ n˙ J
mf
p
mf
∑
∑
Œ
‰
. œ nœ. b œ nœ œbœ b œ #œ ™ #œ nœ. œ œ. œ Œ
a tempo q = 76
‰
œœœ Œ Ó .
Ó
œœœ #œœ œœ Ó œ. œ. .
œnœ #œ œ bœ ™ #œ J ‰
poco rit.
& Ó ?
œ œ œ œ bœ œ œ
poco rit.
41
Euph.
Π58
. œ b œ. . b œ œ œ . ‰ œ œ #œ œ œ
œ.
Œ
p
. nœœ bœœ #nœœ . .
b˙˙
& œ œ œ œ ?
4 4
D # œ œ œ ™ n œ ™ #œ 4 œ#œ œ nœ #œ œ œ œnœ œ œ œ 5 J #œ 8 4œ œ œ œ œ œ œ œ
&
37
5 8
œ.
nœ
∑
Ó
p
‰
œœœ Ó . œ b œ œ. J ‰ Œ 3
a tempo q = 76
œ b˙
œœ
Œ œ. b œ.
p possibile
Ó Ó
œ œ#œ œ pp
œ. œ. # œ. œ.
45
Euph.
? Ó
{
&
b œ.
œ
#œ
pp
‰Œ
œ. œ. n œ. œ.
3 bœ nœ #œ#œ œ œ œ œ nœ n œ #œ. œ #œ. Œ 4 œ
4 4
3 4
∑
4 4
Œ
>œ. b b œ œ b œ œ nœbœ Œ
mf
∑
7
bœ
bœ.
nœ
f
#œ. >
∑
mf . . . . . . . œ œ 3 œ œbœ œ œ. œ. #œ œ #œ œ 4 œ. œ. œ. œ. œ œbœ œ ? 4 œ. œ. #œ. œ. œ œ œ œ 4 . . . . . . . . .
49
Euph.
? ˙
{
>. œ n œ # œ œ œ bœ
ff
f
nœ.
ff
Œ
‹.
‹.
. œ. Œ ‹ >
(valve clicks)
pp
p
b Ÿ~~~~~~~~~~~~~~~ . #œœ. bœ. œ. œ. œ. œ. œ. œ. œ. b œ n œ b œ bœ Œ œœ b œ. Œ & ˙™ œ# œ . . > f f ff pp subito ff >. ? ˙˙˙ ™™™ œ #œ bbœœ Œ œœ œnœ bœ Œ #œœ Œ Ó œ b œ. œ > “.‘
53
Euph.
? bœ >.
{
& ?
Œ
#œ œ œ œ œ
œ
bœ. œ. œ. œ. œ. œ. œ. œ. bœ. œ
#œœœ Œ :“; .
œœœ .
Œ
œ nœ œ œ œ œ
œ
#œœœ Œ .
bœ
mf
œ Œ
‹.
œ bœ œ œ
bœ. œ. œ. œ. bœ. œ. œœœ Œ Ó .
œ œ œ œ bœ
3
œ
œ œœœ .
bœ. œ. œ. œ. œ. œ. œ. œ. mf
#œœœ .
œœœ Ó .
&
8
? bœ nœ
56
Euph.
{
&
œ. œ. œ œ # œ œ œ
nœ
œ#œ œ œ œ œ bœ
f
œ nœ œ œ # œ
f
& Ó
# ˙˙ ˙
Questioning, struggling q = 90 59
Euph.
(take up the octave only if necessary)
? 3 b˙ 4 b˙
{
3 &4 ?3 4
Œ
∑
ff possibile
œœ œ ° b˙
œ
œ
molto cresc.
n˙˙ ˙
nœœ œ
?
3 4
4 #˙ 4
n˙
3 4
6666 66
∑
f
3
66 66 66
3
66 66
E
? 3
œœœ
˙˙˙
4 #˙˙˙ 4
˙˙˙
3 4
ff
4 4
b œ. n œ. œ. œ. œ. œ. # œ œ. b œ. œ œ. œ. œ œ. œ. b œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. # œ œ. . . . .
3 4
poco cresc. œ œ œ. . <x = x > . . # œ b œ œ nœ bœ 9 2 3 ? 3 œ bœ. # œ b œ n œ # œ n œ b œ n œ # œ # œ n œ 4 4 œ. 16 #œ œ œ bœ bœ nœ . nœ. 4 #œ œ nœ bœ
63
Euph.
3 4
ff with fury
Questioning, struggling q = 90 (random clusters)
ff
p
Eœ
3 4
5
œ œ œ œ œbœ
bbb˙˙˙ ™™™
œœ œ °
molto cresc.
mp
œ œœœœ œ œ
œ
œ bœ œ œ œ nœ œ. #œ #œ nœ nœ.
{
mf
œ œ œ. . <x = x > # œ ?3 nœ bœ. 9 4 œ. 16 mf p 9 ?3 4 #nœœ œœ œœ 16 œœœ ™™™ ‘ “
f
∑
. 2 bœ œ. #œ 4 . œ. f 2 j 4 œœ œœ œœœ ™™™
mf
3 4 3 4
p subito
˙˙˙ ™™™
∑
67
Euph.
?
{
mf
?
3
∑
&
ff
loc o
? Œ
{
>œ. >œ. bœœ œœ
œœ œœ # œ # œ. >
# œœ :“;
71
f
{
∑
(hollow diamond noteheads: giving the illusion of playing, but not actually playing)
Œ
1
(gliss. from any high pitch down as far as possible in one beat) g li ss.
.
‰™
mp
3 œ b˙ 4
∑
Œ
∑
rit.
∑
mf
∑
∑
2 4
∑
2 4
absolutely silent (press ped. in rhythm)
œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. #O. O. O. O. O. O. dim. possibile
°
f but not aggressive
F a tempo q = 90 2 3 & 4 bbœœœ bbbœœœ 4 nnœœœ nnn˙˙˙ p
Œ
rit.
conn tutta forza
a tempo q = 90
bœ
∑
ppp uneasy, twitchy . . #O O œ. œ. #œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ.
(gradually depress ped.)
F ? 2 bœ 4
mp
(pedal to catch resonance from euphonium gliss.)
∑
76
?2 4
œ œ >.
pp subito
Œ
ff
. . . ? #œ. œ œ. œ œ. œ #œ.
Euph.
œ. # œ. œ. œ. œ œ œ bœ œ #œ œ œ #œ bœ . nœ. #œ œ œ œ 3
Œ
Œ
n œ œ œ œ œ.
œbœ œ œ Œ
&
Œ
ff aggresively
?
Euph.
9
>. >. œ nœ œ œ œ Ÿ˙~~~~~~~~~~~ # œ # œ molto cresc.
4 #˙ 4
4˙ 4 #˙˙
3 4 œ #˙˙ œ œ 4 4œ œ œ œ œ œœ œ œ
n˙
(ped. fully pressed)
2 4 ‚ ‚ ‚ °° °
b œ b œ œ œ nœ 3 bœ bœ n œ 4
∑
mp
˙˙˙
3 ##œœœ 4 p
œœ 3 œ 4 œ
#˙˙˙ n˙˙
5 4
#œ œ œ œ œ œ 5 4 mp
5 4 œœ œœ œœ
10
œ. # œ. œ. œ. œ œ œ bœ ™ ? 5 4
œ 43 œ #œ nœ ™ J
81
Euph.
{
f 3
mf
#œ 5 œ &4 ?5 œ 4 œ
œ œ
?
{
&
œ œ œ#œ pp
?
{
2 4
∑
89
#œ 3 œ 4 f
3 œœ 4
#˙˙
œ n œœ
2 4
∑
œœœ œœœœ
4 4
4 4
5 4
∑
3
œ œ œ œ
#œ œ
œ œ
œ œ
n œ œ œ ™™ œ œ œ œ
œœ nœœ
œœ
Œ
Œ
∑
∑
œ œ œ œ œ œœ œœœ
∑
œ œ œ œ b œ œœ œœ. œ mp
œœœœœœ œ . œ bœ œ œ ‘ “ ° sord. G con n>œ. >œ. 4 Œ 4 ff possibile
‰
G 6>6. 6>6. bœœœœ œœœœœ n œ nœœ œœœ œœœœ 666666 666666 b œ œ b œ 4 Œ œ 45 œ Œ Ó & 4 ?
(
°) :“;
˙˙ ™™
Œ
5 4
∑
3
∑
2 œ œ 4œ # œ œ 4 4 œ œ
? Œ
Euph.
œ œ œ œ
˙˙
85
Euph.
œ œ
. œ nœ œ b œ œ œ # œ . bœ bœ œ
66>66 6666 Ó 66
ff (clusters of at
∑
4Π4
least an octave)
°
œ # œ œ bœ œ nœ f
(explore various multiphonics throughout the range of the instrument while playing the notated pitch; rhythm is entirely at the discretion of the performer)
bœnœ#œ œnœ ? #œ œ œ œ#œ œbœnœ Œ
92
Euph.
{
3
& ?
(
? 5 Œ ‹. ‹. ™ ‹. ‹. Œ 4 p
mf
(use free hand to vary pressure on the glass, creating microtonal fluctuations on the vibrating strings)
5 &4
∑
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
?5 4 ( °)
Euph.
{
?
& ?
f
bœ mf
∑
œ ‰ ‰ >. ff
∑
œ 3
mf
bœ œ
a
Y
¿. ‰ Œ
pp
ff
Ó
∑
∑
mf
∑
bœ œ œ. œ. œ. œ. . . nœ. œ. œ. œ. b œ.
5 4
∑ œ™
as if screaming
j œ œ.
f
Œ
∑
œ. œ. bœ. œ. bœ œ œ œ bœ œ œ œ . . . . #œ. œ. œ. œ. . . . . “‘ (lower octave preferable) 3
œ. œ bœ œbœ œ ‰ nœ œ œ Œ n œ. œ. œ. > ff
f non cresc.
mf
∑
molto dim.
ff
5 œ œ bœ œ 4
∑
(quickly move bottle to the lowest strings and adjust its position to affect the notated pitches)
¿. ‰ 45
∑
H 4 œ. œ. bœ. œ. 4 bœ. œ. œ. œ. #œ œ œ. œ. bœ. œ. œ. œ. . .
4 4
ΠY a
pp
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
f
H 4 4
11
(use free hand to vary pressure on the glass, creating microtonal fluctuations on the vibrating strings)
œ
∑
(key clicks)
100
Œ
œœœ
(lay a glass bottle horizontally over the strings, just behind the dampers, adjust the position of the bottle while playing to affect the necessary strings.)
°)
{
fff
∑
96
Euph.
nf
Œ
(blow air through the instrument, imitating the sound of rushing wind)
3
p
∑
mf subito
3
œ. œ. œ. œ. >
3 4 #œ œ œ Œ # œ. œ. œ. >
3 4
Π43
3
ff
ff 3
# œ. œ. œ. >
U Œ
4 4
U ∑
4 4
(remove bottle from piano) pp
U Œ ‰
ord.
œ œbœ œ “‘ °
4 4
12 (cover the bell and mute with a heavy piece of fabric, muting the euphonium even more)
I ? 4 nœ 4
103
Euph.
Very slow, uncertain q = 54
pp
{
bœ
3
œ œ J
œ
Ó
˙
ppp possibile
w :; ( °) “
? 5 <b>œ ™ 4
106
Euph.
{
5 &4 ?5 Ó 4
(
°)
œ
#œ ™
‰
p
Œ
œ
œ œ œ
œ
3
pp
4 4 ‰
5 4
Œ
4 ‰ #œ 4
4 4
bœ œ œbœ b w
∑
5 4
5 4
˙™
∑ Œ
pp
nœ. bœ -
ppp possibile
w
j œ bœ
‰ œ #œ
◊ÿ ™ œ#œ œ#œ œ # œ œ œ ˙
I Very slow, uncertain q = 54 4 ∑ ∑ &4 ?4 4
Œ
œ f
5 4
5 4 5 4
13
108
Euph.
? 5 4
{
œ
b œ. pp
Without any sense of tempo
‰ Ó
◊ÿ O O™ gliss. ™™ O 5 &4
Œ
?5 4
<b> ww
f
f
(explore various multiphonics throughout the range of the instrument while playing the notated pitch; rhythm is entirely at the discretion of the performer but should last near four beats)
(hollow diamond: gliss. with fingertips on strings)
ppp possibile
J
(place another, lighter, piece of fabric over the already muted euphonium)
Œ
J Without any sense of tempo (slap the lowest
f strings with palm
O g lis s . ~ ( °)
O
U U U U U >
of hand)
Dying (still without tempo) (dynamics and rhythm totally at the will of the performer)
b œ œ œ bœ œ bœ
111
Euph.
?
{
Dying (still without tempo)
&
(hold ped. until the very end, catching resonance from euphonium)
?
b œ œ nœ bœ nœ bœ œ bœ œ
#˙
nœ
‰ nœ
14
(repetitions of C#, D, B as many times as desired, increasing in speed the entire time)
111
Euph.
#œ œ œ œ œ œ œ œ œ œ œ œ ÍÍÍÍÍÍÍ
?
{
(continue to descend chromatically, until you can go no further, slowing down the lower you descend...)
œ bœ œ bœ
œ bœ œ œ ÍÍÍÍÍÍÍÍÍÍ
3 4
& ?
(still holding ped. down, do not lift)
3 4
One final attempt at regaining order q = 80
˙ ? 3 œ 4
112
Euph.
4 #˙ 4
#˙
ff with hopefulness
{
3 4
“” œœœ ˙˙ 3 &4 ˙
rit.
2 bœ bœ 3 œ b˙ 4 4
One final attempt at regaining order q = 80
ff
?3 4 œœ ˙˙ œ ˙
˙ 4 #˙˙˙ # ˙˙ 4
4 4 # ˙˙ # ˙˙˙ ˙
(still holding ped. down, do not lift)
2 4
rit.
4 #˙ 4
n˙
6 4
˙™
n˙ ™
n
3 4 6 4 4 4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 2 3 4 6 4 4 4 4 (run fingers through strings, softly, up and down at will)
p
U œ U 2 Œ 4 (as euphonium plays their final pitch, scrape along the length of the lowest string with fingernail creating a raspy screech sound)
2 U 4 2UΠ4 a V
[Completed: December 22, 2014 Revised: December 26, 2014]