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Performance Notes

Multiphonics:

Laura and I chose the multiphonics at the opening of Zosa because each had the potential for a rich, arch-like shape. The arch, or swell, should be as smooth and full as possible, with a feeling of lingering at the fullest expression of the multiphonic before following the arch back down. Take the time needed to 'follow' the multiphonic, the metered notation of 'solo' multiphonics (as in mm. 4-11) is just a guideline. (When the piano enters again in m. 11, a more definite pulse emerges.) There is meant to be a feeling of line connecting the 'phrase' of three multiphonics at the opening.

Note that if there is only one pitch and it has a diamond-shaped notehead, there should be only one pitch sounding; that is the single-pitch expression of the multiphonic. This happens in 2 contexts:

1) arch-shape: the multiphonic begins with its single pitch expression, (i.e. m. 4) grows (as air increases) into its full expression (i.e. m. 4, beat 3), then recedes back to the original pitch (i.e. m. 5, beat 3);

2) direct attack: the multiphonic begins with its full expression (i.e. m. 26), then recedes to its single pitch expression (i.e. m. 27). I have clearly notated when these movements—away from and back to single pitches—occur.

I have used Peter Veale and Claus-Steffen Mahnkopf's "The Techniques of Oboe Playing"

(Bärenreiter, 1998 (3rd edition): Kassel, Basel, London, New York, Prague) as a reference to notate each multiphonic's approximate pitches (and their relative volumes, designated by variation in noteheads). The only change I have made to Veale and Mahnkopf's detailed notation is the following, and that only for the sake of readability: i have notated the highest (or, when relevant, lowest) note of the multiphonic using the appropriate note value for my music, regardless of whether it was originally notated with a diamond-shaped, open, closed, or reduced-size notehead.

Glissandi:

There are a number of passages in Zosa which use glissandi. In the score I have notated gl. for glissando, as per usual; in addition, (finger) or (lip) is also notated to indicate the suggested gl. technique. (NB: It is also possible to use lip glissandi in place of the fingered glissandi indicated below.) There are often several possibilities for playing each one—experiment to find what works best for you. Please let me know what you discover! Here are some sug gestions: mm.22-25 (and mm. 61-64): The glissando between D andE b (see right) can be achieved by sliding the D key in the right hand. Slide the 4th finger on the right hand slowly towards the palm, uncovering the key hole. (For E b-D, simply reverse.) mm.29-32: For the glissando between B andB b, slide the middle finger of the left hand slowly over the key hole. (You may find that using a lip glissando in addition to the finger slide is effective.) m.33: For the glissando betweenB b and A, try sliding/moving the index finger on the right hand either towards or away from the palm, allowing the key to rise slowly.

Tip for the trill and glissando in m. 22: trill with the E b key on the left-hand side (instead of the one on the right-hand side), and gliss with the 4th finger of the right hand.

A note on breathing for the pianist:

As we began work on Zosa, it felt important to consider the breath not only as an inspiration for the piece, but as a practice for the pianist as well. We so often forget to breathe fully as we play! The notations I have included were for my own performance of the piece; please use them as you will, whether they become specific indications or simply a reminder...

Zosa for Laura Karney

* Multiphonics until end of piece: The entrance of each multiphonic is important, but allow it to take its own shape as it unfolds.

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