Leges Motus for Mixed Ensemble (Soprano, Violin, Flute, Electric Guitar, and Percussion)
2017
Ryan J Williams (ASCAP)
Leges Motus
for Soprano, Violin, Flute, Electric Guitar, and Percussion Written for the SPARK Collective New Music Ensemble at the University of South Carolina
Duration: ca. 8’30” I.
Corpus omne perseverare in statu suo quiescendi vel movendi uniformiter in directum, nisi quatenus a viribus impressis cogitur statum illum mutare. II. Mutationem motus proportionalem esse vi motrici impressæ, et fieri secundum lineam rectam qua vis illa imprimitur. III. Actioni contrariam semper et æqualem esse reactionem: sive corporum duorum actiones in se mutuo semper esse æquales et in partes contrarias dirigi. from Sir Isaac Newton
I’ve always loved science - in fact, I started my undergraduate college endeavors as a physics major. While I did learn early on that my heart truly belonged to music, my interest in and fascination with science has never waned something one could learn simply by looking at what’s gone through my Netflix queue. As I embarked upon the journey of writing this piece, I had the idea to write a piece using Sir Isaac Newton’s three Laws of Motion as the text, and to use the music to further convey the meanings of those laws: first, an object at rest tends to stay at rest unless acted upon by an outside force; second, the acceleration of an object is dependent upon the mass of an opject; and third, to every action there is an equal and opposite reaction. In addition to the beauty of the physics, I also had the idea to include some of the wonders of mathematics in the piece. Throughout, strains of the Fibonacci sequence (1, 1, 2, 3, 5, 8…) appear - as melodic groupings and as structural devices. While it isn’t my intent for this to be a primary focus of the work, it was part of my compositional process. While a single-movement work, the piece is broken up into three sections, each conveying their respective laws.
Performance Note
This work makes use of the abstract time signatures suggested by Henry Cowell. Beginning at measure 211, time signatures with “6” on the bottom are incorporated (that is, 5/6 and 4/6). For reference, a “full” measure of 6/6 with six “sixth notes” would sound identical to a measure of 4/4 with two groups of quarter note triplets. In other words, a single “sixth note” lasts the same duration as a single note in a quarter note triplet group.
= Thus, the bars of 5/6 and 4/6 will sound like quarter note triplets, but without occurring in groups of three. The actual tempo does not change: This section is at 138 BPM; regardless of meter (2/4, 4/4, 4/6, or 5/6) quarter notes will always sound at 138 BPM. In the notation in this work, treat the quarter note symbols in the 4/6 and 5/6 measures at sixth notes. That is, in the meters with a “6” on the bottom, the quarter note values have the duration of a quarter note triplet in a meter with a “4” on the bottom.
=
Mr. Ryan Williams first began composing music as a freshman in high school in Mechanicsburg, PA. Following this passion for more than 20 years, Williams has written many works for a variety of forces, both large and small, with a notable focus being on the wind band. To flesh out his craft, Williams attended West Chester University where he earned his Master of Music Theory and Composition in 2014 and his Bachelor of Music in 2003. While studying at West Chester University, he had the opportunity to work with renowned composers and scholars such as Dr. Robert Maggio, Dr. Adam Silverman, Dr. Lex Rozin, Dr. Mark Rimple, Dr. Andrew Yozviak, and Dr. Larry Nelson. Now, Williams receives commissions for all levels of music, ranging from beginning students and middle school band and to professional musicians. His works have been performed across the Eastern United States and have been described as “a cut above the rest” and “sophisticated” by American composer Mark Camphouse. He is a member of the composer’s collective at CWJ Music House, publishing through that group on the JW Pepper website, and has a set of Bassoon Duets titled “Six Greeting Cards” published through TrevCo Music Publishing. Most of his works, however, are self-published and can be previewed at www.RyanJWilliams.net. In addition to composition, Williams is a performer and technician. As a performer, Williams has 5 years’ experience marching with DCA and DCI drum and bugle corps, earning the 1996 DCA World Championship with the Harrisburg Westshoremen and being a 2000 DCI Finalist with the Bluecoats Drum and Bugle Corps. In 2002, he enlisted into the Army Reserve where he served as an instrumentalist, arranger, and composer for 14 years. Since earning a Bachelor of Science in Music Education from York College in 2005, Williams has worked with 32+ competitive and non-competitive high school bands, college bands, and drum corps over the last 17 years across the northeast. Williams has served as the tuba technician and brass instructor for the 2015 World Champion Reading Buccaneers Drum and Bugle Corps and the 2016 Cadets Drum and Bugle Corps from Allentown, PA. In 2017, he joined the brass faculty for the Boston Crusaders Drum and Bugle Corps and became the arranger and composer for the Starriders Drum and Bugle Corps from Bad Münder, Germany. Presently, Williams lives in Columbia, SC and attends the University of South Carolina, pursuing his Doctor of Musical Arts degree in Music Composition.
Leges Motus Ryan J Williams
Sir Isaac Newton
Soprano
Violin
Flute
Electric Guitar
Crotales
S.
Vln
Fl.
E. Gtr
Crot.
= 160
No accents. All notes should carry the same articulation weight.
6
4x
Copyright © 2017 RyanJ Williams & Ryan Williams Music (ASCAP) www.RyanJWilliams.net All rights reserved. No part of this work may be reproduced without express written consent of the composer.
8x
2
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
11
A
E.Gtr Enters
No accents. All notes should carry the same articulation weight.
15
12x
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
3
19
4x
23
16x
4
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
27
31
20x
No accents. All notes should carry the same articulation weight.
B
Flute Enters
Flute Enters
8x
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
35
39
24x
4x
5
6
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
43
III
Violin Enters
Crot.
8x
12x
E. Gtr
Violin Enters
Violin Enters
28x
47
C
32x
Cor-
Soprano Enters Soprano Enters
III
Soprano Enters
Soprano Enters
Leges Motus
51
D
S.
-
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
pus
om - ne
55
-
pus
om - ne
7
III
Cor -
Cor -
12x 36x
8
Leges Motus
S.
59 -
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
pus
63
om - ne
I
Cor - pus om - ne 16x
Cor - pus
om - ne
16x
40x
per - se-
l.v.
Leges Motus
S.
67
- ver - a - re
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
71
Cor - pus
I
om - ne
Cor - pus
44x
9
20x
om - ne
Cor -
10
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
75
-
pus
79
om - ne
48x
Cor - pus
III
Cor - pus
om - ne
om-ne
per - se - ver - a - re
24x
52x
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
83
87
-
tu
su - o
in
in
sta - tu
11
qui - e
sta-
56x
-
scen-di
28x
12
Leges Motus
S.
Vln
Fl.
E. Gtr
91
S.
95
E. Gtr
Crot.
Fl.
qui - e - scen-di
Crot.
Vln
60x
vel
mo -
- ven - di
un - i - form - i - ter
in
di - rec -
Leges Motus
99 E
S.
-tum
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
Cor - pus
13
om - ne
Cor - pus
32x
103
-
ne
Cor - pus
om - ne
om -
per - se - ver-
14
Leges Motus
S.
107 -
Vln
Fl.
E. Gtr
Crot.
S.
a - re
Fl.
E. Gtr
Crot.
Cor - pus
om -
110
-ne
Vln
qui -
e - scen - di
qui -
Leges Motus
S.
114 -
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
118
e - scen - di
in di - rec - tum
F
ni - si
ni - si
To Mar.
ni - si
15
Mar.
ni - si
16
Leges Motus
S.
Vln
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
122
ni - si
ni - si
126
ni - si
a
vi - ri - bus
- us
ni - si
ni - si
qua - ten-
ni - si
im - pres - is
im - pres - sis
Leges Motus
S.
130
Vln
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
134
im - pres - sis
im - pres-is
im - pres - sis co - gi - tur
17
im - pres-sis co - gi - tur
18
Leges Motus
S.
Vln
Fl.
E. Gtr
Mar.
S.
141
Fl.
Mar.
sta - tum
il - lum
sta - tum
sta - tum
sta - tum
sta - tum
Vln
E. Gtr
138
sta - tum
Leges Motus
144
S.
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
il - lum
Vln
cresc.
19
148
mu - ta - re
mu - ta - re
l.v.
mu - ta - re
mu - ta
-
re
= 138
20
Leges Motus
153
S.
Fl.
E. Gtr
Mar.
S.
Vln
Mar.
Continue on cue from Perc.
158
Fl.
E. Gtr
Vln
Continue on cue from Perc.
G
Continue on cue from Perc.
Continue on cue from Perc.
Leges Motus
S.
Vln
160
Fl.
E. Gtr
Mar.
S.
Vln
Mar.
162
(art.)
Fl.
E. Gtr
21
(art.)
22
Leges Motus
S.
Vln
164
Fl.
E. Gtr
Mar.
S.
Vln
Mar.
(art.)
166
Fl.
E. Gtr
(art.)
Leges Motus
S.
Vln
168
Fl.
E. Gtr
Mar.
S.
Vln
Mar.
(art.)
170
Fl.
E. Gtr
23
(art.)
24
Leges Motus
172 H
S.
Mu - ta - ti - o - nem
Vln
Fl.
E. Gtr
Mar.
S.
176
Fl.
E. Gtr
Mar.
es - se
Vln
vi mo - tri -
- ci
(art.)
pro - por - ti - o - na - lem
(art.)
mo - tus
(art.)
im - press - æ,
(art.)
Leges Motus
S.
179
et
Vln
Fl.
E. Gtr
Mar.
S.
E. Gtr
Mar.
-
182
qua
(art.)
vis
dum
se - cun
Vln
Fl.
fi - eri
25
(art.)
li - ne - am rec - tam
il - la
im - prim - i -
- tur.
26
Leges Motus
185 I
S.
Mu - ta - ti - o - nem
Vln
Fl.
E. Gtr
Mar.
S.
188
Fl.
E. Gtr
Mar.
mo - tus
pro - por - ti - o - na -
-lem
Vln
es - se
vi mo - tri - ci
im - press - æ,
Leges Motus
S.
Vln
Fl.
E. Gtr
Mar.
S.
192
et
Fl.
E. Gtr
Mar.
se - cun - dum - am fi - eri li - ne
195
rec - tam
vis
il - la
im - prim - i - tur
J
qua
Vln
27
Mu - ta - ti - o - nem mo - tus
28
Leges Motus
S.
199
pro - por - ti - o - na - lem
Vln
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
203
im - press - ae,
vi mo - tri - ci
fi - eri
se - cun
es - se
sub. et
-
dum
Leges Motus
sub. 206
S.
li - ne - am
Vln
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
rec - tam
209
li
-
ne - am
rec - tam
29
-
qua vis
la
qua vis il
im - prim - i - tur
il
-
la
im - prim - i - tur.
30
sub. 212
S.
sub. sub. sub. sub. li
Vln
Fl.
E. Gtr
Mar.
S.
215
-
Leges Motus
Fl.
E. Gtr
Mar.
rec - tam
qua vis il - la
im - prim - i - tur
ne - am
li - ne - am rec - tam
Vln
qua vis il - la
im - prim - i - tur
Leges Motus
S.
218 sub.
sub.
qua vis il - la im - prim - i - tur
Vln
Fl.
E. Gtr
Mar.
S.
sub.
E. Gtr
Mar.
sub. sub.
221
qua vis il - la
im - prim - i - tur
im - prim - i - tur
Vln
Fl.
31
qua vis il - la qua vis il - la
qua vis il - la qua vis il - la
im - prim - i
Leges Motus
K
S.
Vln
225
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
sub. sub.
sub.
sub.
229
Finger taps?
32
Leges Motus
Vln
Fl.
E. Gtr
Mar.
S.
Vln
Mar.
237
Fl.
E. Gtr
S.
233
33
accel.
34
Leges Motus
S.
Vln
241
Fl.
E. Gtr
Mar.
S.
Vln
Mar.
= 144
245
Fl.
E. Gtr
L
Overblown
Leges Motus
249
S.
Fl.
E. Gtr
Mar.
S.
Vln
Ac -
accel
- tra - ri - am
Vln
Fl.
E. Gtr
Mar.
ti -
-
- o -
- ni
con -
= 152
M
-
253
-
35
36
Leges Motus
S.
Vln
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
257
261
sem - per
et
æ - qua - lem
Leges Motus
S.
Vln
Fl.
E. Gtr
Mar.
S.
265
N = 101
269
Fl.
Mar.
Vln
E. Gtr
37
Ac - ti - o - ni con - tra - ri - am
sub.
38
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
273
sem - per et æ - qua lem
Vln
Fl.
E. Gtr
Crot.
To Crot.
277
S.
es - se
re - ac - ti - o - nem
si -
O
-
-
Crot.
= 172
- ve
Leges Motus
S.
281
cor - por - um
Vln
Fl.
E. Gtr
Mar.
S.
E. Gtr
Mar.
To Mar.
-
-
mu - tu - o gliss .
o - rum
Mar.
in se
P
= 184
accel.
ac - ti - o - nes
IV
du
285
Vln
Fl.
39
sem - per
40
Leges Motus
S.
289
es
Vln
Fl.
E. Gtr
Mar.
S.
Vln
Fl.
E. Gtr
Mar.
se
-
in
par - tes
con - tra -
292
æ - qua - les et
- ri - as
di - ri
-
gi
accel.
Leges Motus
Q
Vln
Fl.
E. Gtr
Mar.
S.
E. Gtr
Mar.
sem
-
per
sem - per
es
-
se
æ - qua -
-
300
Vln
Fl.
= 200
-les
sem
-
per
es -
- se
cresc.
accel.
æ - qua - les
S.
296
41
42
Leges Motus
Vln
Fl.
E. Gtr
Mar.
S.
- ti -
Vln
Fl.
E. Gtr
Crot.
- o -
To Crot.
ac -
-
-
-
con - tra - ri
- nem
307
R = 180
S.
= 208
304
am
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
311
43
- lem
æ -
- qua
315
-nem
rall.
= 160
Crot.
S
ac
-
ti - o -
44
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
319
æ
-
qua - lem ac -
le - ges
mo - tus
ti - o - nem
323
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
S.
Vln
Fl.
E. Gtr
Crot.
327
æ
330
le -
-
qua
-
lem
45
ac -
- ges
- ti -
mo - tus
- o - nem
46
Leges Motus
S.
Vln
Fl.
E. Gtr
Crot.
333