The Fiction of Time Destroyed ("Desbaratada la Ficción del Tiempo") by Louis Goldford

::: full score :::

The Fiction of Time Destroyed Desbaratada la Ficciรณn del Tiempo

[ for alto flute, bass clarinet, cello, and electronics ]

Louis Goldford (2015)

[ dur. ca. 8:25 ]

Alto Fl.

[ instrumentation ]

b Ú Ú b Ú b Ú ÁÁÁ Ú b Ú b Ú b Ú Ú b Ú

[ software ] ¤€

Úkkkkkkkkk

Vc.

Ú #d Ú

bÚ

b Ú Ú b Ú b Ú b Ú Ú Ú ÁÁÁ

Ú # Úkkkkkkkkk

& # Ú downloadÚ in the form of patcher Software for the Electronics part is available as a single Úkkkkkkkkk B. Cl. M.1 files compatible with Max/MSP v6.1 or higher (www.cycling74.com/). Alternatively, the #Ú bÚ Ú piece runs Max Runtime, also from the above web address. & in the free version #Ú

alto flute in G bass clarinet in B≤ cello electronics

y y cont...) y y (q1-001.wav smorz.

Elec.

f O P Email ljgoldford@gmail.com for questions or for 0:19 0:18 software requests.

bÚ

Ú# Ú

0:20

0:21

Additionally, the piece N.uses a number of externals from 3rd-party libraries whose rights S.P. ˜ ˜ ˜ are licenses. Some of these libraries must be installed separatebowbound by their original A ly. Links to these external libraries are found in with the ¤€the README.txt file included o (whistle tone) ¤€ Without these download. + Ú externals, the piece will not run properly. o o Ú o Ú +Ú +Ú & Úo Ú Vc. & Ú o Ú o Alto Fl. o Úo [t] [s] Ú Ú Ú & +Ê # Ú Ú III [ 4+11+7+3 ] (slowing down) Á Á #Ú The piece requires an Electronics Assistant to launch the patch æduring performance. ? cues and operate ƒp ƒp P π + Ê screenshots of the user interface, is (lean into mic for whistle tones) A complete guide for installing and running the software, including O sub.P provided in the download. A performance will need — F

[ dur. ca. 8:25 ] [ setup ]

B. Cl.

1. a computer running Max v6.1+ at mix position; Elec. ã 2. a DAW / audio interface connected to the laptop (recommended: MOTO 828 mk. III) 4:55 4:56 4:54 > The piece runs in either stereo or 4-channel surround; 3. 2 condenser microphones placed appropriately between & overhead of the 3 performers; > preferably the mics should be set to a cardiod polar pattern; bow 4. a mixing console, amplification, and loudspeakers. > Digital reverb and effects are all implemented in the performance patch. Vc.

Cues for the Electronics part appear in the lowermost staff as circled, italicized R pressing the numbers (right). The Electronics Assistant executes these events by M. Ê of the time computer’s spacebar to advance the sequence, number-by-number. Most these cues occur at the nearest second, though occasionally they # Ú may align with inAlto Fl. & b Ú b Ú strumental events between second marks, as in the example. p sub.P

[ performance notes ] [ Tuning ] & ( œ) h œ three quarters flat

Elec.

bœ

natural

quarter flat

+œ quarter sharp

4:58

5 1

∏

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0:27

Ú Ú

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Sfp

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0:28

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0:29

Ú# Ú Ú # Ú b Ún Ú Ú Ú # Ú Ú # Úb Ún Ú Ú nÚ #Ú Ú nÚ # ÚÚ Ú# Ú f

˜ ˜ Additional accidentals are used to denote 8th-tone (i.e. up to appx. 25¢) alterations B. Cl. & notated pitch. This only occurs in the cello part to indicate slight deviations ( œ) from ¤€ from nodal pointsd Úon the string necessary to produce multiphonics — +Ú bow

Vc.

three quarters sharp

Elec.

5:02

S.P.

g ÚÚ

dÊ

ÚÚ

bow

+Ê

Vc. IV [ 6+11+5 ] In this example from 5:03 (p. 14), the accidental is used to & indicate up to an 8th tone lower than d Ê the normal position for an E≤2 on the C-string. swirl of distore

IV [ 7+13+16 ]

gÊ

Elec.

25 0:35

0:34 5:03

5:04

5:05

0:36 5:06

0:37 5:07

Each horizontal space marked by a tick mark or a dotted barline indicates one second of time. These are treated as measures; the normal rule applying to accidentals carrying through the bar applies here. In place of time signatures, large cardinal numbers are used to collect seconds into larger duration groups that form phrases. These groupings are also marked by the dotted barlines, forming a kind of synthetic macromeasure, though no ictus should be felt or achieved in performance. In place of measure numbers, time is always indicated second-by-second below the lowest staff: the Electronics cue staff. However, time is more flexible than it may appear. Individual seconds may be “stretched” in performance at the discretion of the performers or conductor, though the overall shape of phrases should be preserved. The Electronics part includes both and elements, and while precise timing is not desired, it is sometimes more-or-less necessary in order to sync with certain elements in the Electronics part. ii. /

ÚÚ

Sfp

vS.T.

r > ˜

vS.T.

4:59

S.P.

sub.

[ Proportional Notation ]

4:57

Tuning is primarily at the resolution of quarter tones (left).

sharp

dœ

0:26

Alto Fl.

flat

ÚÚ

Sfp

#Ú #Ú #Ú #Ú Ú Ú Ú #ÚbÚnÚ Ú Ú #Ú bÚ nÚ Ú & nÚ #Ú Ú nÚ #Ú Ú nÚ

B. Cl.

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sub.

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[[ performance (cont.) (cont.) b bÚ ÚÚnotes ˜Úb bÚ ÚÚ Ú ]] ÚÚ Ú Ú Ú Ú Ú Ú Ú Ú ÚÚ ÚÚ Ú ÚÚ Ú Ú Ú b bÚ Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú ÚÚ Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú # # Ú Ú n n # # Ú Ú # # Ú Ú # # Ú Ú n Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú # #Ú Ú 3 4 Ú b+bÚÚ Ú Ú Ú b bÚ ÚÚ Ú&Ú Ú b b nÚ b Ú dÚ dÚ nÚ +Ú Ú db+ n Ú # Ú Á n2 Á Á Á dÚ nÚ Ú b ÚÚ 4 # Ú Á Ú Ú Ú Ú ÚÚ Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Á +Ú Ú æ æ R R æ Ú# Ú n Ú #Ú nÚ nÚ Ú 12

The Fiction of Time Destroyed — Desbaratada la Ficción del Tiempo —Draft #1 — Louis Goldford (2015)

S.P.

The Fiction of Time Destroyed — Desbaratada la Ficción del Tiempo —Draft #1 — Louis Goldford (2015)

[k]

Alto Fl.

[s]

Flz.

[p] [k] [t]

[t]

Ú Ú Ú Ú

The Fiction of Tim

Fiction of Time —Draft #1 — Louis Goldford # Ú n Ú Ú la Ficción del Tiempo n Ú [A.] Ú The [A.] Ú Destroyed — Desbaratada Ú b Ú (2015)n Ú bÊ bÊ Ú # Ú Ú 13 f f [C.] [D.] [D.] # Úkkkkkkkkk [E.] [E.] [B.] [B.] [C.] P P Ú Ú #ÚÚ 1 1 # Ú nÚ n Ú n Ú æ Úæ æ 1 Ú #Ú # Ú Ú# Ú Ú Ú Ú Ú nÚ bÚ Ú dæÚ Ú Ú +& Ú Ú b ÚÚÚ # Ú n Ú Ú# +ÚÚÚ Ún Ún Ú # ÚÚ ÚÚ Ú n Úb Úb Ú b Ú # Ú n Ú + Ú Ú # Ú AltoÚFl. æ æ æ æ æ b ÚB. Cl. & b Ú b Ú Ú # ÚÚ Ú #Ú Ú O O O ƒ ƒ ƒ æ Ú — Louis Goldford (2015) The Fiction of Time DestroyedÚ— Desbaratada la Ficción del Tiempo —Draft #1 b Ú kkkkkkkk R #Ú 15 Ú kkkkkkkk bÚ Úkkkkkkkkk ˜ ˜ b Ú kkkkkkkk M. Ú Ú nÚ Ú #Ú All notes should be executed as extremely short pitch events, unless their durations are extended by any of the means demonstrated + Ú Ú d Ú n Ú b Ú b Ú n Ú Ú Ú All notes should be executed as extremely short pitch events, unless their durations are extended by any of the means demonstrated b Ê #Ú Ú Ú #Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú bow Ú # ÚÚ Ú Ú Ú #Ú #Ú #Ú Ú Ú Ú #Ú #Ú ˜ kkkkkkkk Ú Ú Ú Ú# Ú B. Cl. & # Ú # Ú # Ú Ú #Ú #Ú #Ú Ú Ú Ú Ú # Ú # Ú # Ú Ú Ú Ú Ú # Ú d Úb Ú Ú #Ú #Ú Ú Ú # Ú #Ú #Ú # Ú #Ú #Ú kkkkkkkkk 1 above. Vc. is indicated indicated with the combined effects of beams (A), extension bars, and slurs (B). It should be understood that above. Duration Duration is with the combined effects of beams (A), extension bars, and slurs (B). It should be understood that in 1 #Ú Ú P Ú d Ú d Ú n Ú d Ú d Ú + Ú Ú d Ú Úf Ú Ú # Ú # Ú Ú Ú + Ú # Ú Ú Ú final bshould Ú should b Ú Úalways Ú b¤€ Ú(C), Ú ÚbeÚ be Ú & o aso in ofinal o pitch (whistle tone) in a series notes grouped under a single pitch always short as un-slurred in un-slurred notes, unless aæ series of of notes grouped under a single slurslur (C), thethe extremely short notes, unless of sim.extremely Ú Ú o o O O ƒ o + Ú o + Ú ƒ course duration is also extended & of Ú (D). course thisthis final note’s duration also extended (D).   ˜note’s  bow   is final Ú Ú ˜ 0:20 0:21 0:22 0:24 0:25 Úo Ú0:23 ˜ Úo 18 M.

S.T.

S.P.

Ú?Ú ÚÚ ÚÚ##ÚÚÚÚnnÚÚ ÚÚ ##ÚÚ Ú Ú Ú # Ú n Ú # Ú # # n Ú # Ú o o b b [t] o d Ú dynamics, b Ú odynamics, Notehead size# does does indicate not indicate duration, orrelative the relative prominence Smaller noteheads arepurely used o ofo pitched dÚ Ú Notehead size duration, or prominence of pitched events.events. Smaller noteheads are used Ú Ú R Ú d Ú the # N.

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4:03 4:04 4:05 4:06 4:07 4:08 4:09 Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Úd Ú Ú Ú Ú Ú Úy d ÚÚy y 4:02n Ú yÚy Ú Ú Ú ÚybyÚ Ú y y nÚÚy ÚyÚ Ú Ú Ú b Ú yy y y y y y y y y y y y Ú ÚÚ Ú Ú Ú Ú Ú Ú Ú smorz. smorz. Ú Ú Ú Ú P f P Ú # Ú Ú d Ú # Ú # Ú # Ú purely to facilitate horizontal proportions between notes. In the example above (E), about 10 pitches should occur in the space of to facilitate horizontal proportions between notes. In the example above (E), about 10 pitches should occur in the space of one #Ú #Ú Ú Ú Ú #Ú Ú Ú Ú Ú #Ú Ú #Ú #Ú #Ú #Ú

0:21

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Ú Ú Ú

0:23

0:25

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# P Pnot affect Á Á 22 one second, and it would impossible to represent this regularly-sized using noteheads. Their size should notthe affect the 22 second, and impossible this noteheads. relative OO Their size ƒp fPf be nearly P to represent P π using π should ƒp regularly-sized P it would be nearly Elec. ã relative or duration. sim. dynamics or duration. o [t,k] o dynamics one) tone) [t,k] o Úo o o o Ú Ú o o Ú Ú d Ú N. Ú Ú Ú Ú Á Á Á + Ú + Ú n Ú + Ú + Ú Ú n Ú d Ú Ú o o oÚ Ú + Ú o + Ú + Ú sim. Ú Fl. & Ú + Ú o Ú Ú ÁÁÁ bÚ Ú o  Ú ˜Alto ˜  o not o E.S.P.       E.S.P.  Ú Ú  o Ú o ˜ S.P. Perfomance parts are printed on 11” x 14” — Ideally performers should read from smaller printings, such precisely ˜ Perfomance parts are printed on 11” x 14” — Ideally performers should not read from smaller printings, such as as 9” 9” xx 12”, 12”, precisely o o + Ú + Ú S.P. oS.P. Ú ˜˜ o Úo # Ú ÚvS.P. Êƒ N. N. vS.P. o Ú Ú S.T. ro Úo S.P. Ú Ú ˜ ˜ [t]˜ ˜ Úo Ú Ú Ú # Ú b Ú nbecause Ú# Úo Ú n Ú need the need to use use smaller smaller noteheads. The above the parts parts // score, score, and and because of bthe The examples examples above are are already smaller smaller than than the the actual actual size size of of the Ú noteheads. Ú already n Ú˜ ˜of # oÚ ÚÚo to &˜˜ [t] o Ú > o Ú Ú Ú d Ú Ú 6 The Fiction of Time Destroyed — Desbaratada la Ficción del Tiem Ú Ú + Ú Ú Ú Ú ∏ + Ú n Ú + Ú Ú printing. #Ú Ú # Ú b Úlike n Ú Ú # Údfrom Ú Ú +dÚÚ Ú b Ú d Ú n Ú + Ú # Úsmaller Ú ÚP b Ú Ú reading ˜ ˜ might suggest what would like reading printing. B. Cl. & from Ú Ú Ú Ú #look Á# Ú Úitit# Úwould ÚÚ # Ú Ú suggest Ún Ú Ú # Ú bwhat d Ú b Ú Úlook Ú π Ú Ú aÚasmaller Úd Ú Úmight Ú Ú Ú Ú Ú Ú πÚ P ƒp π Sf Á S.T. S.T. > Sfp 1 fR P #

4:41

4:40

4:42

bÚ Ú π Pb Ú Ú Ú ƒp Ú Ú Ú Ú #Ú Ú nÚ Ú #Ú Ú Ú ÚÚ Ú #Ú ÚÚ Ú bÚ Ú Ú Ú Ú Ú Ú bÚ Ú Ú Ú Ú [22 [ Glissandi ]]

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4:43

4:44

bÚ

4:45

π

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Ú Úb bÚ ÚÚ ÚÚ Ú S.P. Ê˜ ÚÚ Ú ÚÚÚ ÚÚ ÚÚ Ú Ú Ú Ú Ú Ú Ú Ê r r ÚÚ — DesbaratadaÚÚla Ficción # #Ú Ú n nÚ Ú# #Ú ÚP b bÚ Úb bÚ ÚÚ ÚÚ Ú bowÚÚf Ú˜ÚÚ Ú ÚÚ ÚÚ The Fiction of Time Destroyed del Tiempo —Draft #1 — Louis Goldford (2015) Ú Ú Ú Ú [A.] Ú Ú Ú Ú Ú Ú Ú Ú Ê Ê r r Vc. Alto Fl. > ˜> & Ú

bÚ Ú Ú

bÚ Ú

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E.S.P.

4:39

4:38

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Alto Fl.

+Ú Ú

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+Ú

ddÚÚ

4:40

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Ú d Ú b Ú Ú + 4:44 d Ú n Ú + Ú∏ b Ú b Ú n is Ú Ú + Úwith Ú 4:45 dIn Ú Ú this ¤€ 4:41 4:42 ¨∏ Ú line. d1Ú (A). R W4:43 d ÚvS.T. n Úaa+ Úthin Úline. d Ú n Ú In glissando of harmonics is indicated thin case, to the highest possible harmonic (A). ¨ A glissando of harmonics indicated with this case, to the highest possible harmonic & # Ú >4:40 > P P f f Ú Ú∏ A Ú Ú [p] r ∏ [p] r ƒ & IV Sf Sfp Í Ê b +bœœœ Ú Ú ÚÚ ? SfpÚ Ú B. Cl. Cl. & 19 # Ú M.1 Sf ÍÚ Ú+ ÚÚ # Ú Ú n Ú Ú # B. & dÚ Ú +Ú Ú æ Ú Elec. ã #Ú & ∏ sim. [t,k] Ú y y y y y y [t,k] y S.P. y y [t,k] Flz. smorz. y ˜y y All otherO glissandi arebindicated indicated using thicker thicker lines lines akin akin to to the the duration duration extenders. extenders. All other Áb Á >using O f fÚ ÚæS.P. ˜ # Ú b Á ÁglissandiP are Á Sfp ÚO Úæ æ ˜ Á N. Á Á b Á æ Ú Ú # Ú Á (Duration lines, however, are always horizontal.) (Duration lines, however, are always horizontal.) Á # Á Á Ú O vS.T. P P ˜ S S.P. ˜ SP f sub. Í bow Sfp 26 f Sfp f 4:48 4:48 4:49 4:49 4:50 4:50 4:51 4:51 4:52 4:52 4:53 4:53 ˜ 27 ˜  vS.T.           S.T.  Ê bow ˜ ˜ ˜ 12 R b Ú n Ú S.T. .T.ã S.T. Ú # Ú Vc. b Ú b Ú b Ú b Ú Ê Ú #nÚÚ # Ú Ú Ú5:11 Ú + Ú Ú Ú Ú ∏ÚÚ ÚÚÚ ]]Ú Ú Ú5:15 pitch Ú ãÚ Ú b ÚÚ ÚElec. +Ú Ú Ú æArticulations ? Noteheads Ú # Úpure Ú rhythm Ú indicating [ notehead indicating pure pitch and rhythm (A). 5:16 Ú 5:17 Ú Ú b ÚNormal Ú Normal notehead Ú Ú #ÚÚ Ú Ú Ú #ÊÚ ÚÚb5:12 n Ú and b Ú(A). :10 Ú Ú #[ Ú n Ú Ú# Ú Ú ÚÚ 5:13 Ú # Úb Ú d Ú Ú # Ú5:14 b Ú Ú Ú Ú Ú Ú b Ú Ú Ú # Ú +Ú d Ú Ú b b Ú d Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú =Ú # Ú Ú = Ú Ú Ú # Ú aa&nslight Ú b Ú crescendo æ æ > Ú r Vc.by Kr ∏ Ú Tongue ram, always preceeded slight crescendo of pure air (B). Tongue ram, always preceeded by of pure air (B). Ú r Ú P P P f # Ú Sfp f P Ú > > > notehead > sub.P Diamond notehead indicating harmonic sound (C).del Tiempo —Draft #1 — Louis Goldford (2015) 23 Ú of Time Destroyed The Fiction — Desbaratada la Ficción Diamond indicating harmonic sound (C). [D.]2[E.] # Ú Ú Sfp [A.] [B.] 3[C.] b Ú III [ 4+11+7+3 ] 4 Ú ƒ sub. + Ê aa multiphonic +Ê > > Diamond notehead with with “M” “M” indicating indicating multiphonic sound (D). (D). Elec. ã Diamond notehead sound sub.P MM .. f S ¨ 3 4 ¨ R W ? +aeolian ¤€ r A larger, thinner thinner diamond diamond indicating aeolian flute[p] (E). Ê [p] r sounds +Ê A larger, indicating sounds on on the the flute (E). f f 0:29 0:28 0:30 0:31 0:32 0:33 b œ S.P. R œ b Ú Ú æ ˜ œ + +Ú & 0:31 Ú Ú Ú #Ú Ú 0:29 0:30 0:32 0:33 > Ú Ú Ú b Ú Ú Ú Ú b Ú # Ú Ú Ú n ÚP Ú #Ú Ú #Ú Ú bÚ #Ú Ú Ú Ú Alto Fl. & Ú Ú Sf [ch][k] [f] [t] [t][p] [p][ps] [ps][sh] [sh][ch] [k][f]

 

4:12

4:13

4:14

4:15

4:16

4:17

sub.





4:11

4:10

sub.

dÚ

4:18- 4:29

4:48

ÚÚ ff ÊÊ ÊÊ ÁÁ 4:49

4:50

4:51

4:52

4:53

4:47

4:46

[k] [k] [t,k] Flz. [t,k] Flz. sim. F Ú Ú[t,k] # Ú Ú n Ú Ú #may Ú be Úmethods b Á Fluttertongue — alveolar and uvular methods used interchangeably where Fluttertongue — alveolar and uvular may be used interchangeably where Ú æ [t,k] [t,k] bÁÁ b ÁÁ [t,k,p,s,f,sh,ch] [t,k,p,s,f,sh,ch] Ú Ú ÚO Úæy depending #Ú y y y y & y Úæ y Ú Úæyappropriate, y Cl. y & y B. Á9Á of b Á instrument, smorz. y Ú on the tessitura of the instrument, etc. Á # Á Á Úæ Ú O appropriate, depending on the tessitura the etc. Ú # Ú P # Ú n Ú n Ú n Ú Ú # Úkkkkkkkkk P P Ú Ú bÚ S Ú # ÚÚ P S O Í f f Sfp O Ú f f Elec. Alto Fl.

3ã

4:48

sim

ÚO # Úæ

Sfp f Elec. æ ææ M. æ with1:46the jaw or the diaphragm. 1:47 1:48 1:49 1:50 #Ê b Ú The n Ú #beam y y yFlz.y y y y byæÚ y # ÚSmorzato y ÚO y y produced y y — either lower beam indicates Smorzato — produced either with the jaw or the diaphragm. The indicates Ú Ú ˜ lower Ú E.S.P. bow ˜ Ú S.P. #of S.P. bÚkkkkkkkk f beam ˜ duration the note event; the the upper indicatesb Úthe the length lengthof ofthe thesmorzato. smorzato. Úthe &N.˜ Ú vS.P. the duration event; Ê upper P n Ú the fÚ ˜ b æÚ ˜ ÚO note Ú bÚ Ú ˜ of   Ú  f beam indicates Ú  # Ú # Ú # Ú n Ú b f O kkkkkkkk Ú S +Ú æ bÚ r rK Ú ˜ bÚ r P ÚkkkkkkkkkB. Cl.f & Flz.b Ú Ú# Ú f Ú > > > Vc. S.T. sub. P Ú # Ú #Ú Ú bÚ Ú † #Ú Ú ÚÚ &bÚ Ú Ú b Ú Ú bÚ Ú ƒ Ú Flz. æ Ú Ú Ú ƒ sub. # Ú [M.2 Ú Ú Ú # Ú > [ Gradual Ú bÚÚÚÚ Ú Ú Ú Ú Ú Ú # Ú S> d Ú d Ú Ú transitions Ú æ Ú Ú Ú b Ú Ú]] Ú Ú # ÚP b Ú Ú n Ú # Ú f sub.b P Ú f dÚ Ú = Ú# Ú =Ê & +Ê & Ú P f f P y y y N.y y y y y y y y y y y y composed y y for y NOMOS Ú (slowing down) ˜S.P. 0:19 0:20 0:21 0:22 0:23 0:24 0:25 + Ú + Ú Ú Ú Ú Ú Ú Ú +Ú Ú Ú Ú +OÚ d f [B.] N. [C.] air sound sound (A). (A). bow Full Full ˜air O S [A.] Alto Fl. & æ 21 [D.] ˜ sound (B). (B).20 Half-air sound l Tiempo Desbaratada la FicciónHalf-air del Tiempo ƒ Elec. ã bÚ S.P. N. ˜ Full tone (C). ] 4:51 4:50tone 4:52 4:53Ú Full (C). and electronics [  for]alto cello, and electronics Ú #ÚÚ  bass4:49clarinet, #Ú nÚ nÚ nÚ Ú ﬂute, kkkkkkkkk n Ú ˜ 4:48 b Ú# Ú Ú Ú Ú # Úkkkkkkkkk † Vc. Ú b Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú ÚÚ# (slowing down) 15 First draft — 20 May& 2015P n Ú æ æ Ú Ú Ú Ú Ú Ú Ú f æ Ú # Ú — for Tim — ænote“speeding B. Cl. Ú &and o o sim. æ (whistle tone) A dotted line indicates gradual rearticulation and is usually accompanied by the “speeding up” up” or or o A dotted line indicates gradual rearticulation is usually accompanied by the note P f +Ú o o o 5 o Ú Ú Ú o o Ú Louis GOLDFORD (2015) Louis GOLDFORD (2015) ƒ ? o o + Ú o + Ú + Ú Ú Ú “slowing the rapid  “slowing down,” down,”o following following the transition transition between between an an unmeasured fluttertongue or or tremolo tremolo to to aakkkkkkkk rapid ounmeasured o Ú Ú Ú Úfluttertongue Ú Ú Ú Ú † o Úo Ú ÚÚ ff Ê MÊ .5 Á # Ú # Ú N. kkkkkkkk between S.P. opoint Ú o rearticulation or bow bow (D). The exact exact of btransition transition between the the rapid, rapid, unmeasured unmeasured of the the0:39tongue tongue or (D). of Úkkkkkkkkk The o Úoof 0:36 0:37 0:38 0:40 0:41 [t] rearticulation o˜ Úpoint Ú I [ 3+11+8        ˜    ]  Ú bow  Ú+ Ê [[ Alto and tongue bow is is0:41 leftto to thediscretion discretion ofthe theperformer. performer. ]] [ch]0:38[k] [f] Ú tremolo tremolo andÚthe the tongue // bow left the of 0:37 0:39 0:40 [t] [p]flute [ps] [sh] Á & jÊ ¨ Vc. ¨r ¨r π [t,k] (slowing down) π π P¨r r ƒp ¨r Sf  P [t,k,p,s,f,sh,ch] ¤€ æ Elec. Ú & Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú +Ú Ú Ú b œ b œ ã œ O ÚÚ ÚÚ b + œœ S [A.]+ ÚÚÚ b +[B.] Flz. Flz. œ + + Ú Ú & Aeolian sounds usually appear with sibilant consonants, to aa M. Aeolian with bracketed bracketed sibilant consonants, to be be0:22spoken spoken with with 0:23 0:20 0:21 0:24 0:25 ( ƒ) M. 0:18 usuallyM.appear0:19 M. M. #M.Ê sounds Ê # Flz. + Ê + Ê Ê Ê ¨ r # Ê # Ê r O of air air into into theinstrument instrument —a asingle attack(A) a group of consonant sounds to [t] the [t] [t](A) burst of — oror a group of consonant sounds to be Flz. Flz. æ 28Ú [t] [t,k] burst Ú Úsingleattack Ú #Ú Ú 10 b Ú æ æ > > Ú Ú Ú b Ú be freely permutated attacks a range of #localized noteheads baÚofrange freely permutated of localized aeolian noteheads (B).(B). ∏ æÚÚ bãÚ Ú Á ÚasÚ the Áattacks Úaeolian Á Á ÚÚæ as the b ∏ Á of Á Elec. Á fb ÁÁÁÁsub.P f f ÚÚ > #5:20 Á sub.P f ƒ ƒ sub. ƒ sub. S Ú Ú Ú Ú 5:19 5:21 5:22 5:23 5:24 5:25 ã PSF sub. P sub. ƒ f F:18 ƒ f Sf Sfp Í 1:55 1:56 1:57 1:58 1:54 The particular consonant The particular consonant sounds sounds used used are are — — ¤€ o in sim. (whistle tone) [t] as in in “toy” “toy” [sh] as in “shout” “shout” [p] as in in “paw” “paw” S.P. S.P. [t] as [sh] [p] as o as o Úo Ú o o ˜ Ú ˜ # ¨Ú Ú ¨ ¨ o Úo o + Ú o + Ú ¨ ¨ & Ú [ch] Ú you b Ú K [s] n Ú o o o # Ú # Ú as in “sit” as in “chew” [ps] as in “Psst! Are you there?” [s] as in “sit” [ch] as in “chew” [ps] as in “Psst! Are there?” Ú Ú Ú ˜ Ú Kr Kr Ú Ú bÚ Ú Ú Ú r Kr Ú Ú bÚ bÚ o o Ú o o Alto Fl. o vS.T. o Ú Ú >J Ú Ú > a longer version, as in “Samedi” [f ] as in “follow” > > [sah] o [sah] a longer version, as in “Samedi” [f] as in “follow” [t] Ú Ú o Ú Ú > # >Ú Ú J[s]Ú # >Ú Ú Ú RÔ Ú [k] Ú Ú Ú Ú Ú as in “kite” [k] as in “kite” F sub. f ## fÚ & f #f ƒ # Ú Ü Ú f sub.F ÊF#sub. Ú ÜÚ F Á Á Ú Ú Ê f > f f ƒ sub. f ƒ sub. > π ƒp P ƒp P > π Sf S æÚƒ sub. ∏ ∏ Additional explanations and performance notes are continued on the next page.//iii. iii. sub.

Flz.

smorz.

sub.

e Destroyed The Fiction of Time Destroyed W R 1 smorz.

4:30

sub.

4:31

4:32

4:33

4:34

4:35

4:36

4:37

Sfp

r˜ sub. r S.P. B. Cl.3 ˜& >>

S.P.

N. sub.

r dÚ > 4

S.P. sub.

+Ú

dÚ

dÚ r >

The Fiction of Time Destroyed — Desbaratada la Ficción del Tiempo —Draft #1 — Louis Goldford (2015)

¤€

¨ r

notes (cont.) ] 2 [ performance Despite the microtonal variation Elec.

0:18

& Úæ Ú Ú O O f&

The of TimeFlute Destroyed 3rd Fiction Octave¨ 'Sciarrino' Multiphonics 0:24

0:25

¨ attack — without tongue. bdel Áb Á Tiempo diamond articulation a sharp breath [p] rb Áindicates [p] r Desbaratada la Ficción Ú Á Ú Ú Á Á (能管) flute. b +bœœœ Á Ú bÁ alto ﬂute, æ Ú ÚO # ÚæNohkan Á attacks partials Oof a series on thebe consideredÁ Áa semi-pitched Thisbuilt might sound; as one + ÚÚ notes# Áon Pbass [ for clarinet, cello, and electronics ]Á Ú the Japanese P S

by partial tracking analysis, sim. ¤€ revealed [ Transposed A Score ] notehead these consistently suggest harmonic æwith# Úa Ú [ dur. ca. 8:25æ ] æ

Flz.

¨r

[p] [p] bœœ b— composed for NOMOS ÚÚ0:22 The0:19 Fiction of Time Destroyed Desbaratada la Ficción del Tiempo #1 — Louis Goldford (2015) +œ 0:20 0:21 0:23 Ú +—Draft

f sub. Í of each collection. Sfp lowest member sim.¤€

[t,k]

sub.

[t,k]

Flz.

sim.

S P 'Underblowing' Easily Achieved by f Sfp sub.

sub. † First draft — 20 May 2015 [t,k] Prepared with of — forthe Timassistance —sim.

Rachel b Á Beetz o

o b Ú b Á Á n Ú # Ú boÁÁ Ú bÁ Perceptually salientæ timbral shift & Ú Úæ o # Ú o Úo # Ú ÚæWeaker ÚO Úæ as black noteheads. appear ÚO Úæ partials Á o Ú Ú o o # Ú Á Á æ Ú Ú # Ú Á Á # Á Á Ú Louis GOLDFORD (2015) Balayage d’harmonie ofofpartials on given + Ú sweep + Ú —Draft #1 — Louis G OÚ P — Whistle The Fiction Time Destroyed la Ficción b Ú —a Desbaratada in this ofundamental. o Úo SÚ tone o Úo ††ÚSfpÊ+ Ú # Ú P S Úo Údel Tiempo Úregion: nÚ O f & # P Ú f sub. Í Ú Ú Ú Ú f Sfp f # Ú n Ú Ú r nw partialsb w may rKo Ú b Ú be napproximate. b wo Úo n w o o æ [ MM. & b Ú Alto Fl. Luminous w # Ú o= Úoca. 60 ] oIndicated n w [t] >r n w [s] > # w >Ú b w n w n w sub. P b ÚÚ Ú nÚ #Ú Ú Ú# Ú Ú Ú ƒ based bÚ # Ú&>ÚonÚ Ú # Ú ƒ sub. 44 Á Á fingering ¨r ¨r ¨r #RÚ Ú n Ú fÊ Ú bÚ #Ú Ú n Ú sub.P¤€ƒp S> & π π P ƒp P π # Ú Sf ¤€ Ú r æ rK b Úfor note: Ú b Ú r B. Cl. & M. # Ú > Ú b bœœ b Ê > ÚÚÚ transcriptions of PM2 analysis reveal bandwidth > seeve Flz. upper partials + ˜S.P. + ÚÚ1+ œ sub.P weaker (mostly air) & Ú ƒ & [A.] [B.] # Ú M. Ú b Ú M. M. # Ê Ú ƒ sub. Flz. ÊÚ b ww æ Ú ww #bÊwwœ[t]r # # wwœ + Ê b œœœ Ê Ú >g œ O¨ r rsub.P> 4 g d d œww d[t,k] wwf Altor dFl.d ww& Ú b Ú Úl# lÚ# Úww # ÚFlz. Alto Flute in G Ú n Ú # Úw Ú [t]n Ú b Ú b w w g w d S æ Ú ww ƒ b w O # œwæƒ œ l d ww > g w Ú b Ú Ú wÚ Cl. & b w> wÚ 15va > & 4 + g œw ] h b ÚgÚ # œwÚ [ B.Alto flute w # w b Ú &>multiphonics ∏ æ ∏ Ú Ú Ú Ú #ÚÁ Ú S.P. Á f ÁÁÁ Ú Ú f Ú > Á #ÚÚÚ Á b Á sub.P f Ú ˜ Ú Ú ƒ ƒ sub. S Ú #Ú nÚ nÚ Úƒ # Úkkkkkkkkk kkkkkkkkk sub. lower partials) (heavier beating between SF Ú Ú Ú # Ú Ú SfP Í bÚ ƒ nÚ w (gb ww ) Ú f(d œw ) Sfp fg w w) w # w +Ú Ú w dÚ nÚ &bow Ú æ æ ( # w h w n w æ Ú Two types are employed — The first involves a sharp articulation on a low fingering, producing audible spectra above it, such as #Ú nÚ #Ú #Ú 4 S.P.h w #w Ú Ú Ú æ Ú n# Úw# Ú # Ú Ú Ú Ú ÚwÚ # Ú # Ú # Ú # wÚ Ú Ú Ú #w d Ú Ú# w Ú Ú w Ú Ú Ú Ú Ú # Ú # Ú B. Cl.g w& Ú # Ú #S.P. Ú Ú h g w to &(A). 4 ˜Bands of partials the example above are notated¨ above fundamental. The second type of multiphonic ? ˜ Úthe diamond ¨Ú focus Údb#¨ÚwÚ on Ú nÚ Ú # Ú # Ú n n Ú Ú kkkkkkkkk n Ú f Ú Ú b Ú # Ú¨Úproduces kkkkkkkk # Ú ÚP kkkkkkkkk Vc. # Ú involves Úinstrument (B). Underblowing # Ú bow Ú underblowing ˜ ˜ Ú K Ú b Ú fingerings in the 3rd octave of the in this way easily multiphonics K # Ú b Ú Ú r r Ú kkkkkkkk & æ æ b Ú Ú ...More eﬀective as LOUDER multiphonics, though can start from air and be played somewhat quietly... For quieter or attack-driven short/loud Úkkkkkkkkk b Ú events, Bass Clarinet æ vS.T. vS.T. Ú > > Ú Ú ÚÚ > such as the following (the pitches contained in the multiphonics below are approximate) — > æ & J N. with partials Ú RÔ built onÚtop (i.e. Sciarrino "t" pizz. with low multiphonics). Vc.in B¯≤ it's better to use extremely low ﬁngerings Ú #Ú ˜ F sub.  f  ƒ Ê Ê  IV bow  # f ? # >Ú #Ú ÜÚ F Ú — SOUNDING a P4 LOWER ˜ f sub. ?ALTO FLUTE Ú Ú n w b Ú kkkkkkkk b w n w f f ƒ sub. Ú ƒ sub.n w S.T. b w # Ú n w Ú > n w #Ú Vc.> b Ú# w kkkkkkkk n w n w # w b w n w b w n w S æ Ú n w ∏ b w n w Ú # w ∏ n w 12 Ú ? n w kkkkkkkkk n w Ú Ú #Ú bÚ Ú #Ú Ú Ú Ú #Ú nÚ Ú#Ú Ú nics ] > Ú #Ú Ú bÚ bÚ Ú Ú Ú Ú # Ú Ú Ún0:25 > #Ú Ú 0:19 0:20 0:21 0:22 0:23 0:24Úd Ú Ú Ú Ú Sfp Sfp fing. & S.P. S.P. sub. S.P. f˜ P N. sub. N. ˜ ˜ 2 ˜ ˜ 3 4 Elec. ã bowing 22 weaker upper partials (mostly air?) (2015) Elec. Louis ã 12 GOLDFORD 0:19 0:20 0:21 0:22 0:23 0:24 0:25

to Fl.

Flz.

[t,k]

(whistle tone)

sub.

[t,k] sub.

Flz.

sim.

stroyed

d d wwœ g g wœœ d d www g 15va & h l œ dw ¤€ & +w o g w Cello (whistle tone) o o Ú & ¨r ¨r oÚ Úo III Ú ( w+ Ú) ( b ww ) ‹ Êr o (d œw ) # gÚ g o b œ o # ÊÚ [t] o Ú b œ g g ÚÚ + œ IV ¤€ Flz.Ú b Ú (whistle +[s] Ú & h w ? o tone) Ú Ú Ú dw gw #Ê & #Ê o o + Úo + Ê Ú Á Á

d d www wsim.

0:18

0:27

0:26

3 4

0:28

wÚo Úo wÚ

l l ww Ú # Ú gÚ b Úw # ow o ã r

Elec.

0:29

0:30

4:38

o Úo + Ú Ú Úo Ú

hw sim. bhÚ w

www w

b bbÚ dwwwwÚ

Ú +Ú

4:39

#w o # wo

# wwwœ

0:31

4:40

#w o 2#Úo w Ú

w w

b wwœ w

0:32

# # # wwœw

o + Úo o Ú Úo Ú w

Úkkkkkkk

0:33

4:41

œœœ œ

4:42

4:43

w #w Ú + Ú # Ú # wæ æ o æ w

o + Úo Ú Ú o Flz. #Ú # Ú o o + Ú Ú Ú & Ú Ú Ú [t] # Ú Ú ƒp kkkkk Ú P& O Úo Ú π Ú Ú kkkkkkkπ ƒ kkkkkk Sf F P ƒ ƒp Alto Fl. Úo Ú π b æÚPÚ + Ú # Úkkkkk ÚO Úo kkkkk kkkkkkk Ú Ú æ o b Ú o bf to Fl.b Á o# ÁÚo o Úo 1P f f Ú R ƒ c.l. jeté [t] [s] o Úo b Ú Á P f f b Ú ƒ Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú bÚ Ú Ú Ú Ú Ú P sub. Ú Ú Ú # Ú n Ú #Ú Ú Ú & Ú Ú Ú Ú Ú Ú bÚ Ú Ú Ú #Ú Ú 1 b bÚ Ú Ú # Ú Ú Flz. Alto Fl. Ê Ê Ú & +Ú Ú +Ú #Ú Ú Ú Ú r Ú r Á Á r r Electronics Ú π π ƒp P ƒp π Sf bÚ > Bass Pæ & > > [ B. Cl. clarinet &ã P ] > ∏ ∏ f P ¨ ÚÚ Ú Ú Ú Ú # Ú 1Ú ¤€ Ê rK r rKr Ê Sf Í Sfp r R d r Ú ƒ Ú b N. Ú # Ú Ú > B. Cl. & > # Ú slap tongue. glissando produced ˜ > S.P. > by lowering the jaw. > > S.P. Semi-pitched & ∏ Harmonic Úbow ∏ F sub. f # f # Ú Ü Ú F Vc. ÚÚ˜ Ú Ú ˜ B. Cl. Ú Ú f f ƒ #Ú bÚ dÚ Ú +Ú ƒ ˜ ˜ Sf Í Sfp Ú # & & vS.T. vS.T. n Ú y y Úy y y y y y y y y ¤€ ¨ #Ú ¨ Ú [k]¨ [t] r S.P. [t] r S.P. r [ Bass Êclarinet ] Pf f O f Ê ˜ multiphonics ˜ S.P.d œsub. œ œ ?bowIV ˜ œ & œ œœ œ R R 1 +œ + œ˜ ˜ 1 5 æ ∏ Alto Fl. vS.T. vS.T. ∏ Flz. Multiphonics in the bass clarinet part are taken from Harry Sparnaay’s The Bass Clarinet: Those [s] [sah] [t] A Personal History. Flz. [t] chosen are known Ú Ú Elec. ã[t]  ˜  Vc. >cannot Ábe executed >  æÚ isn Áencouraged toæ find similar      & Á #  quite stable, but if any of these as intended, the performer multiphonics that Sfp to be bow Á # Á Á Sfp nÁ Ú Ê Ê IV b Á ?approach > been˜ notated ÚdÚ ƒ as: M.1, M.2, Í and M.3. ƒ The fingerings used ( ƒthe ) tone quality and character of those in theVc.score. They have P

sub.

0:01

0:00

0:02

0:03

0:04

0:05

0:06

0:07

sub.

0:08

0:09

M.1

sub.

smorz.

S.P.

0:35

0:34

B. Cl.2 Úkkkkkkk &

r [M.1] > ##ÚÚkkkkk # Úkkkkk Úkkkkkkk

0:27

kkkkkkã

Elec. Ú

ƒ sub.

0:26

0:37

Úæ

∏

are Ú— Sfp