TSAO
Not Reconciled
for Clarinet, Trombone, Percussion,
Guitar and Violoncello
Score
MING TSAO
Not Reconciled
for Clarinet, Trombone, Percussion, Guitar and Violoncello
Score
EDITION PETERS
Performance Notes
(notatedat soundingpitch)
standardtuning)
Instrumentation
clarinet in b-fat, trombone, guitar, percussion (2 snare drums) and violoncello
General Notes
a) Duration ca. 14 minutes.
b) Score is transposed.
(batt. withSlide held in R.H. against indicatedstring)
(rasg.across all strings at indicatedposition)
(notatedat soundingpitch)
accel. liftSnareaboveHeadandarpeggiateSnare. Let Snare rattle against Head
c) If amplifcation is used, then all of the instruments should be amplifed.
d) Throughout the piece, there are a number of fermatas accompanied by an exact time value in seconds. Try to adhere to the exact time each fermata demands. If the fermata occurs over a transition of some kind (such as a transition in dynamic or timbre), then try to perform this transition evenly over the allotted time interval.
Snare ord.position (middleof Snare) pont. position (at eitherend of theSnare) (arpeggiate Snare withfinger)
e) There are a few short repetitions of one or two measures. The number of repetitions is indicated by xk, where k is the number of repetitions.
f) Quarter-tone notation:
C = one quarter-tone sharp B = one quarter-tone fat
g) ‘ ’ = a gradual transition from one state to another.
h) At times, a number of iterations is notated via ‘
Bar stringswith Slide and gliss.upwards. without lifting Snare, glissSlide along
Perform the number of iterations roughly evenly spaced, but not exactly evenly spaced. There should be a subtle amount of irregularity to the proportioning of the iterations. i)
(5) = drunken rhythm. Perform the number of iterations unevenly.
= Let the vibration of the note die on its own accord.
*) 1. Snare Drum rightsideupwithtop head detunedandsnare loosenedsothatitrattlesagainst the bottom head whenstruck
2. Snare Drum playedupside downprimarily on the snare itself. Also loosenthe snare. Detune bottom drumhead (nowthe top drumhead)slightly
k) If a glissando has no termination point notated, then the glissando should not be larger than three quarter-tones (i.e., a semitone plus a quarter-tone). If a termination point is notated for a glissando, then that termination point should not be rearticulated unless indicated otherwise.
**)Foreach”rasgueado“delicatelybrushthefingernailsacrossallsixstringsinslowmotion.
over fingerboard over soundhole near bridge top of neck bottomofneck edge of fingerboard near bridge near the octave harmonic (7th position) top of tailpiece (closesttobrigde)
The left handdampens the six strings infirstposition, undampeningonly those strings onwhich harmonicsor openstrings are to beexecuted (notated in the lower stave). For allright-handbattuti withthe slide, the left-handdampens the strings in first position, only undampeninga stringwhen that string is notated inthe lower clef.
Winds (Clarinet and Trombone)
= Inhalation (a sound of sucking in air)
***) Forall arco actions, if there are onlyrests in the lower stave, then the left-hand dampensall strings infirst position. In this case the arco actions with the bowwill produce only a white noise texture. Forall battutiwiththe bow, the left-hand mutes all stringsin first position,undampening onlythosestringson which harmonicsoropen strings are to beexecuted (notated onthelowerstave).
= Exhalation (a sound of blowing out air)
= Flutter-tongue
Clarinet (in b-fat)
bottom of tailpiece
c) dark bright 12345 over fingerboard over soundhole near bridge top of neck bottomofneck
by Henry Litolff's Verlag
a) dark bright 12345 over fingerboard over soundhole near bridge top of neck bottomofneck
a) dark bright 12345
b) dark bright 12345 over fingerboard over soundhole near bridge top of neck bottomofneck
= Toneless breathing through the prescribed fngerings for the indicated pitch.
= Breathy, with only a hint of pitch.
b) dark bright 12345
= Breathy, yet with pitch fully identifable.
= Pitched key-click.
c) dark bright 12345
fingerboard soundhole near bridge top of neck bottomofneck
edge of fingerboard near bridge near the octave harmonic (7th position)
fingerboard soundhole bridge top of neck bottomofneck
fingerboard over soundhole near bridge top of neck bottomofneck
d) dark bright 12345 over fingerboard over soundhole near bridge top of neck bottomofneck
bottom of tailpiece
e) Occasionally, the clarinet will make use of the ‘breath clef’, notated as dark bright 12345
bottom of tailpiece
edge of fingerboard near bridge near the octave harmonic (7th position) top of tailpiece (closesttobrigde)
bottom of tailpiece
edge of fingerboard near bridge near the octave harmonic (7th position) top of tailpiece (closesttobrigde)
top of tailpiece (closesttobrigde)
over fingerboard over soundhole near bridge top of neck bottomofneck (see Trombone (a) below), which will not ask for breath sounds through specifc fngerings but a more general indication of lowest (darkest) to highest (brightest) breath sound.
edge of fingerboard near bridge bottom of tailpiece
Snare Drum
Litolff/Peters
over fingerboard over soundhole
Trombone (tenor trombone with F-attachment, straight mute and plunger mute)
a) The trombone often makes use of the ‘breath clef’, notated as
( ) (dirtybreath) (faint unfocussed “whistle”)
The trombonist is often asked to make various types of transitions between breath states. It is important to follow the notated gesture as faithfully as possible, paying attention to the ritardando and accelerando curves.
b) ‘dirty breath’ indicates adding a bit of moisture to the breath sound.
over fingerboard over soundhole near bridge
= Faint, unfocussed whistle added to the breath sound. A discernable frequency should be avoided.
over fingerboard over soundhole near bridge top of neck bottomofneck
d) ‘trigger on trigger off’ indicates a change in the trigger key from on to off as evenly and slowly as possible over the indicated duration.
f)
e) dark bright
g)
bottom of tailpiece . This clef asks the trombonist to distinguish fve distinct gradations of breath sounds, from lowest to highest. These fve sounds are notated as follows:
= Breathy pitch produced by loosening the embouchure of the lips.
= Horse-futter (i.e., place the mouthpiece fully into the mouth and futter-tongue). Sometimes the exact number of iterations is provided.
edge of fingerboard near bridge near the octave harmonic (7th position)
= A slight shake of the slide.
edge of fingerboard near bridge near the octave harmonic (7th position)
in B (Sounding a major secondlower)
h) +con. sord. = Use a straight mute unless indicated otherwise.
Strings (guitar and cello)
near bridge top of neck bottomofneck
handle ofBrushacrossHead with slightpressure.
a) right hand fngering: p = thumb i = index m = middle a = ring e = pinky b)
= Percussive strum across all strings (keep strings dampened with left hand unless notated otherwise)
arco arcobalz.
= rasgueado strum (arpeggiating the right-hand fngers i, m, a, e in sequence across all strings). Unless specifcally notated otherwise, all rasgueado are performed in this manner. Deviations from this will specify either which r.h. fngers to brush across the strings or which strings to brush across. The rasgueado is often performed while dampening the strings with the or
L.H.pizz.
edge of fingerboard near bridge near the octave harmonic th position) top of tailpiece (closesttobrigde) bottom of tailpiece
left-hand. The audible result is the sound of the right-hand nails against the strings. It is important that as much variation as possible is conveyed thought the various rasgueado strums by paying attention to the curves in position of attack.
d) All harmonics are open string harmonics and are notated with respect to the left-hand fngerings required to produce these harmonics on the indicated open strings. Note that an accidental with an arrow beneath it, such as
e)
drunken rhythm. UnlockSnare.LiftSnareaboveHeadandslowly arpeggiate the Snare. Let Snares faintly touchthe Head when vibrating.
= Bar across all strings at the indicated position
Ming Tsao
when vibrating.
Guitar (accessories: 1 heavy glass slide, 1 thinly threaded metal rod (size 6-32, 1 foot long), 1 guitar pick):
a) The guitar is scordatura throughout the entire piece. The tuning for the guitar is as follows:
/ Peters , indicates shifting the left-hand slightly below the notated fngering to attain the natural seventh harmonic.
b) The guitar is notated on two staves.
righthand (notatedat soundingpitch) lefthand(transposed tostandardtuning) scordatura
(A) The top stave either uses an action clef or treble clef.
(I) The action clef indicates the right-hand position with respect to the sound-hole. dark bright
over fingerboard over soundhole near bridge top of neck bottomofneck
The action clef is primarily used for the rasgueado strums.
(II) The treble clef is used for the glass slide and threaded metal rod. Note that the treble clef for the right-hand indicates the heard pitch and so is not transposed. Here are some examples.
Hold the slide with the right-hand and tap slide at the heard pitch on string 5. Then gliss the slide upwards. When no termination is provided for the gliss, the gliss should not exceed three quarter-tones.
Pianoforte:
Litolff
Clarinet
Trombone
Articulate points along the glissando. The number of articulations is indicated at the bottom.
Gliss the slide across the strings 5 – 1 in the manner indicated
righthand (notatedat soundingpitch)
lefthand(transposed tostandardtuning) scordatura
Gliss slide on both strings 4 and 5, beginning with E on string 5. The pitch heard on string 4 will vary depending upon how the slide is held. Occasionally, that second pitch will be notated also.
SD2
Gliss slide on strings 4 – 1 beginning with D on string 4. The other pitches on the remaining strings will vary depending upon how the slide is held.
Percussion
SD1
Draw the thinly threaded metal rod across strings 6 – 4 with string 6 dropping out frst followed by string 5 before the glissando has fnished. If no termination point is notated, then the range of the glissando should be from one quarter-tone to three quarter-tones.
(I) The treble clef indicates left-hand position and so is transposed to standard tuning. The left-hand only fngers natural harmonics at the given fngering notated by a diamond-head noteshape. When an open string is played followed by a harmonic on that same string, fnger that harmonic without reattacking that string. dark bright 12345 over fingerboard over soundhole near bridge top of neck
(B) The bottom stave also uses two clefs: an action clef and a treble clef. Note that when the bottom stave contains a rest, then dampen all strings with the left-hand. This is generally reinforced by indicating the left-hand dampening symbol
bottom of neck
(II) For the left-hand, the action clef indicates a ‘rubbing’ motion of the left-hand up and down the neck. In general, it is very important to pay attention to the notated position curves for both right and left-hand actions.
Violoncello
dark bright 12345 over fingerboard over soundhole near bridge
top of neck bottomofneck
over fingerboard over soundhole near bridge
top of neck bottomofneck
a) The cello is scordatura throughout the entire piece. The tuning for the cello is as follows:
bottom of tailpiece
edge of fingerboard near bridge near the octave harmonic (7th position) top of tailpiece (closesttobrigde)
b) The cello is notated on two staves.
(A) The top stave either uses an action clef or treble clef.
righthand (notatedat soundingpitch) lefthand(transposed tostandardtuning) scordatura
(I) The action clef indicates the right-hand position with respect to the edge of the fnger-board and bridge. or
edge of fingerboard near bridge near the octave harmonic (7th position)
edge of fingerboard near bridge near the octave harmonic (7th position) top of
bottom of tailpiece
top of tailpiece (closest to brigde)
(II) The treble clef is used for the battuta (batt.), bow rotations and occasionally drawing the string with the metal coil situated above the frog on the bow. Note that the treble clef for the right-hand indicates the heard pitch and so is not transposed. Here are some examples.
1. Snare Drum rightsideupwithtop 2. Snare Drum playedupside downprimarily
**)Foreach”rasgueado“delicatelybrushthefingernailsacrossallsixstringsinslowmotion. The left handdampens the six strings For allright-handbattuti withthe slide,
Drop the bow on the indicated strings sounding the notated pitches. The bow should bounce by its own weight, producing a gradual accelerando of the bouncing sound. This gesture is generally the case unless a specifc number of iterations is called for.
***) Forall arco actions, if there are onlyrests Forallbattutiwiththebow,theleft-handmutes batt.
When no termination is provided for the gliss, the gliss should not exceed three
tailpiece (closesttobrigde)
bottom of tailpiece
batt. across the four strings beginning with the B on string IV and following the notated curve.
Rotate the bow on the indicated strings sounding, to some degree, the notated pitches. This action does not involve drawing the bow in any way, although some vertical motion of the bow may be necessary.
A rotation occurring over a long duration implies that the rotation must be performed very slowly. Conversely, a rotation (note this gesture indicates a single rotation of the bow) over a short duration must be performed quickly. A rotation is performed with the bow hairs fully loosened as indicated in the score.
Draw the metal coil above the frog on the bow across the indicated string sounding, to some degree, the notated pitch and glissing downward slightly. If no termination point is notated, then the range of the glissando should be from one quartertone to three quarter-tones.
(B) The bottom stave also uses two clefs: an action clef and a bass clef. Note that when the bottom stave contains a rest, then dampen all strings with the left-hand. This is generally reinforced by indicating the left-hand dampening symbol
(I) The bass clef indicates left-hand position and so is transposed to standard tuning. The left-hand only fngers natural harmonics at the given fngering notated by a diamond-head noteshape. When an open string is played followed by a harmonic on that same string, fnger that harmonic without reattacking that string.
arco balz.
. top of neck
bottom of neck (1st position) Bow metal coil frog
G arco balz. E IV . top of neck bottom of neck (1st position)
Bow metal coil frog
Ming Tsao
(II) For the left-hand, the action clef indicates a ‘rubbing’ motion of the left-hand up and down the neck. In general, it is very important to pay attention to the notated position curves for both right and left-hand actions.
fingerboard near bridge harmonic top of tailpiece (closest to brigde) bottom of tailpiece = Finger-nails
d) dark bright 12345 over fingerboard over soundhole near bridge top of neck bottom of neck
= 1/2 harmonic stop by left-hand. Only a vague hint of pitch should be discernable
unlocked and raised snare light brush against Rim drum stick pont. position
raised end
e)
c) dark bright 12345
= Arco balzando. A bouncing of the bow hairs against the indicated strings.
f) 1/2 c.l. = (1/2 col legno) draw the bow with some wood and some hair.
pont. position
tasto position
g) c.l. tratto = Draw the bow entirely with the wood.
tasto position (Bow)
of fingerboard
position)
= Percussive battuta. Use enough force so that the wood of the bow strikes the wood of the fngerboard.
top of neck bottom of neck
unlocked and raised snare light brush against Rim drum stick
raised end
pont. position
h) dark bright 12345 over fingerboard over soundhole near bridge top of neck bottom of neck
tasto position
i) dark bright 12345 over fingerboard over soundhole near bridge top of neck bottom of neck
= Overbow (on the tailpiece). Draw the bow with enough pressure so that a continuous, low tone is produced.
pont. position
snare locking device spring
tasto position (Bow)
Percussion: 2 snare drums. (Accessories: 1 bass bow, 1 heavy glass slide, 1 pair of light brushes and 1 pair of heavy brushes, 1 thin, smooth metal rod and 1 pair of drumsticks).
a) Set-up: Snare drum #1 (bottom stave) is played in the usual manner. However, the top head is detuned (so that it is slightly ‘foppy’) and the snare is loosened so that it rattles against the bottom head when the top head is struck in any manner.
edge of fingerboard near bridge near the octave harmonic th position)
bottom of tailpiece
top of tailpiece (closest to brigde)
Ming Tsao Arpeggiate the snare by dragging a fnger across the snare at the indicated position in one sweeping gesture.
snare locking device spring
‘ord.’ position = middle of the snare ‘pont.’ position = end of the snare (at either end)
edge of fingerboard near bridge near the octave harmonic (7th position)
Light Brushes
Ming Tsao Indicates a ritardation of the arpeggiating motion. This is generally the case unless a specifc number of iterations is called for.
b) Snare drum #2 (top stave) is played upside-down with the snare loosened. Most of the action occurs on the snare itself. The bottom head (now the top head- i.e., the head with the snare) should be detuned slightly, but not to the extent that the top head was detuned for snare #1.
bottom of tailpiece
= arpeggiating the snare with the fnger-nail.
top of tailpiece (closest to brigde)
bottom of tailpiece
edge of fingerboard near bridge near the octave harmonic th position) top of tailpiece (closest to brigde)
c) Lock snare = snare is engaged Unlock snare = snare is not engaged (a third snare drum with snare unlocked throughout is optional).
raised end unlocked and raised snare light brush against Rim drum stick pont. position
tasto position (Bow)
tasto position pont. position
top of neck bottomofneck (1st position)
Sometimes the percussionist is asked to unlock the snare on #2 and raise the snare above the head. The percussionist is then asked to play the snare (either arpeggiating the snare or sliding the glass slide up and down the snare) while holding the snare above the head and, in some cases, preventing the snare from touching the head. Sometimes the percussionist is asked to raise the snare on #2 without unlocking the snare. In this case, the snare will rattle against the head.
d) The percussionist is often asked to brush against the rim of the snare (the gauge of brush, light or heavy, will be indicated in the score).
‘Arpeggiate’ (slowly drag the bristles) of the light gauge brush against the rim of snare #2 in the following manner.
snare light brush against Rim drum stick pont. position tasto position (Bow)
tasto position
top of neck bottomofneck (1st position) Bow metal coil frog
snare locking device spring
The brush should move across the rim and onto the head in one sweeping motion. Often, this brushing motion is then continued onto the head itself in a single sweeping motion. A single brush stroke occurring over a long duration implies that the stroke must be performed very slowly. Conversely, a single brush stroke over a short duration must be performed quickly.
e) Motion across the drum head (with either brush, handle of brush or drumstick).
Try to be as faithful to the accelerando and ritardando curves as possible, tracing the notated curve with stick or brush on the head.
light brush against Rim drum stick pont. position
Indicates a sweeping motion with the stick on the head of #1. The ‘v’ symbol on the note stem indicates to hold the stick against the head after the initial attack (dead stroke).
g) The percussionist is asked to bow a smooth, thin metal rod on the head of the snare drum. top of neck bottomofneck (1st position)
f) ‘Tap’ = Tap head with fnger. Often a general position is provided such as the center of the head,
pont. position
(notated onthelowerstave).
tasto position (Bow)
tasto position (Bow) snare locking device spring
, or near the rim,
tasto position pont. position raised end unlocked and raised snare
tasto position pont. position raised end unlocked and raised snare ,.
snare locking device spring
’ indicate up and down bow respectively. dark bright 12345 over fingerboard over soundhole near bridge top of neck bottomofneck
= Overbow. Draw the bow with enough pressure so that a continuous, low tone is produced.
dark bright 12345 over fingerboard over soundhole near bridge top of neck bottomofneck
bottom of tailpiece ’ and ‘ dark bright 12345 over fingerboard over soundhole near bridge top of neck bottomofneck
In m. 223, the percussionist will have to bow the spring contained just under the snare locking device. A high unpredictable frequency should be audible.
edge of fingerboard near bridge near the octave harmonic (7th position) top of tailpiece (closesttobrigde)
bottom of tailpiece
edge of fingerboard near bridge near the octave harmonic (7th position) top of tailpiece (closesttobrigde)
bottom of tailpiece
edge of fingerboard near bridge near the octave harmonic (7th position) top of tailpiece (closesttobrigde)
Clarinet in B (Sounding a major second lower)
Trombone right hand (notated at sounding pitch)
(a, m, i)
Not Reconciled
(batt. with Slide held in R.H. against indicated string)
(rasg. across all strings at indicated position)
left hand (transposed to standard tuning)
scordatura Percussion SD2 SD1 right hand (notated at sounding pitch)
Violoncello
left hand (transposed to standard tuning)
scordatura Guitar
Snare ord. position (middle of Snare) pont. position (at either end of the Snare) (arpeggiate Snare with finger)
Snare Drum
BRUSHES Light Brushes
( ‰ )
*) 1. Snare Drum right side up with top head detuned and snare loosened so that it rattles against the bottom head when struck 2. Snare Drum played upside down primarily on the snare itself. Also loosen the snare. Detune bottom drumhead (now the top drumhead) slightly
**) For each ”rasgueado“ delicately brush the fingernails across all six strings in slow motion. The left hand dampens the six strings in first position, undampening only those strings on which harmonics or open strings are to be executed (notated in the lower stave).
For all right-hand battuti with the slide, the left-hand dampens the strings in first position, only undampening a string when that string is notated in the lower clef.
***) For all arco actions, if there are only rests in the lower stave, then the left-hand dampens all strings in first position. In this case the arco actions with the bow will produce only a white noise texture. For all battuti with the bow, the left-hand mutes all strings in first position, undampening only those strings on which harmonics or open strings are to be executed (notated on the lower stave).
Ming Tsao
GLASS
gliss after second repetition)
(harmonic gliss.)
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