SAUNDERS
Skin for Soprano and 13 Instruments
Score
ISSUU Version
For perusal only
ISSUU Version
For perusal only
REBECCA SAUNDERS
Skin
for Soprano and 13 Instruments
Score
for Juliet Fraser and Klangforum Wien
with my thanks to Juliet Fraser for the wonderful exploratory sound sessions
Commissioned by Southwest German Radio (SWR), Casa da Música Porto and the Huddersfeld Contemporary Music Festival for frst performance at the Donaueschinger Musiktage on 15 October 2016
POD PETERS on demand
ISSUU Version
For perusal only
skin /Skin/ n.
a taut fexible continuous outer covering or layering of the body or thing; a flm like a skin on the surface of a liquid or solid; the skin of a fayed animal with or without the hair.
n. the delicate membrane separating the body and its environment – implies the phenomenom of touch, one of the fve external senses, and through which the subsidary sensory modalities of temperature, pain and vibration are partly perceived.
Touch, somatosensory, tactition or mechanoreception: a neural perception generally in the skin, but also in the tongue, throat, and mucosa. Receptors respond to variations in speed and pressure (frm, brushing, sustained, etc.). adj. somatic, tactile.
skin /Skin/ v. to skin, to peel back the surface of; to shed an animal of its skin.
Under one’s skin: so deeply penetrative as to irritate, stimulate, provoke thought, or otherwise excite. Under the skin: beneath apparent or surface diferences: at heart.
Skin as a metaphor for transience – the continuous process of shedding dead skin and the growing of new.
Struck by a recording of an early production of Samuel Beckett’s television play Te Ghost Trio (written 1975 and frst broadcast in 1977), this text, spoken by the narrator in Act 1, was the absolute catalyst for this piece:
...this is the rooms essence not being now look closer mere dust dust is the skin of a room history is a skin the older it gets the more impressions are left on its surface look again....
Te main text in Skin is my own which gradually materialised during the long compositional process, and was partly inspired by the collaborative sessions with Juliet Fraser. A section from James Joyce’s Ulysses, from the fnal passage of Molly Bloom’s Monolgue, is quoted towards the end of Skin.
Rebecca Saunders, Berlin 1st June 2016
ISSUU Version
For perusal only
Text Images
Text A
No more. Quite quietly. Trick steady shit. Quantities oh. Skin that awful deep down. One below and burning. Biting of the skin and. Melt, melt. Fabulous, it is wonderful. Charging thoughts remnants.
Shielded well sometimes like a secret. Disclosure still. And saw me. So, so, so. Quite simple. Quite stirring. One below and burning. Biting. Melt, melt. Fabulous. So still, so, so. Stay so, stay, more dust. More skin. More skin. More said . Nor unsaid. (Untold, untruth.) Quite never understood. Biting of the skin. Melt, melt. Fabulous. Oh still.
Text B
So, so, so. Stay so. Not unsaid. Some thing. Some moment. More dust. More skin. More said . Yes. No more no say. Untold untruth. Conclude remnants and......dust.
Text C
More said. Nor unsaid. So, so, so. Quite. Quite simple. So still, so. Stay, more dust. More skin. Untold. Untruth. Even if you quite. Ah! Shit no never. Quite quietly. One below and burning. Biting. Melt, melt. Fabulous oh skin! Tat awful deep down. TRICK steady shit. Quantities of.
Biting of the skin and charging. Tought´s remnants. Some thing. Some moment. Yes unnamed, remnants and dust. Crimson crimson. No more no say untold untruth. Conclude unnamed. Clouds, breathe and dust. Nearly, quite quietly. Quite almost remnants, our shadows. Untold of dust. More dus t my skin. Yes quite simple. Stir still so quietly. More quietly. Yes deep down. Some light. Some burning. Tis dust. Biting more dust. More lies. So told. So so. Quite simple, still so. Quite quietly. Quite melting. Yes crimson no more....
Text D
Fabulous I know it is wonderful. Told low. Marmor, dimmed in shadow. Stirring as if late. Oh yes and saw me. So, so. Quite simple. Quite quiet. So still, so. Stay, more dust. More skin. Shielded well, sometimes like a secret. Disclosure still. Untold, untruth, even if you quite never understood. Ah! trick steady and one below and burning. Melt, melt and charging. Tought´s remnants. Some thing. Some moment. Crimson crimson, no? No more no say, untold untruth. Conclude unnamed.... More remnants. Some breath and dust.
Text E
...turbans like kings asking you to sit down in their little bit of a shop and Ronda with the old windows of the posadas 2 glancing eyes a lattice hid for her lover to kiss the iron and the wineshops half open at night and the castanets and the night we missed the boat at Algeciras the watchman going about serene with his lamp and O that awful deepdown torrent O and the sea the sea crimson sometimes like fire and the glorious sunsets and the figtrees in the Alameda gardens yes and all the queer little streets and the pink and blue and yellow houses and the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask ag ain yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was goin g like mad and yes I said yes I will Yes.
Molly Bloom´s monologue from James Joyce´s Ulysess
Text F
More dust. Dust. More lies caught. Mine so told low. Marmor, dimmed in shadow. Oh..... yes. And saw me. So, so, quite simple. Tender. So still. So say. More dust, more skin. Shielded well, sometimes like a secret. Disclosure.....still. More said. Nor unsaid. Shadows untold, untruth, even if you quite never, ah! Shit no never no more. Quite quietly. Tricky steady quantities more skin. Oh that awful deep down. Below and burning. Biting of the skin and. Melt, melt. Fabulous, it is......won-der-ful! Tought´s remnants. Some thing. Some moment. Yes unnamed, remnants and dust. Crimson crimson. No? No more no say. Untold, untruth. Conclude unnamed. Clouds. Breath and dust. Skin. Nearly, quite quietly, our shadows. Inaudble. Of no name. Untold of dust. More dust. my skin, my...skin.
Soprano
Bass fute
Bass clarinet in B (Boehm system)
Trumpet in C
Tenorbass trombone
2 Percussionists
Grand piano (with 3rd pedal)
Button accordion
Electric guitar
Violin (with scordatura)
Viola (with scordatura)
Violoncello (with scordatura)
Double bass (5-string, with scordatura)
ISSUU Version
For perusal only
Te soprano requires minimal decent amplifcation, with a small dpa headset microphone, primarily for the text images sections: bars 52–63, bars 83–85, bars 112–119, bars 144 and 145, bars 254–269 and bar 380 until the end.
In addition, add some minimal reverb if the space is large or the acoustic is dry.
Duration: ca. 25 minutes
Explanatory notes for Soprano
Te soprano, although clearly soloistic, is embedded in the ensemble sharing a common timbral palette. She has two principle duos:
1. With the bass fute, a shared timbral expressive palette exploring the text;
2. With the trumpet, in the frst part of the piece only, exploring in particular the hard front roll with +/o efect.
Te fnal part, from bar 272 to the end: Song. Dreamlike. Fuse with accordion and trumpet. Gentle and spacious. Add poco vibrato now and again. Freely.
Text images A –F
Tere are six text images for the soprano, and each is written in full in the score. Minimal instructions for each text are shown in the score. Here are the extended precise explanations for these texts:
Text A i)–iv) Head still, eyes alert. Additional text in brackets should time allow. (bars 56–60) spoken low in jaw (Ai, iii, iv)
o Mouth slightly open, jaw still.
+ Mouth closed, see jaw moving, as if comprehensible!
Hold breath Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible. whisper Low, projected, extreme articulation. Front of mouth consonants.
Ai) No more... Aii) Shielded... Aiii) One... Aiv) Quite... Fabulous.
Text B (bar 84) Fast and focused.
Hold breath Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible.
whisper Low in jaw, very fast, extreme articulation. Front of mouth consonants.
B) So, so...
Text C i), ii) Intense. (bars 112–116)
Sprechgesang Low spoken, quasi-amplifed dark timbre. Speak at forte, sounding piano. Like weird morse-code.
++ Hand tightly over mouth.
o/++ Explosive moments! Remove hand fully from mouth.
Ci) More said... Cii) Charging...
Text D (bar 144) Mouth slightly open and still. Low spoken at back of throat. Exaggerate consonants.
Hold breath Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible.
D) Fabulous... Conclude unnamed...
Text E i–iv) Silent. Head and body still. Front of mouth extreme articulation and expressive: hear teeth, lips, spit and tongue, bring out: v, f, s, sh, qu, (bars 254–264) ch, b, k, t, etc.
End of Molly Bloom’s monologue from James Joyce’s Ulysses. Monologue interrupted suddenly, then continues at next entry. Additional text in brackets should time allow. Maximum 41 sec.
Hold breath Use last of air-stream following an almost full In-breath. Tiny stream of rest-air (still In) keeping consonants alive, active and audible. Following Out-breath – nearly empty, fnish Out while “speaking”. Following In-breath – nearly full, fnish In while “speaking”.
In and Out Controlled and focused “white noise” with given vowel/consonants.
ISSUU Version
E i–iv) (turbans like kings asking you to sit down in their little bit of a shop and Ronda with the old windows of the posadas) two glancing eyes... Yes.
Text F (bar 380) Head and body still. Fast! Very focused. Half-whisper, fragile. Duration ca. 45–55 sec.
For perusal only
½ whisper Low, consonants expressive and extreme articulation. Hold breath Use last of air-stream following an almost full In- or Out-breath. Tiny stream of rest-air keeping consonants alive, active and audible. After Out – nearly empty, fnish Out while ½-whispering. After In – nearly full, fnish In while ½-whispering.
Fi) More dust... Fii) And... Fiii) More said... Fabulous, it is... Fiv) Tought’s... *(Out quickly while talking, towards the end clearly out of breath, but go on!)
General explanations for Soprano
Low whisper with chest voice spoken
Spoken text whisper
Whisper
- Air without pitched centre
In
In-Breath, air, pitched or spoken
In
œ Spoken In; take care of the voice, keep this low.
> ¿ Very low projected whisper attack
CH Pure air, shadow of tone. German „ch“-sound, created at back of throat. A smooth „air“-sound with shadow of pitched centre. Open mouth, fat tongue towards back of throat. Smooth, not stuttering:
CH glissando from o to i, dark to light, back towards front of mouth. On an In and an Out-breath.
¿
œ Lament-like tenuto with small descending glissando. Dark and expressive.
+ o
æ œ Hard roll at front of mouth, directly behind teeth. Relax jaw every now and again. Soprano shares this sound with the trumpet in their virtuosic duo.
æ
+
+ Closed lips (like a shadow) o Open lips + o Transition between closed and open lips Where no text is given, use rolled “R”. After given text, go immediately from text to rolled “R”.
æ ˙ Te very high front rolls with almost closed mouth in the fnal part from bar 272 enable a very quiet and stable high tone. Please note bars 379+380 ossia: Use ordinary tone approaching from lower octave if this is more stable.
æ
æ
œ
æ æ æ œ Repetitive articulation. Similar to bass fute baroque “lll” articulation. From slow to fast and vice versa.
œ Soft guttural roll almost under the tongue, ½-trillo, like Cage’s Cooing Pigeon! Not back of throat – gentle, rounded, beautiful. Ossia: Very smooth “gda” roll at back of throat, depending on timbral context. Keep rounded and rich.
Ÿ æ æ œn ½-tone trill. Although soft it is very focused and intense.
œ Subito ½-air in passaggio range. Collapse pressure and voice automatically falls ½-tone. ½-air is sempre non vib and the pitch is not exact and has primarily a timbral function. Efect creates an automatic timbral contrast: “ah-eee”. Choose a diferent vowel if necessary to facilitate better efect. Take more time to prepare if necessary.
Further ½-air efects in this timbral palette can also rise and fall a ¼-tone.
è5 Raise or lower by ¼ of tone. A timbral and expressive function, not exact.
vib Generally pure with nearly no or minimal vibrato, but do interpret freely. Last section is particularly pure. Where vibrato is marked allow voice to expand where loud and high.
p vib Poco vibrato
n v Non vibrato
o o Crescendo and decrescendo as if from and to nothing. Adapt vowel/consonant sounds to facilitate this as necessary.
o i nasal Accentuate timbral transition through all vowels exploring overtones and using nasal resonances.
t, k, ch, qu, cau
Consonant attacks particularly for high overtones and complex spectrum. “t” is most precise, followed by “k. “ch”, “qu”, and “-stand” are very noise-based. and : Always very hard accents.
Explanatory notes for ensemble instruments
Bass fute
ISSUU Version For perusal only
Bass fute shares a duo with the soprano in the frst part of the piece expanding on the text. All words and vowels are with English pronunciation.
œ Fluttertongue, front or back, depending on context!
bis
æ æ œ Bisbigliando
è5
Raise or lower by a ¼-tone; an expressive function.
o o Crescendo from, and diminuendo to, nothing.
Air
½ air ½ air
- œ From air to tone
H Normal, open embouchure
G Closed embouchure
G H Transition from closed to open embouchure and vice versa.
t, k, ch, qu Consonant attacks particularly for high overtones and multiphonic spectral sound. “t” is most precise, followed by “k”. “ch” is very noisebased. and : Always very hard accents.
≤≥ In- and Out-breath
6œ Played-tone and voice combined. Please note voice also sounds an octave lower.
n
Numerous dyads, and two multiphonics; on fngerings on chart, see Appendix. Use futtertongue and bisbigliando if it helps to stabilise the chord. General characteristics of Dyads: Dyads 3,4,5,6, 18 and 19 always need futtertongue to balance the dyad to Dyad 6 beautiful but unstable with high air content.
Dyad 7 + 10 have open-sounding air column. Dyad 13 sempre non fz Dyads 16, 18 and 19 are an octave higher sounding, airy with shadows of lower octave.
Te following efects use similar technique and have very hard loud noise-based accents:
6 œ œ O Very high overblown overtones on dyad
6
œœ O œœ
3 6 O
Attack at highest partial possible followed by immediate glissando down to notated dyad/tone; with and without futtertongue – noise!
œœ œœ O Shoot up and down the overtone spectrum, changing fngering midway – air and noise!
æ
œ æ æ æ œ Baroque “lll” articulation from slow to fast; also possible with futtertongue (back of throat).
whisper A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.
Bass clarinet in Bb (Boehm system)
œ Fluttertongue, front or back, depending on context!
bis
æ œ Bisbigliando: Same-note trill; choose fngerings for clear timbral contrast.
æ
è5 Raise or lower by a ¼-tone; an expressive function.
vib Vibrato only if marked
m vib Molto vibrato, wide and expressive
Air air
tone Transition from air to tone
o o Crescendo from, and diminuendo to “silence”. Use „air“ timbre to facilitate coming out of, and going into, silence.
Bassclarinet Boehm system fngerings for two underblown series, dyads fngerings and some multiphonics are given in the fngerings chart, in Appendix. All of these trills, single and double, start fast, also when coming out of silence. Hear keys and air as sound surfaces. Slow down with decrescendo.
a b
œ ¿¿ œ ¿¿ Some multiphonics are given as graphic notation: a) written low tone heard b) written low tone not heard + Multiphonic tongue-slap
whisper A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.
ISSUU Version
For perusal only
Trumpet shares a duo with the Soprano in the frst part of the piece exploring a special wawa +/o and fz efect (see below). For these sections, for example bars 1–43, use a Slide trumpet. Return to ordinary trumpet for all other sounds.
Mutes: Wawa, Harmon and Plunger. For smooth transition between har mon and wawa timbres, use wawa mute with stem in (wawa) or ¾-out (harmon). plunger Use plunger when ‘senza’ to focus air sounds and balance voice and played-tone chords and multiphonic efects. wawa senza Remove wawa mute while playing. Use a mute that can be inserted and removed noiselessly.
Ÿ o + Trill 1 or 2 fngers fast in front of wawa mute
o ++ 3 Trill o/+ in clear rhythm as shown
œ Fluttertongue, front or back, depending on context!
Air, in- and out-breath
[023] Prepare fngering for coming ¼-tone or ½-tone.
[103]
œ œ Valve glissando, lengthen tube at given fngering to alter pitch. During the virtuoso duo with the soprano, a valve glissando may sometimes be left out directly before or after the special +/o wawa and fz efect, particularly when very fast!
“ ” A “relative” dynamic sometimes for split or air-sound: aim for written dynamic.
tk Doubletongue
HV Trem Tremelando with valves
> Tongue-stop, preceded by air. Use plunger to focus air and emphasise tonguestop. Please note, tonguestop transposes a half-tone.
split
A split-tone is the resultant fast oscillation between two neighbouring overtones of one series, caused by diference in tension between upper- and under-lip. Block upper lip, then lower-lip aims for higher note of interval, and upper-lip aims for lower tone. Other notes may resonate with the interval, giving the impression of a chord: A „dirty“ sound, tuning is unstable, e.g. the ffth may de-tune becoming a tritone. Some intervals can only be located with the valve lengthened, giving an overtone series a semi-tone lower.
vib Assume non vibrato unless otherwise stated.
whisper A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.
Trombone
Mutes: harmon, wawa, plunger.
plunger Use plunger when ‘senza’ to focus air sounds and also to balance voice and played-tone chords and multiphonic efects.
Ÿ o + Trill 1 or 2 fngers fast in front of wawa mute.
Ÿ o + irreg Irregular fast wawa trill
o ++ 3
Trill o/+ in clear rhythm as shown
Air in and out. It is important to have sufcient wind resistance so the air isn’t instantly gone. Tis can be done with the tongue or the lips.
a i Vowel sounds from dark/low to bright/high. Bring out diference with the wawa o +.
Ring Modulator “Ring Modulator” efect: tone and high voice combine to produce a loud and stable multiphonic. At sung tone become like a controlled pitched-”scream”! Use plunger to focus as necessary. Voice limitations vary widely from player to player, therefore given pitches are ideals.
) n Multiphonic displaced octaves. Ossia: Change the octave of the voice to facilitate multiphonic efect according to vocal range of player. Use plunger to mix voice and played-tone.
6œ Add voice gradually and carefully! Use hand over wawa or use plunger to balance and fuse together.
œ Fluttertongue
tk Doubletongue
Instrument list
Percussion 1
Nico Nicophone
BP 2 bell plates
Guiro Guiro
ISSUU Version
For perusal only
Percussion 2
Coil 2 coils
BD Bass drum
TT Tamtam
ChCM Large Chinese cymbal
CTD Child’s talking drum
BD Bass drum
FB Styrofoam block
Ratchet High Ratchet
Rin 3 rins
Coil 2 coils
WB Medium woodblock
Mar Bass marimba
TT Tamtam (from Percussion 2)
CTD Child’s talking drum
Guiro Guiro
Ratchet 2 Ratchets, high and low
ChCM Mid-large Chinese cymbal
Cab Cabaza
WB Low woodblock
SC Large sizzle cymbal
Crot 2 crotales
FB Styrofoam block
Slicer Slicer
Rin 1 rin (from Percussion 1)
Nicophone is available from the composer or purchase/hire from the maker Domenico Melchiorre <www.melchiorre.ch>.
2 Child’s talking drums and slicer are available from the composer.
Specific Instruments
Percussion 1
BP
Large and low C1 and C 1 at lowest octave, or if not available D1; Hung. If possible, heavy and thick bell plates, not aluminium.
Contact points:
x top-¼ for high spectrum splash
x low centre for bass tone.
+foil
Small piece of tin foil folded over top side edge of each bell plates for long resonant trilling buzz.
Bell plate beaters, large and soft. Ossia: At times, use both fsts for
Hard square wooden hammers (Kolberg 843H) or hard metal bell plate beaters. Ossia: Wooden hammers with leather cover.
Coil 2 car springs of diferent sizes and complex resonant timbres. Not plastic coated. Lay fat on small pieces of black expanded sponge rubber (Moosgummi) on hollow wooden box/table for maximum resonance and diferentiation of timbre.
Ossia: Hung (only if more resonant).
M Triangle stick (with metal centre)
P Plastic small-headed beater
TP Tubular bells plastic beater
L Te same tubular bells beater, prepared with leather (put leather over one side of the plastic beater head).
Nico Bass Nicophone large/low. Lay on thin strips of Moosgummi (black expanded sponge rubber) for maximum resonance. Top surface has rills for the glissando.
œ On top perforated surface, glissando along top surface rills.
œ Top edge high shimmering overtones with plastic or hard rubber beaters.
œ Cut resonance of glissando dead.
æ
slats
Glissando over rills with a 30cm thick plastic ruler. Hear the partials rise or descend.
œ On slats side with medium gong beaters. Te two large slats on the side has two central tones. Explore and vary which central tones you use.
œ
M or Tr Tick Kolberg triangle stick at . Tin and light triangle sticks at
W Snare stick
BD Bass drum. Natural skin, double-sided.
wood Wooden plank across edge of the bass drum. Dark timbre, contrast to BD rim. Cut wooden plank to ft BD: One end rests on skin right by the rim, the other end goes over the BD edge.
¡
¿ Just of-centre for full resonance.
2 large fufy beaters: one on skin surface, the other hits the beater.
Wirebrush beater dragged gently over BD.
¿ Play on wooden rim. Tick snare sticks to avoid damage to skin of bass drum / Ossia 1 : Large round-headed wooden beaters; Ossia 2 : Tin snare sticks.
a b Contact points on sticks: a tip b mid-point
ISSUU Version
b a Move from middle of stick to tip during trill.
+chain With chain and superball. Choose superball head that works on the bass drum for a deep dark resonance. Place very light sizzle-chain on skin of drum – hear high trilling surface of sound with low resonance of drum.
ChCM
arco
CTD
œ
œ
œ
Û
For perusal only
Ordinary bass drum beaters
Large Chinese cymbal, hung.
Bowed with bass bow: mid-high complex overtones.
Wirebrushes
Child’s talking drum. Drum head 4½ cm, height 5cm, thin wire-like plastic string ca. 16/17cm, with handle.
œ œ Carefully controlled rhythm and dynamic. N.B.: At and for some more control, hold and pull string perpendicular to drum head.
œ
œ Pitch rises.
FB Small block of polystyrene foam. Bass bow with over-pressure very slowly. At tiny dry clicks.
œ Aim for regular clicks.
Û
œ œ œ œ œ Follow rhythm in graphics.
Mar Bass marimba. Only lowest minor third is played with very large soft fufy BD beaters:
Repetitive fgure is repeated fast enough to create a blurred image.
Rin 3 rins/Klangschalen, preferably black Japanese for the longest resonance, played on bass drum skin. Notated at sounding pitch: C 5, D5 and E 5.
arco Bow at edge with bass bow.
Ratchet Wooden, mounted.
WB Woodblock medium, mounted. Plastic or hard rubber beaters.
Guiro Medium wooden guiro, mounted.
TT Tamtam – play from Percussion 2 Tamtam!
Contact points:
1. centre
2. centre circle
3. Large smooth zone
4. Outer-ridged zone
5. Side/edge
arco Bass bow arco at 5. Choose mid-high complex and very resonant overtones.
œ Wirebrush single stroke across TT. Ossia: Birch wood.
 Fast action around edge of TT. Big gesture over half of the outer edge.
Percussion 2
2 coils See Percussion 1.
BD Bass drum. Very large natural skin, double-sided. See Percussion 1.
TT Large tamtam 115-130cm diameter, preferably from Paste. A Wuhan tamtam may be too heavy for arco and birch/wirebrush sounds.
Contact points:
1. centre
2. centre circle
3. Large smooth zone
4. Outer-ridged zone
5. Side/edge
arco Bass bow arco at 5. Choose mid-high complex and very resonant overtones.
+chain With chain. Place a very light thin chain or wire over the edge of the tamtam when indicated. Chain vibrates on surface of TT when TT is struck in a clear regular pulse. Vibrations combine with metallic and non-metallic shimmering overtones.
 Fast action around edge of TT. Big gesture over half of the outer edge.
œ M Metal triangle stick single stroke across full diameter of TT.
œ Wirebrush single stroke across TT. Ossia: Birch wood.
S ÍÍÍÍÍÍÍ
Superball beater dragged over surface of tamtam – choose superball that works on the size of tamtam for deep dark fuctuating resonance. Almost melodic!
Kn Knitting needle around edge very gently hear high partials.
Large soft beaters
ISSUU Version
Guiro Medium wooden guiro, mounted.
For perusal only
Slicer Westmark cheese and potato slicer ca 13x8cm. Placed on BD skin for resonance. Have a soft cloth nearby to put on, to remove quickly and replace again onto BD skin.
œ Add pressure with hand on Slicer for change of timbre and pitch. Played with fnger tip strumming all strings back and forwards lightly.
CTD Child’s talking drum, mounted. See Percussion 1.
Rin Rin/Klangschale D5 from Percussion 1 Rins.
2 Ratchets Low and high, both wooden, mounted.
ChCM Medium-large Chinese cymbal, hung.
arco Bowed with bass bow: mid-high complex resonant overtones.
Cabaza Wooden and very large.
WB Woodblock low, mounted. Plastic or hard rubber beaters.
Crot Single crotales – the top octave A and G , hung or mounted for very long resonance.
arco Bowed with bass bow.
Piano
Grand piano with sostenuto (third) pedal.
Open piano lid fully, but do not remove. Remove music stand and place further back on the frame, or use the top section of a heavy music stand. Use stickers to mark the strings inside the piano. Requires a hard plectrum, a small glass and a ceramic lid/tile to glissando strings (see below), available from the composer.
On the keys
ord
Occasional ordinary tones are always marked!
silent Prepare and hold down cluster silently.
œ O Play staccato and silently re-depress keys, catching shadow and higher partials of resonance.
On the keys and inside
All damped strings are damped between nut and damper: ?
œ ¿ Damp near nut, still on string. Heavy pressure for big round resonance. Fast release of fngertips helps harmonic to sound longer and clearer.
& ?
O ¿ # œ Damp with fngertips near to dampers for exact mid-range overtones.
O ¿ œ Damp nearer to bridge aiming for very high written overtones. Hear also other high tones.
¿ œ Damp even nearer to bridge for extremely high complex shimmering non-specifc overtones. &
¿ Damp behind the dampers at top of the piano – half tone half wooden percussive sound. O ¿
¿ œ ¿ œ ¿ œ Slide fnger along string during repetitions between bridge to d ampers from high to low as shown exactly in the score.
Inside the piano
In Following an action on keys or “keys-and-inside”, In shows return to sounds inside the piano. Should the frame of the piano be in the way, choose a diferent cluster very near by. palm Flat palm hits wide cluster of strings behind the dampers.
3
œ œ Light glissando with fnger pad of 3rd fnger. In front of dampers.
œ Fast glissando on strings in front of the dampers with hard plectrum. Brutal if low and
ò Abrupt „fick“ action with nail away from body behind dampers. Sounding high overtones, and written tones partly heard.
> 2 resonant sounds, one very low and one medium low on lower cross of metal frame or on sound board inside piano.
Beaters
large beater, eg. large Tamtam leather, heavy. medium large felt beater.
ISSUU Version For perusal only
glass Small water glass, with rounded lip and not heavy. Upside-down, embraces interval of major 3rd on strings.
glass
œ œ œ œ œ œ œ œ
glass gently
Play vertically on string (matching sound of the e-guitar) in regular rhythmic pulse. Glissando where shown to nearby position. If frame is in the way play as nearby as possible.
œ œ A single motion vertically into body of piano, high complex “cry”.
œ A single motion horizontally along the strings, very lightly in the 2nd segment the of piano.
ceramic lid Ceramic lid ca 9cm diameter and ca 12mm high with rounded lip. In lowest segment of frame. A quasi-diagonal ½-vertical, ½-horizontal movement. Terrifc noise quasi-electronic, allow complex noise and screeches! Release lid from strings with pedal. Ossia: Use the glass. fshwire Fishwire inserted between the strings. Pull back and forwards gently. Remove immediately after playing, or leave in the piano if resonances are not disturbed.
° Sustain pedal
¶ ¶ ° Pedal-action attack, (foot only on pedal, not foor) for a big pool of resonance.
3 3rd pedal
whisper A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.
Accordion
Button accordion.
Range MI ? & ›
Range MII/III ? &
Use MI chin registers for sudden register changes and double register sounds.
Written at sounding pitch. Where there are octave pitch combinations from registers/stops, the lowest octave is notated. Re-distribute chromatic chords between MI and MII as you feel necessary. ã
œ œ œ A chromatic cluster, outer tones included. palm Chromatic cluster, extra wide, using palm or heel of hand.
Air only
o o Gradually depress for gentle start, as if from nothing. Decrescendo as if to nothing. 1 by 1
p
Single tones emerge one-by-one with crescendo, and disappear one-by-one with decrescendo.
Button trill
Bellows shake (trem.)
b Bellows stop, dead onto next beat. and Accents always at maximum dynamic vib Possible types of vibrato include: ord. LH vib, ord RH vib, knee vib, button vib – use as you feel appropriate. Sempre non vibrato unless otherwise stated.
Right hand heel or underside of fst hits against side of MI register in given rhythm. Combine carefully with LH glissando.
Fast repetitive fgures within given intervals. LH/RH diferent rhythms. Aim for a blurred image. Hear the buttons continuously. In low register with full fnger pressure, in high register with ½-pressure.
whisper A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.
ISSUU Version
Tree instructions are given for each gesture to determine Klangfarbe, and changes are underlined before each new entry:
Single or double coil (pick-ups)
Treble, bass or normal settings
Clean (bright) or lead-overdrive
For perusal only
Set up the palette to contrast as strongly as possible. Keep background noise of amplifer to a minimum.
Te performer can preset pedals to the given setting-combinations.
In addition, the performer needs a hard plectrum, two metal bottle-necks, an E-bow, volume pedal, foot pedal with palette presets, a wawa pedal and a POG 2 octaver (or similar).
Both staves
whisper A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper. XII Fret
„ String
3. Finger
If, for example, MBN and then fnger be required in quick succession, use diferent fngers, e.g. MBN stays on 3rd fnger and 1st fnger plucks string. MBN Metal bottle neck; hits all strings together (barré) unless otherwise stated. diag MBN not perpendicular to strings producing more distorted and whiter sound. coil Coil 1 (pick-up 1) furthest left near sound-hole, coil 2 (pick-up 2) furthest right, nearest to bridge.
œ
œ A constant glissando from one fret to another (MBN). Also to coil 1 or coil 2.
œ MBN barré at given overtone (between pickups/coils).
whammy ÍÍÍÍÍÍÍ RH vibrato with whammy bar.
œ Regular vibrato with MBN within the fret at given rhythm.
3.
> Straight fnger strikes strings barré at mid-point between pickups.
& Attack: as fast as possible all strings with nail, plectrum or end of MBN. Dampen strings (secco).
˙
˙
Lightly dampen strings before LH attack.
[POG] POG 2 from Electro-Harmonix, a polyphonic octave generator, with a Pass function. Use presets for the given combinations, e.g. POG: +1, +2 max.
˙ Whammy bar held down with LH ca. one octave lower. Alter pitch according to graphic. Deep warm half-air sound.
e-bow E-bow on 6th string at indeterminate low pitch, ca. one octave down – string must be very lax but tight enough to generate sound with E-bow. E-bow starts near SP, starting note little earlier and a little higher if necessary.
Vp Volume pedal
Where necessary dynamic level of RH and LH are written separately from the volume pedal’s dynamic, which is located between the two staves. Vp always shows actual sounding dynamics, but balance carefully with rest of ensemble. Turn of the volume pedal between gestures or at secco as shown.
(silent) Actual initial attack not heard (Vp of).
Top staff
e-bow Electric bow sounds without an amplifer, but add a little Vp as necessary to get written dynamic. Top staf shows the string and single tone picked out by the E-bow. Bottom staf shows the LH frets.
RH T RH fesh of thumb on 6th string rubs quickly back and forth. Only with very low and very high POG settings. Very special timbre.
T Sctratch Nail Scratch with thumb nail very slowly along the rills of the string, hear each rill. Very special timbre.
Bottom staff
(silent) Place MBN on strings silently.
flaut
˙ MBN fautando; held very lightly on the strings for light distortion/vibration.
All instrumentalists have scordatura:
ISSUU Version
For perusal only
Violin & œ œ œ œb Viola B œ œ œ
Final climax section bars 238–254
?
Double bass ? ‹
Intense: At / quasi-sub-tone efect with long accented strokes near heel. sul pont at / delicate complex overtones. Dialogue in two pairs: Violin + violoncello, and viola + double bass. Start, stop and the attacks are indicated in graphics, and coordinated between players with eyecontact.
Attacks: 1. heavy accent; 2. short glissando; 3. long glissando – a tiny gap before the accent or glissando for a clear and exact coordination between players.
Two sounds dominate the strings in this composition:
1. Scordatura IV (and double bass V). Low timbral palette explores expressive and rich sonority of low scordatura, sul IV or sul V. Timbral potential and playing possibilities of IV or V are altered radically: an attack at / is naturally delayed due to low tension of string and / also changes pitch of string signifcantly; an increase of bow speed at louder dynamics is necessary. At / the timbre is entirely diferent with much air, fragile and dark.
2. A double-harmonic trill mostly played sul pont, often with a fast and smooth glissando. Immediate and present, but also unstable and unpredictable. After opening pages, trills are so fast and have occurred so often that no exact trilling harmonics are given. Play these trills with 2nd or 3rd fnger sounding highest possible partials. Bring out relative diferentiation of pitch, tracing this line up and down the strings. At all times the playing pitch of the lower harmonic is given in the score and part.
æ æ
All trills always very fast and regular – or and with or without crescendo or decrescendo, harmonic or ord.
Glissando to top or bottom of string. Harmonic trill glissandi are very fuid.
Ÿ æ
˙ O O O Trill gradually from lower fnger ord. to harmonic.
æ œ œ Tremolando and fast trill; a fused sound. / played at st/st+.
Ÿ
æ æ
æ æ œ œ An ordinary trill is also notated this way.
Ÿ ⅛ Non-harmonic trill with only an ⅛-note above.
st+
Sul tasto extreme fautando, bow stroke well over fngerboard; hollow, foating, beautiful.
sp Sul ponticello: / bring out overtones. / sound towards distortion.
½-sp Sul ponticello colouring, but actual written tone heard clearly.
sp+ Sul ponticello extreme: complete distortion.
è5 Raised or lowered by ¼-tone.
p vib Poco vibrato
n v Senza vibrato.
m vib
˙œ è Extreme vibrato, increases amplitude to higher tone shown.
b Stop bow abruptly
I @@ @@ Behind the bridge at given string. Very fragile and beautiful.
tailpiece Bow tailpiece. Find best contact point for sufcient friction. Bring out resonant tone of tailpiece. Alter bow-hold as necessary.
> Accents are always biting, hard-edged /
¿ Highest pitch on fngerboard (violoncello).
œ œ sp marcato attack, deep in the string and release immediately subito ord. Deep, loud and distorted efect.
sp sffpp ord
whisper A loud projected whisper; use “fry” or “Strohbass” at back of throat and low in jaw to give body and projection to the whisper.
Multiphonic char t for bass fute
ISSUU Version
For perusal only
Multiphonic char t for bass clarinet S tage plan
waitforelectricguitarto emergefrompianoand percussionresonance
Circularmotionoverstringswithingiveninterval–horizontalandvertical. Fasternearestbody,slowerawayfrombody.
-mouthslightlyopen,jawstill +-mouthnearlyclosed(totakecareofvoice), seejawmoving,asifcomprehensible! Headstill,eyesalert,Veryfocused.Spokenlowinjaw.
*Ai)Nomore.Quitequietly.Tricksteady shit.Quantitiesoh.Skinthatawful deepdown. Holdbreath! spoken o In
Onebelowandburning.Bitingoftheskin and.Melt,melt.Fabulous,itiswonderful. (Chargingthoughtsremnants.)
*Aii)Shieldedwellsometimes likeasecret.Disclosurestill. Andsawme.So,so,so. Quitesimple.Quitestirring. Out whisper
spoken
Onebelowandburning. Biting.Melt,melt.Fabulous. Sostill,so,so.Stayso,stay, moredust.Moreskin.
slowexploratorygesture
Quiteneverunderstood. Bitingoftheskin. Melt,melt.Fabulous.
Said. f
[Shadows] Sha-
-dows.
f'nondim 'f'fastandfocused,with'fry'!
Hold breath! *B) whisper So,so,so.Stayso.Notunsaid. Something.Somemoment.Moredust. Moreskin.Moresaid.Yes.Nomore
Out! (attacca) (with'fry')
nosay. Untolduntruth. Conclude remnantsand...
ISSUU Version
For perusal only
"Sprechgesang"likeweirdMorse-code.Exagerateconsonants!
*Ci) Out
Moresaid.Norunsaid.So,so,so.Quite.Quitesimple.Sostill,so. Stay,moredust.Moreskin.Untold.Untruth.Evenifyouquite. Ah!Shitnonever.Quitequietly.Onebelowandburning.Biting. Melt,melt.Fabulousohskin!
sffp sub
(handtightoveropenmouth) intense > TRICK,steadyshit. Quantitiesof.Quantities of.Awfuldeepdown. Awfuldeepdown.
Bitingoftheskinand (attacca)
Fastrepetitivefigureswithingivenintervals. LH/RHdifferentrhythms.Aimforablurredimage.
*Cii)Charging.Thought´sremnants.Something.Somemoment.Yesunnamed,remnantsanddust.Crimson crimson.Nomorenosayuntolduntruth.Concludeunnamed.Clouds,breatheanddust.Nearly,quite quietly.Quitealmostremnants,ourshadows.Untoldofdust.Moredustmyskin.Yesquitesimple. Stirstillsoquietly.**[Morequietly.Yes]deepdown.Somelight.Someburning.Thisdust.Bitingmore dust.More...
...lies.Sotold.Soso. Quitesimple,stillso. Quitequietly.
Quitemelting. Yescrimsonnomore...
Version
*D)Mouthslightlyopenandstill.Lowspokenatbackofthroat.Tightlarynx.Exaggerateconsonants!Withfry.
Holdbreath!Keepdesperate!
*D)FabulousIknowitiswonderful.Toldlow.Marmor,dimmedinshadow.Stirringasiflate. Ohyesandsawme.So,so.Quitesimple.Quitequiet.Sostill,so.Stay,moredust.Moreskin. Shieldedwell,sometimeslikeasecret.Disclosurestill.Untold,untruth,evenifyouquitenever understood.Ah!tricksteadyandonebelowandburning.Melt,meltandcharging.Thought´sremnants. Something.Somemoment.Crimsoncrimson,no?Nomorenosay,untolduntruth.Concludeunnamed...
Out (attacca)
Version
Richandcomplexpartials. Movebetweenveryhighindefinableandmid-range. semprestaccato
ISSUU Version
For perusal only
*E)
*Ei)
*Eï-iv)
Version
For perusal only
Headandbodystill.Mouthexaggerated andexpressive.Frontofmouth.Extreme articulation:hearteeth,lips,spitandtongue! Bringout:v,f,s,sh,qu,ch,b,k,t,etc.
**Outandln:controlled+focused"whitenoise"withtightthroat.
U Out
Mouthopen
(turbanslikekingsaskingyoutositdownintheirlittle bitofashopand)Rondawiththeoldwindowsofthe posadas2glancingeyesalatticehidforherlovertokiss theironandthewineshopshalfopenatnightandthe castanetsandthenightwemissedtheboatatAlgeciras thewatchmangoingaboutserenewithhislampandO thatawfuldeepdowntorrentOandtheseatheseacrimson sometimeslikefireandtheglorious holdbreath "Silent"
[Monologueinterruptedsuddenly,thencontinueatnextentry.]
sunsetsandthefigtrees intheAlamedagardens yesandallthequeer littlestreetsandthe sunsetsandthefigtrees intheAlamedagardens yesandallthequeer littlestreetsandthe *ii)
pinkandblueandyellowhousesandtherosegardensandthe jessamineandgeraniumsandcactusesandGibraltarasagirl whereIwasaFlowerofthemountainyes
whenIputtheroseinmyhairliketheAndalusiangirlsusedorshallIweararedyes andhowhekissedmeundertheMoorishwallandIthoughtwellaswellhimasanother andthenIaskedhimwithmyeyestoaskagainyesandthenheaskedmewouldIyestosay
2 4 4 4 3 8 6 4 3 4 2 4
For perusal only
2 4 3 8 7 8 4 4 2 4 3 8 7 8 4 4
yesmymountainflowerandfirstIputmyarmsaroundhimyesanddrew himdowntomesohecouldfeelmybreastsallperfumeyesandhisheart wasgoinglikemadandyesIsaidyesIwillYes.
ISSUU Version
Version
ISSUU Version
7 8 3 4 7 8 7 8 3 4 7 8
Conductorcuesfirstentranceforeachinstrument.Musiciansthenlistenstotextureforfittingmomenttoplayagain: keepmusicspacious.Hearsoprano.Enjoy!Lessentriesmaybebetterthanmore!Notdense.Spokey. Ftextca.40–45seconds.Endsectiontotal50–60seconds.
For perusal only
CH Out controlled andfocused "whitenoise"
Headandbodystill. Fast!Veryfocused. halfwhisper,fragile
*Fi) Holdbreath
Moredust.Dust.Morelies caught.Minesotoldlow. Marmor,dimmedin shadow.Oh...
*Fii)Andsawme.So,so,quitesimple. Tender.Sostill.Sosay.Moredust, moreskin.Shieldedwell, sometimeslikeasecret.Disclosure... Holdbreath
Version
For perusal only
Holdbreath
*Fiii)Moresaid.Norunsaid.Shadows untold,untruth,evenifyouquite never,ah!Shitnonevernomore. Quitequietly.Trickysteadyquantities moreskin.Ohthatawfuldeepdown. Belowandburning.Bitingofthe skinand.Melt,melt.Fabulous,itis...
Breathoutquicklywhiletalking.Towardsendclearly outofbreathbutholditandgoon!
Holdbreath
*Fiv)Thought´sremnants.Something.Somemoment. Yesunnamed,remnantsanddust.Crimsoncrimson. No?Nomorenosay.Untold,untruth.Conclude unnamed.Clouds.Breathanddust.Skin.Nearly, quitequietly,ourshadows.Inaudible.Ofnoname. Untoldofdust.Moredust[pause]*.myskin[pause].
ISSUU Version
For perusal only
ISSUU Version
For perusal only
Rebecca Saunders
Rebecca Saunders (b. 1967) studied with Wolfgang Rihm at the Musikhochschule in Karlsruhe, Germany, and for a doctorate in composition with Nigel Osborne at Edinburgh University. She lives in Berlin. Saunders’ numerous composition prizes include three Royal Philharmonic Society Music Awards, two BASCA British Composer Awards and the 2019 Ernst von Siemens Music Prize. Her works have been performed at festivals including the Huddersfeld Festival, the Berlin Biennale and the Darmstadt International Summer Course. In 2009 she became a member of the Berlin Academy of Arts. Saunders’ works include chroma, for chamber groups distributed throughout the performance space; void, a concerto for percussion duo and orchestra; and Yes, a spatial performance for soprano, 19 soloists and conductor.
Rebecca Saunders (*1967) studierte Komposition bei Wolfgang Rihm an der Musikhochschule Karlsruhe und promovierte an der Edinburgh University bei Nigel Osborne. Sie lebt in Berlin. Saunders wurde für ihr Schaffen vielfach ausgezeichnet, u. a. mit drei Royal Philharmonic Society Music Awards, zwei BASCA British Composer Awards sowie mit dem Ernst von Siemens Musikpreis 2019. Ihre Werke erklangen bei zahlreichen Festivals, wie dem Huddersfeld Festival, der Berliner Biennale und den Darmstädter Ferienkursen für Neue Musik. 2009 wurde sie zum Mitglied der Berliner Akademie der Künste ernannt. Zu ihren Werken zählen chroma für räumlich verteilte Kammergruppen, ein Konzert für Schlagzeugduo und Orchester mit dem Titel void sowie die Raumperformance Yes für Sopran, 19 Solisten und Dirigent.
Photo © Astrid Ackermann