MATTHEW GROUSE
Silberblau for solo guitar and electronics
(2020)
Silberblau
for so lo g uitar and ele ct ron ics
(2020)
Accidentals:
¼ sharp
¾ sharp
¼ flat
¾ flat
. Quartertones are notated in the following way: . Microtones smaller than a quartertone are differentiated by the use of ordinary accidentals with arrows:
Dynamics: When both the ‘nut-side’ and ‘bridge-side’ staves are being used during a single system, the following placement rules for dynamics apply. 1. 2. 3.
Dynamics above the N.S. stave only apply to N.S. Dynamics below the B.S. stave only apply to B.S. Dynamics between the two staves apply to both N.S. and B.S.
Clarification of techniques and non-standard notation (general): This notehead denotes tapping, a technique commonly used by electric guitarists. A string is fretted (without plucking) and set into vibration as part of a single motion of being hammered onto the fretboard, with either hand. In passages where both hands are required to tap, stems down = left hand, stems up = right hand In the absence of a slur, both the starting and ending pitch of a glissando should be articulated. This is especially important to pay attention to during tapped sections. Because of the way that both playing on the nut-side of the capo and affixing blu-tac to the strings affects pitch and timbre, it is incredibly important NOT to stray from the notated string designations. Left hand fingering is denoted with Arabic numerals. Pluck the string behind the fretting finger (closer to the nut). Place / fret a notated pitch silently with the right hand. Pluck the string with a finger of the left hand For passages played on the bridge-side of the capo (B.S.), open strings are notated with both a circled string designation number and a ‘0’. Occasionally, only a circled string designation number is used if combined with a supplementary note e.g. “open strings for the rest of the page”. Half harmonic pressure with the left hand. Some pitch, some noise. Damp. Mute the strings abruptly. This is often coupled with a direction of which hand to use. Repeat bars. 3x means that the initial statement is followed by 2 repeats (the passage is played 3x in total). A dashed slur denotes that two notes / chords played or fretted by the right hand in succession should be performed as if part of one physical gesture, semi-legato. Bar 65-69 – New pitches are introduced during this passage by tapping a note on a string that is already being fretted by the other hand.
Blu-tac: Firmly secure the blu-tac around each of the designated strings so that when struck, the resultant bitones ring out with an almost bell-like resonance. If the blu-tac is too loose, the sound will likely be short, dead and percussive. You may also have to experiment with different densities and positioning of blu-tac in order to get the sound as close as possible to the bi-tones notated below. As a basic rule, the more blu-tac you add to a string, the lower the resultant pitch.
Tuning: On the following page a sounding pitch chart is given for the nut-side of the guitar, each pitch rounded to the nearest quartertone. It is recommended to first tune the open strings on the bridge-side (with the capo at 10th fret) before applying blu-tac, then checking whether the sounding pitches on the nut-side are as they should be. There may be very slight tuning discrepancies between guitars. This is fine as long as the last section (bar 104 – end) is clearly audible as the notated melody on the sounding pitch stave, which is a ‘broken’ realisation of part of the melody for Schubert’s Grab und Mond D.893.
Audio playback: A separate laptop performer can be used to trigger playback cues, but likely the easiest solution is if the guitarist can trigger cues with a foot pedal (Max patch made with AirTurn Duo 200 in mind). This should be executed as subtly as possible. A Max patch for each option and all audio files will be provided by the composer. Cue type 1: Triggers an audio playback cue to start playing Cue type 2: Triggers an audio playback cue to stop playing Cue number
Amplification: The nut-side of the capo must be amplified to an appropriate level as not to be drowned out by the bridge-side. This likely means that 2 microphones are necessary, one for each side of the capo.
Composer’s Note: In Grab und Mond D.893, Schubert sets a particularly chilling poem of the same name by Johann Gabriel Seidl. The poet addresses both the moon and the grave, seeking answers from both of them about life after death. Silberblau takes the separation of the worlds above and below the grave as its starting point. The guitar’s strings are divided in two through the use of a capo, which allows two distinct soundworlds to emerge. Schubert’s music is processed and disfigured via a three-fold filter of the capo; string preparations; and manipulated recordings of Grab und Mond, which I arranged for guitar at the beginning of the process.
Duration: ca. 8’ Silb e rbl au wa s c o-c omm issio ne d b y Sa sha Sa va lon i a nd Cu rren t Re sona nc e as pa rt of Sa sha’ s ‘An d en Mon d’ pro je c t. © 2020 Matt he w Grous e
for Sasha Savaloni
Silberblau after Franz Schubert's Grab und Mond D.893
solo guitar and electronics Matthew Grouse (b.1996)
pitches rounded to the nearest quartertone
µµœµœœ ™™™ #œ ™
3 4
Sounding pitches
& (Nut-side of capo)
B˜ œœœ ™™™ µ œ U µ œ œµœœ Œ Bœ ™ #œ
œœ œœ œœ J
bB œœ bB˙˙ #œ œ nœ µb ˙˙˙ Œ ‰ J ‰ J
µµœµœœ ™™™ #œ ™
Œ
œœ bœ<µ>œ nœ Bœ J Bœ œ µœ 3
slow, with some freedom (q = ca.45) T
Capo placed at 10th fret Play on the string area between the capo and the nut
0
p brittle
∑
3
· ‚ 0 ‚ „ „ „ 0 U „ ‰ ‰+ ‰ ‰ >œœ ™™ ‚ œ œ œ ™ œ œœ Œ ˙˙ bœœœ 1h #n˙˙˙ Œ Œ ‰Tœ ‰TJ # œ ™ ‰0 œ ÂJ i sf p ∑ ∑ ∑
∏∏∏∏∏∏∏∏∏∏∏∏
0
∏∏∏∏
‚ œœ ™™ œœ œœ œœ ™ ‰œœ ™ J
∏∏∏∏∏∏∏∏∏∏∏∏
° B.S. Nut-side of capo & 3 4 ‹
∏∏∏∏∏∏∏∏∏∏∏
0
‚ 0 0 ‰ 3 0 œœ ™™ œœ œ œ œ œ œœ ™™ J œ #œ œ „ „  0 ∑
B.S. Bridge-side of capo
¢& 4 ‹ {&
6 Sounding
µ œ™ Bœ & #œ
∑
3 4
Audio Playback
∑
∑
∑
∑
6
B œ µœ
œ µµœU œœ #œ œ
œ œ œ
œ œ œ
U Bb˙˙˙ #˙
œ ,
bœ Bœ Bbœœ n œJ
<B>œ
Bœ œ œ #œ
œ
œ œ
Œ
3
0
f
„ ‰ „‚ „ , U 6 3 œ œ #n˙˙ œ œ œ œ œ œ œ œbœ ˙ œ œ œ œ ‰ œ0 œ ˙
„ ‰j œœ œ
∏∏∏∏∏∏∏∏∏∏∏∏∏
rit.
∏∏∏∏∏∏∏∏∏∏
·> ° œ™ B.S. & œ N.S. œ ‹ „0
U ‚ „ 0 œ œ œ œœ œ œ œ 0
ppp
∑
B.S.
∑
¢& ‹
B.S.
∏∏∏∏∏∏∏∏∏∏
B.S.
· ‚ „ Â bn˙Y˙ 0 b ˙0
‚ „ ‰¿ bœ¿ ¿ Ê
‚ ‰ bÂY bY˙
‚ „ ‰¿ bœ¿ ¿ Ê
‚ ‰ bÂY bY˙
pp
∏∏∏∏∏∏∏∏∏∏
a m
· ‚ ‚ „ „ 9 ¿œ ™™ b ¿œ #¿œ0 œ¿ 0 0b œœ¿ ™™™ œœ¿ 0 ˙˙Y ™™™ b¿ ™ ¿ ¿ ¿ ¿ Y™ & ‹ ‰ · ‚ ‚ „ „ 13 ¿ ™™ b‚¿ 0 ¿ 0 ¿ 0 0b œ¿ ™™™ œ¿ 0 ˙Y ™™™ b# ¿œœ ™™ bœ¿ ¿ œ¿ ¿ œ ˙Y ™ & ‹ ‰
Œ ‚ „ p mf ‰¿œ ™™ ¿œ Œ Œ b¿ ™ ¿ ∏∏∏∏∏∏∏
mf
A tempo
· ‚ „ Â bn˙Y˙ 0 b ˙0 pp
‚ „ ‰¿ ™ # b ¿œ ™™ œ™ Âmf
Œ
¿ ¿œ œ
4 4
2 17 Sounding
&
4 4
5 8
j ˜œ œ ˜œ
˜œ œ œ œ
œBœ #œBœ 44
3 4
œ ˜œ
œ œ
œ
˜œ
œ œ #œ Bœ œ œ œBœ#œ œ œ
j j #œ ™ ˜œ ™
j j œ™ œ ™
j # fJ ™ 0 f ™ ‰¿r ¿j™ 12 ‰ 16 ¿ ¿ ™
j f ™f ™ J
12 16
Mechanically (q = 60) for tapped notes, stems down = left hand, stems up = right hand
mp sfz B.S. N.S.
° 4 Ê sempre &4 ‹ #f f f f
5 8
> f #f f *J
f
4 4
3 4
f #f
gliss.
f f
f #f
j f gliss. >f > R
r f >
open strings for the rest of the page
4
∑
5 8
B.S.
¢& 4 Y ‹ Ê>
4 4
Œ ‰ j ¿ Y
∑
3 4
12 16
¿™ ¿™
mp f bell like 1
≠ A.P.
{&
4 4
5 8
4 4
3 4
12 16
ppp Very high pitched, brittle clinks and slowly evolving, morphing chords from Grab und Mond. Asynchronous to live guitar.
22 sim. (glissandi)
j j j j œ™ ˜ œ ™ œ™ œ ™
Sounding
&
4 4
‰ j ˜œ
œ œ œ œ œ œ
œ ˜œ œ œ œ œ œ œ
U œ ˜œ œ œ œ œ œ
3 4
hands cross over during glissandi, in a swift, mechanical action
ca. 2.5" p
ppp B.S. N.S.
° & j j f ™ f ‹ #f ™ ™ f ™ J J
∑
B.S. B.S.
¢& ‹
U ‰ j T T T T T #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ > ppp f ‚ >Y 4 Y ∑ ∑ 4 Y 4 4
3 4
3 4
ca. 2.5"
U œœœ ! #œ ?
4 4
A.P.
{&
3 4 mf
slow, with some freedom (q = ca.45)
∏∏∏∏∏∏∏∏∏∏
· 6 6 > ‚ >* > 0 26 œ œ œ ¿ œ œ ° 3 ‰b Y¿ ™ ¿ 0œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ B.S. & B.S. ¢ 4 0 ˙™ „ ‹ Âp ppp * accents played mp
Freeze as if your body is on pause while audio plays L.H.
… ∑
7 8
3 4
3 2
@ ? A.P.
{
3 4
∑
& 78 ‹
! œœ ™™ œ ™™ œ
œœ œ œ
stop audio exactly on beat 1, cutting the previous cue off abruptly
œœ œ œ
œœ œ œ
œœœ #œ
p Opening of Grab und Mond, arranged for guitar
* - for all glissandi, push down firmly as you slide in order to hear the interim pitches as clearly as possible
3 4
3
∏∏∏∏∏∏∏∏∏∏
· Freeze 6 6 ‚ >* > > L.H. 0œ 28 œ ¿ ¿ ¿ œ ¿ œ¿ œ¿ b ¿ ¿ … ° œ œ œ œ œ Y 0œ ∑ B.S. & 3 ‰˙ ™ „ B.S. ¢ 4 0 ™ ‹ Âp ppp * accents played mp
∑
5 16
∑
3 4
5 4
! œœ ™™ œ ™™ œ
@ A.P.
{& ‹
∑
3 4
j œœ œ œ
œœ œ œ
j œœ ™™ œ ™™ œ
œœ ™™ œ ™™ œ
œœ œ œ
5 16
œœœ #œ
œœœ œ
3 4
p warped, faulty version of cue 3
ca. 2" q = ca. 32 extreme sul tasto half harmonic pressure CXI
just above blu-tac
∏∏∏∏∏∏∏∏∏∏
· 6 ‚ 6 >* > > ba\ b \ m\ \ \ i a\ m i 0œ 32 œ œ œ œ b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ b\ \ \ b\ \ \ \ \ \ \ … ™ ™ ° 3 ‰Y ™ 0œ œ œ œ œ œ B.S. & B.S. b\ \ 44 b>\ ® ‰ Œ Ó „ X ¢ 4 0 ˙™ ‹ Âp ppp * accents played mp
3 4
ff 7 only heard once
6
@ ? A.P.
{& ‹
! œ b œ ™™ œ™ œ™
-25c.
∑
3 4
∑
4 4
X
œœ œ œ J
œœ ™™ b œœ œœ U œœ bU œ œ œ™ œ œ œ œ™ œ
p
3 4
ppp
slowed and pitched down version of cue 3 with delays and slight warping
35 Sounding
&
≈ B œ µ œœ # œœœ œ œ b œ œ œ œ œ œ ™™ 3 B˙ ™ 4
bœBœ œ œ œ œ œ œ 2 4
Bœbœ œ œ œ œ œ œ
x3
™™
3 4
∑
3 4
q = ca. 45 molto accel.
∑
4 4
q = ca. 45 / e = ca.90 q = ca. 135
Each repeption should look and sound as homogenous as possible, like a video skipping back to the beginning
i
m
a
Freeze
„‚ ° ≈œ œ B.S. & ™™3 N.S. 4 ¢ ‹ #˙ ™
· m i a sim. x3 L.H. œœœ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ 3 œ œ œ œ œa œp œ œ ™ 3 … ∑ ™4 4 4
∑
4 4
ff harsh p delicate 11 becoming more noise than pitch
8
@ ?
™™ 3 4
∑
∑
2 4
∑
3 4
& ‹
= 2nd time
9
A.P.
& ‹
™™ 3 4
! ˙˙˙-™™ - ™ # ˙™
! œ œ Bœ œ ™™ 34 œ œœ BB œœ # œ œ µ >œ o p mp
2 4
˙˙˙ ˙
3 4
˙˙˙ ™™™ ˙™
™™
B 3 B 4 B
2 4
˙˙˙ ˙
3 4
˙˙˙ ™™™ ˙™
™™
B 3 4 B B
ppp freeze
= 3rd time
10
{
& ‹
! - -™™ 3 BBB˙˙˙ ™™™ 4 µ ˙™ ppp freeze
œœ œ œ
œœ œ œ
œœ œ œ
œœ ™™ œ ™™ œ
time stretched pp
YY Y Y
4 4
4
q = ca. 90 q = ca. 45 use L.H. for all tapped notes on this page
∏∏∏∏∏∏∏∏
40
° 4 B.S. B.S. ¢& 4 ‹
‚ „ ½CXIII ‰ ¿j™™  ¿j™™  > bbœ¿ ™ 3 >f œ¿ ™ >f 4f 6 16 ≈ ≈ R ≈ ≈ R Œ
„ ‰ bwY bÓY Ê
j j j j bbœ¿¿ ™™™ > œ¿¿ ™™™ > bbœ¿¿ ™™™ > œ¿¿ f f 5 f ≈ ≈ R ≈ ≈ R 16 ≈ ≈ R ‰
Freeze L.H.
… ∑
3 4
4 4
f like a skipping CD
mf espr.
13 12
@ A.P.
{& ‹
∑
4 4
∑
6 16
∑
∑
5 16
3 4
! ˙˙ Œ
œJ
‰
bœœœ ‰
4 4
œ J
bar 3 of Grab und Mond
q = ca. 45 q = ca. 90
‚ „½CXIII >f ¿œ¿ >f ¿œ¿ >f ¿œ¿ >f Â> ‰bb¿œ¿ ‰ 4f
∏∏∏∏∏∏∏∏
„ 45 w ° 4 b‰Y B.S. & B.S. ¢ 4 bÓY Œ Ê ‹
‚a „m bb¿œ¿ >f ¿œ¿ >f ‰n#0¿œ¿i ™™ 5 7 16
Freeze L.H.
‰ >f x5 … R ™™ 24 ∑
16
∑
3 4
2 4
f like a skipping CD mf espr. 15 14
! U #˙˙˙ o
@ A.P.
{& ‹
∑
4 4
∑
™™ 5 16
∑
7 16
™™
∑
2 4
, bœœœœ o
3 4 mp
2 4
˙˙ o mp
mp
bar 3-4 of Grab und Mond in reverse, slightly warped
51 Sounding
&
µµœµœœ ™™™ #œ ™
2 4
œœ J
3 8
œ bœ <µ>œ µœ nœ Bœ
Bœ
with faint, incredibly high pitch ¿percussive, ¿ ¿ ¿ ¿ ¿
∑
2 4
∑
2 4
5 4 6
3
back of the nail
(q = ca. 45) CIII
p
0 0 0
6 3 0
Freeze
∏∏∏∏∏∏∏∏∏∏∏∏
B.S. N.S.
‚ ° 2 œœ ™™ ¢&4 ‰œœ ™™ ‹ 0
œœ 3 œ œ œ \ \ b\ œ \ \ J 8 œ #œ œ „ \  „ mf
p
5 4
17 16
@ A.P.
{& ‹
∑
2 4
∑
3 8
5 4
! ˙˙ ™™ ˙ ™™ >˙
œœ œ œ
œœ œ œ
2 4
mf fp fast attack then immediate, extreme time-stretching
¿ ¿
54
¿ ¿ ¿
µœ bœ
Bœ œ Sounding
&
2 4
µœ
œ Bœ
‰
7 8
∑
6 16
∑
6 16
5 3
Freeze L.H.
CIII
0
p 5 3 N.S.
° 2 \ 0œ œ 0œ n0œ b \ #œ ¢& 4 \ \ œ „ „œ ‹ \   as if in reverse
‚ œœ
… 7 8
focus on bottom A.P. stave for timing p 19
18
@ 2 4
∑
& ‹
2 4
∑
& ‹
X
! œœ œ œ
extreme time-stretching , œœ œœ œ œ œœ œœ œœ œœ œœ ˙˙ œ #œœ œœ œœ œœ œ œ œ œœ ˙˙ œ œ œ œ
6 16
A.P.
{
7 #œ œ ™™ 8# œ ™
#œ ™
œœ œœ
œ ##œœ #œ
œ #œ œ
nœ œœ
transposed down a minor third. Comb filter and quick delays gradually introduced
6 16
5
56 Sounding
&
6 16
¿ ¿ ¿ ¿ ¿ ¿ µµœœ µµœœ ™™ µœ ™ # œJ ™ 6
¿ ¿ ¿ ¿ ¿ ¿ µµœœ µµœœ ™™ µœ ™ # œJ ™ 6
¿ ¿ ¿ ¿ ¿ ¿ µµœœ µµœœ ™™ µœ ™ # œJ ™ 6
¿ ¿ ¿ ¿ ¿ ¿ µµœœ µµœœ ™™ µœ ™ # œJ ™ 6
CIII
CIII
CIII
CIII
p
p
p
0
0
0
0
0
0
‚‚ „j \ b\ \ œœ œœœ ™™™™ \ œœ ™ \ \
‚‚ „j \ b\ \ œœ œœœ ™™™™ \ œœ ™ \ \
‚‚ „ \\ œœ œœj™™ b\ œœ ™™ \ \ œ™ \
‚‚ „j \ b\ \ œœ œœœ ™™™™ \ œœ ™ \ \
f
f
f
f
6
6
p
∏∏∏∏∏∏∏∏∏∏
p
6
∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏
° 6 ¢& 16 ‹
6
∏∏∏∏∏∏∏∏∏∏
B.S. N.S.
p
0
0
4 4
p
4 4
p
23 21 22
! œ-™ #œœ ™™ œ™
20
@ A.P.
{& ‹
∑
6 16
! œ-™ œœ™™
! ##œœ ™™ œ™
? 4 4
+25c. p +40c. chordal freezes with internal rhythmic activity
60 Sounding
&
∑
4 4
∑
5 4
5 16
¿ ¿ ¿ ¿ ¿ ¿ µµœœ µœ # œJ
¿ ¿ ¿ ¿ ¿ ¿ µµœœ µœ # œJ 6
3 8
CIII
2 4
CIII
p p
Freeze
∑
5 4
5 16
f
6 j \ œœj œœœ 3 \ œœ œœ 8 \ \ b \ œ \
∏∏∏∏∏∏∏∏∏∏
∑
\ \ b \ \ \ \
∏∏∏∏∏∏∏∏∏∏
B.S. N.S.
° 4 ¢& 4 ‹
p
f
2 4
p
26 24
! œœ ™™ œ™ œ™
25
? 4 4
A.P.
{
>! ˙˙ EE
@ 3
œœ ee
> œœ ™™ ee ™™
> œ # œe e
5 4
œœ ee
œœ ee
œœ e e
œœ e e
> œœ ™™ œœ œœ e™ e e
œœ e e
> > œœ œ œœ e mf R
∑
5 16
& 38 ‹
2 4
+40c. p chordal freezes with internal rhythmic activity
3
mp 25% speed and pitch (bracketed pitches are so low that they're not easily audible)
64
¿ ¿ Sounding
&
2 4
¿ ¿ ¿ ¿µ œ µ œµœ #œ
¿
¿
¿ ¿
¿ ¿
¿
¿
¿
¿
¿
¿
2 4
∑
7 16
3 4
2 4
6
CIII CIII
p CIII
p
You no longer need to freeze between cues
6
f
\ \ b \ \
p
\ ∏∏∏∏∏∏∏∏∏∏
B.S. N.S.
° 2 ¢& 4 \ ‹ \
œœœ œ œ
\ \ b\
2 4
∑
7 16
3 4
\ \
p
\ \ b \ \ \ \
2 4
f ff
27
A.P.
{& ‹
2 4
! B˙2B ˙ 4 B˙
29
7 16
! nœœj œ œ
œj #œœ œ
œ œ œ
Doubled a 1/4 tone lower, panned hard L and R
∏∏∏∏∏∏∏
28
! µ ˙µ˙
œ @(top layer stops abruptly) œœ 34
2 4
Grab und Mond fades in in the background, changing playback speed very often. Asynchronous to live guitar
* - Cue 29 triggers two audio files, the first is notated in bar 64 and is foreground material. The second triggers Grab und Mond, arranged for guitar to fade in. It is quiet, low fidelity and its speed is constantly fluctuating.
6 ¿™ J
68
¿™ J Sounding
&
∑
2 4
¿™ J
¿™ J
¿™ J
¿™ J 2 4
∑
3 4
2 4
∑
3 4
9 16
CIII
N.S.
° 2 ¢& 4 ‹ & ‹
∑
9 16
2 4
j \™
j \™
j \™
\ ™ J
\ ™ J
b\ ™ J
9 16
2 4
3 4 these chords are still being warped, but they have more discernable pitch
A.P. 3
{
BB œœ & 24 BBœœ ‹
> ‰
> j
>
o
> œ #œœ 2 ##œ œ 4 #œ œ #œ
9 16
J o
>
J
J
J
≈
r ≈ nœœœ Œ œ o
3 4
o
mp dynamics fluctuate due to filtering Bars 5-6 of Grab und mond with heavy pitch warping and filter cutoff automation
3 3
¿ ¿ ¿ ¿ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿™
72 Sounding
&
3 4
¿™ J
¿™ J
6 16
¿¿ ¿ ¿ ¿
¿ ¿ ¿
Ó¿
¿
¿ 3 4
∑
3 2
4 4
CIII CIII
3 3
+ N.S.
+ ° 3 + + + b \ + \ b\ \ ¢& 4 \ \ \ \ \ \ ™ ‹ \\ ™
3 + + + \ Ó\ \ + + + \ \ b\ \ b\ \ \ \ 3
6 16
\ ™ J
\ ™ J
3 4
∑
3 2
p
4 4
p
30 fff brutal
f possibile * (e.)
A.P.
{& ‹
≈
6 í ™™ œ 16 œ œ
œœ bœœ œ œœ b œœ
3 4
! ™™î j #œ ™ œ
3 4
3 2
4 4
p extreme time-stretched freeze, oscillating
(Grab und Mond fluctuating speed cue remains playing)
continues during next cue and eventually dies away
76
œj œj œ œ
œj
µœ ≈ µœr œ ˜œ J ˜œ J
5 4
˙ ˙
„j „ „ ‚- „ „ ° 4 mp „ f f „ f j f f #f 3 #f ‰ f f f f f f &4 8 f . ‹ # f f nÊf f f f Êf f # f Êf f f f ÊfJ ‰ Êf # f f f
5 4
f
Sounding
&
4 4
‰ µœ ˜œ
œ
œ
µœ œ nœ œ œ œ œ µœ ˜ œ. œ
3 8
Ó™
7 16
Mechanically (q = 60) for tapped notes, stems down = left hand, stems up = right hand
B.S. N.S.
Ó™
7 16
f
open strings until directed otherwise
‚ >Y B.S. & 4 ‰ Y B.S. ¢ 4ÊY ‹
∑
3 8
∑
5 4
¿ >f
fff bell like
>¿ >YY ™™ Y™
7 16
(the oscillating of cue 30 continues and eventually fades out)
31
! A.P.
{& ‹
4 4
3 8
5 4
ppp Very high pitched, brittle clinks and slowly evolving, morphing chords from Grab und Mond. Asynchronous to live guitar.
* - The timing for the appearance of the figure enclosed in repeat markings is approximate. 4x loops of the figure are added, acting as a buffer. Ideally, this figure should only be heard once before you trigger cue 30 (in sync with the last note of bar 73). If you arrive at the cue 30 early (before hearing the 'looped' figure at all), proceed without waiting & immediately trigger cue 30.
7 16
7 80 Sounding
&
7 16
#œ j ‰ µœ µœœ™ J ˜œ
4 4
j ‰ œ œ
#œ œ µœ
j ‰ µœ ˜œ ™
b œœ 3 8
œJ
µœœ <µ>œ ‰ ˜œ
9 16
j j µœ ™ œ ≈ ‰™ nœ ˜ œ
j Bœ ™ œJ ™
4 4
w w
3 2
∑
4 4
4 4
3 2
∑
f
4 4
q = 90
„ „ ° 7 mp „ f 4 f f „ ‚f B.S. f N.S. & 16 f f ™ 4 f f f f ‹ #f f Ê f ™ Ê #f f f f J > œ ™™ · „ œ ™™ 4 ∑ B.S. & 7 B.S. 4 ¢ 16 ‹ ( f) A.P.
{& ‹
7 16
„ ‰ „‰f ‰ ‰ #f j™ f 9 bf j 38#f 16 f ™ f f f f Ê ‰ #f f Ê # f fJ ™ > pull-off
3 8
4 4
∑
∑
9 16
3 8
9 16
f >Y >Y 4 4 Y
>Y ™ 3 Y™ 2 Y™
4 4
4 4
3 2
4 4
86 Sounding
&
4 4
‰ µœ ˜œ
œ
œj œj µœ œ
œj œ
bœ ‰ nœ ˜œ
œ
j µœ œ µœ œ
Bœ ‰ µœ œ #œ ˜œ œ ˜œ
œ œ œ
#œj µœ œJ ≈ R f
q = 120
„ „ „ ‰ „ n„f f „ ‰j ‰ „> ° 4 mp „ f f ‚f f „ ‰ f j f ‰ #f bf f >f f f B.S. f #f f nf f N.S. &4 f f f f f f f f f f #f f f f f f nf ‹ # f f f f f f Êf # f Ê Ê Ê ‰ Ê Ê 0 > w Y ∑ ∑ B.S. & 4 B.S. ¢ 4Y ‹ ( f) A.P.
{& ‹
4 2
4 4
4 2
4 2
4 2
89 Sounding
&
4 2
<µ>œœ ™™ µœ œ œ œ œ™ œ™ œ œ œ œ œ™ U Ó
4 4
µœ œ µœ œ ˜ œ ‰
bœj œ œ
µœ ‰ œ
œ œ
µœ ‰ µœj ˜œ ™
j µœ œ œ œ™ œ œ œ™œ ≈ œ
ppp mf
U ‰ #f „j f j ° 4 3 2 3 B.S. & f ™f f f f f ™ f ™ f f f f f ™ Ó 44 #f N.S. 2 f ™ 2 3 2 3 ‹ Êf f # fJ Êf U > Y W Y 4 B.S. & 4 B.S. 4 Y ¢ 2 ‹ ( f) A.P.
{& ‹
4 2
4 4
„ „j ‰ ‰ f f ™ f j™ ≈ #f ‰ f ff <n>f ff f ‰f f f f f f f # f J ™ f Ê ∑
8 92
nœj
µœ Sounding
&
‰ ˜œ
œj µœ œ
œ
j µœ œ
nœj
µœ ‰ ˜œ
œj µœ œ
œ
j µœ
nœj
µœ ‰ ˜œ
œ
œj µœ œ
œ
j µœ œ
accel.
„ „ „ ‚f f nf f „ #„f ‚f f nf f „ #„f ‚f f nf f „ #„f ° f f f f f f B.S. & N.S. ¢ f f f f f f f f ‹ #f f Ê f f Ê #f f Ê f f Ê #f f Ê f f fÊ spiralling out of control A.P.
f
{& ‹ 95
#œ µœ
nœ
µœ
™™
Sounding
µœ
™™
µœ
!
& œ
˜œ
ca.15" incredibly fast and erratic ad lib. rapid, broken-sounding rhythms, cycling the tapped pitches below in any order
B.S. N.S.
° ™ ¢& ™ X ‹ #f
nf
f „ ff
f f
Ê ff
#f
™™
R.H. L.H.
! getting exhausted, smoothly transition into next bar
R.H. L.H.
malfunctioning, ad lib. erratically between ff and p A.P.
{& ‹
™™ X
™™
97
nœj
µœ Sounding
& ‰ ˜œ
œj œ
œ
j µœ
µœ
nœj
µœ ‰ ˜œ
œ
œ
œj œ
j µœ
µœ
j œ
‰ µœ ˙™
œ
j œ
j œ
œ Œ
rit. (q = 90) ff
„ B.S. N.S.
„ „ „ „> „ ‚ „ f f f #f f f nf f f f #f ‰ f f ™ f f fÊ # f f Êf f f f f Ê Ê
‚f f f ° ¢& ‹ # f f Êf f
f
f f J J
f J Œ
the timing for the appearance of this chord is approximate
A.P.
bœ ! bbœœ bœ
{& ‹
mf the chord then slowly decays to nothing
100 Sounding
& <µ>œJ
œ
œ J
œ J
œ
œ J
œ J
œ
œ J
œ J
œ
œ J
œ J
œ
œ J
œ J
œ
œ J
U ˙ 2 4
3 4
rit. (q = 45) pppp
° f f B.S. N.S. & J ‹ B.S. & B.S. ¢ ‹ f
f f J J ∑
f
f f J J ¿ Y™ ‰ ¿ Y™ ¿J Y™
f f f J J
f
f f J J
f f f J J ∑
U f f J
2 4
3 4
∑
2 4
3 4 32
p (q.)
A.P.
2 4
{& ‹ once the chord has completely decayed, only the brittle clinks are left
@ ≠‰
3 4
9 104
œ œ œ µœ ™ µœ œ Œ J
µœ ™ Sounding
&
3 4
µœ ™
µœ µ˙
µ˙
Œ
U µ˙
œ œ œ #œ ™ #œ #œœ Œ J
µU œ
U µ˙
bœ ™ œ
slow, with some freedom (q = ca.45) mp
B.S. N.S.
B.S. B.S.
3 ¢& 4
‹
‚¿ ™™ Y ®J Y™ Ê
‰ ‰ „ U #f f f ™f
„ „‰ „ #„f ‰ Œ f ™ f j f f bf ™ f ff Œ b‰f f
° 3 „ f f ‚f ™„ f Œ b‰f f &4 f ™ J f ‹ N.S. should never be quieter than B.S.
Y™ Y™
„˙ ™
Y™
‰Y™
œ ¿œ Y˙
U ˙ Œ
µ˙
µœ
„ Œ f
‰ f
≈
p always open strings except tapped notes
112
µœ ™ #œ µœ œ µœ ™ œ µ˙
µ˙
µœ
bœ ™ œ µœ ™ #œ µœ œ µœ ™ œ µ˙
µ˙
Œ
Œ
Sounding
& stems up = R.H.
stems up = R.H.
K ° #„f ™„f r ‚f ™ f „ Œ „f B.S. f N.S. & J f f ‹ · ‰RÔ œ ¿ Y ™™ œ ˙ Y B.S. B.S. ˙ ¢& ‹
K ‰ #„f ™„f r ‚ ‰ „f f f ™f J f f f ™f ‰RÔ œ ¿ œ j Y ¿ ‰f f > Â
„ f
œ¿j ˙Y ‰ ˙Y ™™
f Â
#f  33
! ∑ A.P.
∑
∑
∑
∑
∑
Œ
Œ
‰
{& ‹
o
119
Œ ˙
Sounding
œ µ˙
œ n˙
œ µ˙
œ n˙
œ µ˙
œ n˙
œ µ˙
b˙ œT
œ b˙
b˙ œT
œ b˙
b˙ œT
U ˙™
U ∑
U ˙™
U ∑
U Y™
U ∑
& slow, expressive vibrato
B.S. N.S.
‰ ° b˙ & Œ b˙ œ T ‹ espr.
œ b˙
mp ppppp B.S.
¢& Y™ ‹
Y™
Y™
Y™
Y™
Y™
Y™
Y™
ca. 20"
U A.P.
{& ‹
! A low-fidelity, distorted arrangement of Grab und Mond for guitar plays with delays. The speed is constantly fluctating ppp
Aarhus - April, 2020