DONNACHA DENNEHY
APRIL 2003 (revised version, 28 July 2003)
The Pale For the Aurelia Saxophone Quartet and the Slagwerkgroepdenhaag Premiered by them at the Ijsbreker, 11 May 2003.
Copyright © 2003 by Music Sales Corporation (ASCAP) Rights administered by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved.
INSTRUMENTATION Saxophone Quartet (soprano, alto, tenor, baritone) Percussion Sextet PERCUSSION SET-UP IN DETAIL: I: II: III: IV: V: VI:
Vibraphone, 2 woodblocks, slapstick (pedal operated), high brake drum Vibraphone, Slit Drum, high woodblock, slapstick, 2 brake drums Bass Drum, Snare, Slit Drum, Low Cowbell Bass Drum, Tenor Drum, Snare, Low Cowbell, slit drum, Lion’s Roar (string drum) Tenor Drum, Snare, Low Cowbell, Slit Drum, high woodblock, slapstick (pedal op), 2 brake drums Tenor Drum, Snare, Low Cowbell, high woodblock, slapstick (pedal op), low brake drum, Lion’s Roar.
POSITION ON STAGE (important in terms of left-right placement): 3
1
2
4
5
6 sop
tenor L
|
alto R
bar
PITCH CONSISTENCY IN THE METAL INSTRUMENTS If possible, all the metal percussion instruments should be consistent in terms of pitch through the ensemble. For example, the high brake drum for player I should have the same pitch as the high brake drum for player V.
If possible, the metal instruments should be somewhere around the following pitches:
high brake drum
low brake drum (low) cowbell
NOTATION OF THE PERCUSSION PARTS. Apart from the vibraphones, all the other instruments are drawn from the set below, the notation of which remains consistent through all parts: Slit Drum
Snare Drum
(rim-shot) BassDrum
(snares off)
Tenor Drum
low cowbell
low
Brake drums
Woodblocks
low
high
high
Lion's Roar (string drum)
Slapstick
low
Explicitly, here is the subset from the above for each player: I: Vibes + woodblocks
low
high
slapstick
high brake drum
high
II: Vibes +
side
Brake drums
Woodblocks
Slit drum
low
high
high
low
slapstick
low
high
III: Snare Drum
Snare
Snare
Bass Drum
Slit drum
low cowbell
Snares off
(rim-shot)
low
high
IV: Slit drum
Snare Drum
Bass Drum
Tenor Drum
Snare
Snare (rim-shot)
Snares off
low cowbell
side
low
Lion's Roar (string drum)
high
V:
Tenor Drum
Snare
Snare (rim shot)
Snare (snares off)
Brake drums
Slit drum
Snare Drum
low cowbell
side
low
high
high woodblock
slapstick
low
high
VI: Snare Drum
Tenor Drum
Snare
Snare (rim shot)
Snare (snares off)
low cowbell
high woodblock
Lion's Roar
Slapstick
Low Brake Drum
SNARE & TENOR DRUMS The more military these drums are, the better. I know that the notation using a sharp for “snares off” is odd; however, I’ve chosen to use this sign for the sake of clarity. There is sometimes quite a bit of switching between snares on and off (and although the move to snares off is also designated in words), I figure that it helps to have an extra indication to that effect. TEXTUAL INSTRUCTIONS Whenever, after a long passage involving a small group of instruments, a new instrument is added, a little textual reminder appears to ‘announce’ its presence, although it is already marked by the notation. The instruments there already are not announced by the text.
GENERAL NOTE TO ALL
Accidentals last through the bar unless otherwise contradicted.
PERFORMANCE NOTES MICROTONES
Where something may not be quite possible, aim for the closest thing. Here’s a legend of the signs used: 3 quarter-tones sharp (i.e., a quarter tone sharper than an ordinary sharp)
1 quarter-tone sharp
1 quarter-tone flat (i.e., a quarter tone sharper than the ordinary natural version of the note) 3 quarter-tones flat q(i.e., a quarter tone flatter than the ordinary flat sign)
MULTIPHONICS ON THE SAXOPHONE ARE DENOTED BY A TRIANGULAR NOTEHEAD AS FOLLOWS: The multiphonic should contain the written note as its strongest constituent. In general the multiphonic should blend reasonably gently with the sound around it rather than sticking out too much. If a decent multiphonic cannot be found, use some other means to colour the sound (such as your voice)
ARTICULATION
Unless otherwise specified, the normal articulation for the saxes is tonguing. Tenuto markings within a slur signify a kind of legato tonguing. Dotted slurs exist merely to show important phrase groupings. Ordinary slurs, of course, signify slurring!
Note for the saxes for the final section: The indications
“
1/4 tone lower till
*”
and
“
At pitch again
”
take effect from the start of the bar EXCEPT in the case where a bracket marks off notes from the rest, for eg., at bar 331.
Proper, and straight-faced
premiere 11 May, 2003. final revised version: 28 July 2003.
THE PALE 3
3
3
3
3
3
3
3
no Sax (L) in Bb
or Sax (L) in Bb
to Sax (R) in Eb
ne Sax (R) in Eb
Proper, straight-faced, and with a stiff upper lip medium hard mallets
Perc I
medium hard mallets
Perc II
Perc III
Perc IV (don't let it ring out too much)
Perc V
Perc VI
7
A
op Sax
en Sax
Alt Sax
ar Sax
7
A
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
-2-
13
op Sax
en Sax
3
3
3
3
Alt Sax
ar Sax
13
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
-3-
B 19
op Sax
en Sax
Alt Sax
ar Sax
B 19
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
-4-
25
op Sax
en Sax
Alt Sax
ar Sax
25
Perc I
Perc II
Don't play the parenthesised notes. These are played by your opposite number!
Perc III Don't play the parenthesised notes. These are played by your opposite number!
Perc IV
Perc V (don't let it ring out too much)
Perc VI
-5-
31
C
31
C
op Sax
en Sax
Alt Sax
ar Sax
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
-6-
D
37
op Sax
en Sax
Alt Sax
ar Sax
D
37
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
-7-
Heavily
43
E
op Sax
en Sax
Alt Sax
ar Sax
E
43
Perc I
Perc II
Perc III
Perc IV (snare rim-shot)
Perc V
Perc VI
-8-
F 49
op Sax
en Sax
Alt Sax
ar Sax
F 49
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
-9-
55
op Sax
en Sax
Alt Sax
ar Sax
55
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 10 -
G
60
op Sax If the top notes prove too high, transpose down an octave
en Sax
Alt Sax
ar Sax
G
60
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 11 -
65
op Sax
en Sax If the top notes prove too high, transpose down an octave
Alt Sax
ar Sax
65
Perc I
Perc II
Each accented attack should be hard (strike the edge not centre)
Perc III
Perc IV
Perc V
(slapstick)
Perc VI
- 12 -
70
op Sax
en Sax
Alt Sax
ar Sax
H
70
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 13 -
+
75
=
I
op Sax
en Sax
Alt Sax
ar Sax
I 75
Perc I
Perc II
Perc III
Perc IV
(woodblock)
Perc V (woodblock)
Perc VI
- 14 -
80
op Sax
en Sax
Alt Sax
ar Sax
80
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 15 -
J 85
op Sax
en Sax
Alt Sax
ar Sax
J 85
Perc I
Perc II
Perc III (structural layers combined)
Perc IV (with the snare of perc. 3)
Perc V
Perc VI
- 16 -
K 89
op Sax
en Sax
Alt Sax
ar Sax
K 89
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 17 -
93
op Sax
en Sax
Alt Sax
ar Sax
93
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 18 -
L 97
op Sax
en Sax
Alt Sax
ar Sax
Please try all possibilities to make this pitch shift. If not possible, play equal tempered.
L 97
Perc I
Please try all possibilities to make this pitch shift. If not possible, play equal tempered.
Perc II
Perc III
Perc IV (slapstick)
(woodblock)
Perc V (slapstick)
(woodblock)
Perc VI
- 19 -
M 103
op Sax
en Sax
Alt Sax
ar Sax
M 103
Perc I
Perc II
(slit drum (high))
Perc III (tenor drum)
Perc IV
Perc V
Perc VI
- 20 -
N 109
op Sax
en Sax
Alt Sax
ar Sax
N 109
Perc I
Perc II
Perc III
Perc IV (slit drum (high))
Perc V snares off
Perc VI
- 21 -
115
op Sax 3 3
en Sax
Alt Sax
3
ar Sax
115
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 22 -
P
O
121
Flatulently ugly (tenor should be slightly louder than rest)
op Sax 3 3
en Sax
Alt Sax
3
ar Sax
121
P
O
Perc I
Perc II (low cowbell)
Perc III
Perc IV
Perc V
Perc VI
- 23 -
127
op Sax 3 3
en Sax
Alt Sax
3
ar Sax
127
Perc I
Perc II
Perc III
Perc IV
Perc V
Perc VI
- 24 -
133
Q
133
Q
op Sax
en Sax
Alt Sax
ar Sax
Perc I
Perc II
Perc III
Perc IV 3
3
Perc V 3
Perc VI
- 25 -
3
139
op Sax
en Sax
Alt Sax
ar Sax
139
Perc I
Perc II (slit drum (low))
Perc III 3
Gradually bring out the bass drum the most
3
Perc IV 3
3
Perc V 3 3
3
(woodblock)
3
3
Perc VI
- 26 -
3
3
3
3
3
R
S
145
op Sax
en Sax
Alt Sax
ar Sax
S Wood and Metal
R
(woodblock) 3
145
3
3
3
Perc I
Wood and Metal (high brake drum) 3
Perc II
Perc III
Perc IV
Perc V 3
3
3
3
3
3
Perc VI
- 27 -
3
3
3
3
3
151
op Sax
en Sax
Alt Sax
ar Sax
151
GP
3
3
Perc I
3
(woodblock)
3
GP
Perc II
GP Perc III
GP Perc IV
GP Perc V 3
3
3
3
3
Perc VI
- 28 -
3
3
3
3
3
3
GP
T 156
Again, flatulently ugly. And, this time, especially arrogant
(with percussion 1 and 2 for this) 3
Sax
Sax 3
3
Sax
Sax 3
T 156
3
3
3
3
3
3
3
3
3
rc I
(slit drum (high)) 3
c II
c III
c IV
cV 3
3
3
3
3
c VI
- 29 -
3
3
3
3
162
U
162
U
Sax
Sax
Sax
Sax
rc I
c II
c III
c IV 3
3
3
3
cV 3
3
3
3
3
3
3
3
3
3
3
c VI
- 30 -
3
Lion's Roar (with the bar sax in all cases)
3
3
3
168
Like horns, in need of repair
Sax
Sax
Sax
Sax
168
rc I
c II
c III
c IV
3
3
3
3
3
3
3
3
3
3
3
cV
c VI
- 31 -
3
3
3
3
3
3
3
3
3
3
3
3
V 174
Sax
Sax
Sax
Sax
V 174
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
rc I
c II 3
3
3
3
3
c III
c IV 3
3
3
3
3
3
snares off
3
3
3
3
3
3
cV
3
3
3
3
3
3
3
c VI
- 32 -
3
3
3
3
3
3
3
3
3
3
3
3
3
180
Sax
Sax
Sax
Sax
180
3
3
3
3
3
3
rc I
3
3
c II 3
3 3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
c III Lion's Roar c IV 3
3
3
3
3
3
3
3
3
3
3
3
3
3
cV
3
3
3
3
3
3
3
3
3
c VI
- 33 -
3
3
3
3
3
3
3
While this section is loud, be careful not to overwhelm the saxes. W 184
Sax
Sax
Sax
Sax
W
While this section is loud, be careful not to overwhelm the saxes. Wood and Metal
184
rc I
Wood and Metal c II Bass drum mf, slit drum ff
c III
c IV
cV
c VI
- 34 -
192
Sax
Sax
Sax
Sax
192
rc I
c II Now bass drum can be forte
c III
c IV
cV
c VI
- 35 -
X 200
Sax
Sax
Sax
Sax
X
Brake drum should be slightly quieter
200
rc I
c II
c III
c IV
cV
c VI
- 36 -
Y
208
Sax
Sax
Sax 3
Sax
Y
208
rc I
c II
c III
c IV
cV
c VI
- 37 -
3
3
3
3
3
216
Sax
Sax
Sax 3
3
3
3
3
3
Sax
216
rc I
c II
c III
c IV
cV
c VI
- 38 -
Z 224
Sax
Sax
Sax
Sax
Z 224
rc I
c II
c III
c IV
cV
c VI
- 39 -
aa 232
Sax 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Sax
Sax
Sax
aa 232
rc I
c II
c III
c IV
cV
c VI
- 40 -
pitch shift between 1/4 and 1/2 tone
240
Sax 3
3
3
3
3
3
3
3
3
3
3
Sax pitch shift between 1/4 and 1/2 tone
Sax 3
3
3
Sax
240
rc I
c II
c III
c IV
cV
c VI
- 41 -
bb 248
All tongued
Sax
Sax
Sax
Sax
bb 248
rc I
c II
c III
c IV
cV
c VI
- 42 -
cc
pitch shift between 1/4 and 1/2 tone
256
Sax 3
3
3
3
3
3
pitch shift between 1/4 and 1/2 tone
3
3
3
3
3
3
Sax pitch shift between 1/4 and 1/2 tone
Sax
Sax
cc 256
rc I
c II
c III
c IV
cV
c VI
- 43 -
dd
pitch shift between 1/4 and 1/2 tone
Ferocious and precise
264
Sax 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Sax
Sax
Sax
dd Ferocious and precise
264
rc I
c II
c III
c IV
cV
c VI
- 44 -
272
Sax
Sax
Sax
Sax
272
rc I
c II
c III
c IV
cV
c VI
- 45 -
ee 278
Sax 3
Sax 3
Sax 3
Sax
ee 278
rc I
c II
c III
c IV
cV
c VI
- 46 -
284
Sax 3
3
3
3
3
3
3
3
3
Sax
Sax
Sax
284
rc I
c II
c III
c IV
cV
c VI
- 47 -
ff 290
Sax
Sax
Sax
Sax
ff 290
rc I
c II
c III
c IV
cV
c VI
- 48 -
gg 296
Even faster
Everyone should exagerrate fiercely the difference between loud and soft here
Sax
Sax
Sax
Sax
gg 296
Even faster
Everyone should exagerrate fiercely the difference between loud and soft here
rc I
c II
c III
c IV
cV
c VI
- 49 -
302
- 1/4 tone lower till *
* At pitch again
- 1/4 tone lower till *
* At pitch again
- 1/4 tone lower till *
* At pitch again
- 1/4 tone lower till *
* At pitch again
Sax
Sax
Sax
Sax
302
rc I
c II
c III
c IV
cV
c VI
- 50 -
hh 308
Sax
Sax
Sax
Sax
hh 308
rc I
c II
c III
c IV
cV
c VI
- 51 -
314
- 1/4 tone lower till *
* At pitch again
- 1/4 tone lower till *
* At pitch again
- 1/4 tone lower till *
* At pitch again
- 1/4 tone lower till *
* At pitch again
Sax
Sax
Sax
Sax
314
rc I
c II
c III
c IV You may leave out the woodblock
cV
c VI
- 52 -
320
ii - 1/4 tone lower till *
* At pitch again
Sax
- 1/4 tone lower till *
* At pitch again
Sax
- 1/4 tone lower till *
* At pitch again
Sax
- 1/4 tone lower till * Sax
320
ii
rc I
c II
c III
c IV
cV
c VI
- 53 -
* At pitch again
- 1/4 tone lower till * 326
* At pitch again
Sax
- 1/4 tone lower till *
* At pitch again
Sax
- 1/4 tone lower till *
* At pitch again
Sax
- 1/4 tone lower till * Sax
326
rc I
c II
c III
c IV
cV
(snares ON) c VI
- 54 -
* At pitch again
- 1/4 tone lower till * jj
332
Sax
Sax
Sax
Sax
jj
332
rc I
c II
c III
c IV
cV
c VI
- 55 -
* At pitch again 338
Sax
Sax
Sax
Sax
338
rc I
c II
c III
c IV
cV
c VI
- 56 -
344
Sax
Sax
Sax
Sax
344
rc I
c II
Very soft fuzzy sticks
c III Very soft fuzzy sticks
c IV
cV
c VI
- 57 -
Donnacha Dennehy, final revised version, 28 July 2003.