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Instrumentation

Trumpet in C, Trombone, two Percussionists, Guitar, Pianoforte and Violoncello.

Seating arrangement

General Notes

Duration of the piece is approximately 9 minutes.

The score is in C, except for the guitar and violoncello which are transposed to standard tuning.

All of the instruments should be ampliﬁed slightly (including each of the percussion Instruments: timpani, snare drums and vibraphones as well as the guitar and guitar ampliﬁer).

Quarter-tone notation

= one quarter-tone sharp

= one quarter-tone ﬂat

= let the sound die on its own accord

Brass

It is important that all pitches (including the quarter-tones) are played as natural harmonics of the fundamental for which the ﬁngering is provided in the score (intonation should not be adjusted by lipping the pitch up, for example). This is particularly true of the partials that are naturally ﬂat (such as the natural seventh partial), which are notated with the following accidentals:

Trumpet in C

A straight mute, wispa mute and plunger mute are required.

Valve 3 is detuned a quarter-tone lower resulting in the following scale of fundamentals:

Fingerings are notated in the score for each of the pitches. The notated pitches indicate sounding pitches.

Trombone (with F attachment)

A straight mute, wispa mute and plunger mute are required.

Guitar (Steel-string acoustic guitar with built in pickup)

1 ampliﬁer with tremolo effect (of varying speeds) that can be activated with a footswitch

1 volume pedal

1 heavy glass slide

1 thinly threaded metal rod (American size 6-32, 30 cm in length)

1 guitar pick (medium thickness, approx. .5 mm.)

1 ebow

1 bass bow

The guitar is scordatura throughout the entire piece. The guitar part is transposed to standard guitar tuning as well as sounding an octave lower than written. The scordatura for the guitar is as follows:

Both the guitar and the amplifier should be amplified. The amplifier should be only slightly higher in amplitude than the sound of the acoustic guitar. The point of the amplifier is less about volume and more about suggesting a different kind of presence.

When using the ebow, only the fundamental of the pitch should sound. Avoid harmonics of the fundamental from sounding. (Make sure that the ebow is not placed in the ‘overdrive’ setting.)

The following notation is used to indicate barring across all six strings, where the top and bottom pitches indicate the frets on strings I and VI respectively where the barring should occur.

= strum downward (6 to 1) with the right-hand thumb.

Trumpet:

detuned a quarter-tone.

Guitar:

Violoncello

ﬁnely threaded thin metal rod (American size 6-32, 30 cm in length) is required. The violoncello is scordatura throughout the entire piece. The cello part is transposed to standard cello tuning. The scordatura for the cello is as follows :

Occasionally, the upper stave notates pitches in the treble clef (for example, mm. 6-11). These pitches are transposed to the standard tuning of the open string and generally refer to a speciﬁc harmonic node on the string (for example, two octaves above the open string (4th harmonic), an octave and a ﬁfth above the open string (3rd harmonic), two octaves and a 5th above the open string (6th harmonic), etc.). The position of the bow on the string is then determined by the location of the notated pitch in standard tuning.

Bowing at the position of an octave and a fifth above the open string while fingering the harmonic a fifth above the open string, will produce a slight ‘buzzing’ sound, akin to a gentle overpressure sound, since the harmonic is prevented from speaking. Occasionally, the cellist is asked to move the bow continuously from one harmonic node to another while fingering a fixed harmonic with the left hand. The general effect should be a harmonic whose sound transitions continuously from pitch to noise.

kkkkkkkkkkkkk = gentle overpressure bowing

The overpressure bowing technique requires moving the bow both vertically along the trajectory of the notated line as well as horizontally so that the bow hairs can set the muted string into vibration. The sonic result of this action should not be that of a ‘crunch’ sound. Rather, the pitches that the bow hairs produce when gently scraping along the strings should be the audible result. This action is to be played extremely delicately with quasi pitch glissandi (produced by the bow hairs along the string) being the most audible result. When speciﬁc pitches are notated in the upper stave with overpressure, then these pitches should be the audible result as the bow scrapes along the string.

Pianoforte (grand piano, sostenuto pedal (3 ped.), una corda pedal and damper pedal (ped.)) One ebow and two long strands of heavily rosined ﬁshing line are required.

A strand of ﬁshing line should be slipped around each of the strings indicated in the score near the hammer. The performer then `bows‘ the respective string by releasing the damper pedal and, whilst standing, moving the ﬁshing line gently and slowly back and forth.

When using the ebow, only the fundamental of the pitch should sound. Avoid harmonics of the fundamental from sounding. (Make sure that the ebow is not placed in the ‘overdrive’ setting.)

The following notation is often used to indicate: (a) keys that are silently depressed, (b) all white keys between and including the bottom and top pitches notated, (c) all black keys between and including the bottom and top pitches notated, and (d) all chromatic keys between and including the bottom and top pitches notated.

Percussion

Percussionist 1

2 large timpani drums (D-A, F-C)

1 vibraphone (with fully functioning motor, 1 pair of soft, medium and hard mallets respectively) Crotale (E above middle C) - sounding I5ma higher than notated

3 bass bows

1 heavy gauge brush

2 thinly threaded metal rods (American size 6-32, 30 cm in length)

3 metal wire hangers (coat hangers) of medium thickness

3 loose metal snares (from snare drums, width 5 cm), one of which is broken in half to create 2 snares of width 2.5 cm.)

Percussionist 2

2 large timpani drums (D-A, F-C)

1 snare drum (with drum sticks)

1 vibraphone (with fully functioning motor, 1 pair of soft, medium and hard mallets respectively) Crotales (C#, G - each within the octave above middle C) - sounding 15ma higher than notated

3 bass bows

1 heavy gauge brush

2 thinly threaded metal rods (American size 6-32, 30 cm in length)

3 metal wire hangers (coat hangers) of medium thickness

3 loose metal snares (from snare drums, width 5 cm), one of which is broken in half to create 2 snares of width 2.5 cm.

Cello:

Pianoforte: (a) (b) W (c) B (d)

Trumpet in C

Timpani head tuned to F. Begin by resting part of the trumpet bell on Timpani head of Timpani F-C (29"). Gradually place the entire bell on Timpani head while playing.

Trumpet player is standing near percussionist 1.

Tpt. - Detune valve 3 a quarter-tone lower throughout. Trumpet is notated at sounding pitch.

Trombone player is standing near pianoforte.

Trombone

With BASS BOW and METAL WIRE HANGER. Bow metal wire hanger in the center of the Timpani head (of Timpani D-A, 32"). Bow in the middle of one side of the wire hanger.

Percussion 1

Snare Drum: loosen snares so that they rattle against the bottom of the snare drum. Tap snare drum with fingers.

Percussion 2

Guitar

Piano

(Guitar is transposed to standard tuning.)

Bell of trumpet firmly affixed to Timpani F-C.

gradually to 3.Ped.

Bowing "white noise" to gradual slight overpressure so that a low tone is present.

Bell of trumpet slightly off the head of Timpani.

Trombonist plays into piano.

Snare Drum Hold fingers against snare head until snare drum has stopped resonating.

closed, gradual transition to open

Slowly affix bell of trumpet firmly to Timpani head. Timpani pedal.

quietly moves to his/her respective seat.

arco with bass bow

Pitch of right-hand bow. Left hand is muting string II in first position. Gentle overpressure. Bring out as much of the notated pitch as possible.

Note: Position of bow is at the 6th partial of string II past the octave.

(Cello is transposed to standard tuning.)

*) Prepare vibraphone by laying a 1/2-width metal snare along the bars with the end-points at the indicated pitches. **) Slow and delicate rasqueado over soundhole across all six strings. The sound of the fingernails "tinkling"across the strings should be audible.

Ped.

Scordatura:

Timpani

Trombonist

Vibraphone

(remove preparations)

kkkkkkkkkkkkkkk

Arco with threaded metal rod Notated pitches specify the pitches produced by the right hand. Pitches are transposed to standard tuning of guitar.

: audible attack of left hand fingers against fingerboard

Slowly arco indicated string with a heavily rosined fishing line wrapped around the base of the string before the hammer. (The fundamental tone of the string should be audible.)

Note: the two ends of the fishing line can be taped to the lid of the piano so that they are easily accessible.

arco with threaded metal rod

Crotale con sord. (straight mute)

Bow crotale on the centre of the timpani head (Timpani D-A, tuned to A)

Timpani pedal

(sounding than notated)

Arco strings - with the bass bow across sound hole of the guitar. Mute strings - with left hand.

pedal

Slowly arco indicated string with heavily rosined fishing line (the tone of the string should be audible and "clean", i.e. not "raspy". To achieve this, a strand of bow hair can also be used.)

(senza sord.) (senza sord.)

Timpani pedal

Bow crotale on the edge of the timpani head of Timapni D-A. Timpani is tuned to A.

Timpani pedal

Crotale

Snare Drum with loosened snares

*) Tap snare with fingers; hold fingers against snare head until snares have stopped resonating.

Pno.

Note: Create slight crescendo by placing the ebow closer to the string.

(III)

) (create diminuendo by slowly pulling the ebow away the string)

Pno.

(tremolo off)

with slide (glissando should sound upward as the left hand glisses downward)

Use right hand thumb to strum across all six strings behind slide (i.e. between nut and slide strum across strings slowly and gently)

(with bass bow and metal wire hanger)

Bow a metal wire hanger on centre of timpani head (D-A). Bow in the middle of one side of the hanger. (white noise, gradual transition to slight overpressure producing a low tone)

3. Ped.

glissando

(tremolo on fast)

(tremolo off)

Timpani

(gradual transition to open) (closed)

) (plunger mute)

(senza sord.)

(produce a low tone)

Use right hand thumb to strum across all six strings in front of slide (over sound hole) (Note: strum across strings slowly and gently)

(open) (open) (gradually to closed)

con sord. (plunger mute) (closed)

glissando with glass slide (motor on slow) to fast

Tremolo on slow

Tremolo off

Snare Drum (snare roll) (with sticks) (tighten snares against bottom head)

Pno.

Vc.

(senza sord.) (open)

Pno.

(Ped.) Ped.

Ped.

(senza sord.)

Vibraphone

Tremolo

in harmonic series:

Note: maintain the notated contour through the harmonic series as the slide moves continuously from IV position down to VII position.

(F )

prepare Vibraphone: Place the end of a metal snare (for a snare drum) under each of the vibraphone keys notated in parentheses and tape the other end on top of the neighbouring keys.*)

slowly and gradually transition to overpressure bowing *) When the motor is eventually turned on, the end of the snare should vibrate or "clack" against the bottom of the indicated keys.

3.Ped.

Detune string IV down a tritone very slowly while playing (mm. 124-144). Continue to detune throughout the fermata.

(3. Ped.)

Quickly walk over to Timpani drum (Timpani F-C) (perc. 2).

ca 20" ca 10"

Quickly walk over to Timpani drum (Timpani F-C) (perc. 1).

ca 20" ca 10"

Over the 20" interval, gradually slow the motor speed of the vibraphone to motor off.

ca 20" ca 10"

motor off motor off

ca 20"

Timpani

(with bass bow and metal wire hanger)

Bow a metal wire hanger in the centre of the Timpani head (Timpani D-A). Bow on one side of the wire hanger. Produce a low tone.

ca 10"

Set guitar on a flat surface with the neck of the guitar raised slightly to allow an ebow to rest on its strings

(bow as continuously as possible, change direction of bowing when necessary or unless indicated otherwise)

Place an ebow on string near the 11th or 13th fret. Make sure only the string fundamental sounds and not a harmonic. Also, place the ebow so that no buzzing string noise is present.

(attackless harmonics)

ca 20" ca 10" (on full) (off)

ca 20" ca 10"

ebow

Place ebow on the notated string (G ) at a position where only the fundamental sounds and not a harmonic. Also place the ebow so that no buzzing string noise is present.

ebow (sounding pitch)

ca 20" ca 10"

(with bass bow and metal wire hanger)

Bow a metal wire hanger in the centre of the timpani head (Timpani F-C, 29") Bow in the middle of one side of the wire hanger. Produce a low tone.

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

(with bass bow and metal wire hanger)

Bow a metal wire hanger in the centre of the timpani head (Timpani F-C, 29") Bow in the middle of one side of the wire hanger. Produce a low tone.

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

(with bass bow and metal wire hanger)

Bow a metal wire hanger in the centre of the timpani head (Timpani D-A, 32") Bow in the middle of one side of the wire hanger. Produce a low tone.

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

heavily

The tone of the string should be audible and 'clean', i.e. not 'raspy'. To achieve this a strand of bow hair can also be used instead of a fishing line.

Arco continuously and very slowly. Change direction of bowing when necessary and as smoothly as possible.

Quietly walk over to Snare Drum (Perc. 2)

Arco string with

rosined fishing line wrapped araound the base of the string.

Snare Drum (with Bass bow and wire hanger) Bow a metal wire hanger in the centre of the snare drum. Bow on one side of the wire hanger. Produce a low tone.

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise.)

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

(continuous bowing, change direction of bowing only when necessary)

(continuous bowing, change direction of bow only when necessary)

“ ” keep bow affixed to hanger

”

” keep bow affixed to hanger

” keep bow affixed to string keep bow affixed to hanger keep bow affixed to hanger mute strings to prevent ebow from sounding prevent ebow from sounding

Loosest string tension possible without the string rattling against the fretboard while playing. (Note: a 'flutter' sound should emerge from bowing the string)

Edition Peters

For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing. Established in 1800 with the keyboard works of J. S. Bach, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the 20th century by Richard Strauss, Arnold Schoenberg and John Cage.

Today, with its offces in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music. At the same time, the company’s historic and educational catalogues continue to be developed with award-winning critical and pedagogical editions.

Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu. In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20. Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage.

Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik. Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.

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Geschäftssitz der Edition Peters in der Leipziger Talstraße

Tsao UN(COVER)

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Edition Peters