Kambanes_for solo piano

Καµπάνες for Solo piano

Vassilis Filippou 2018

Performance notes: Bright, muffled, light, heavy & distant bells construct the soundscape of the piece. Using only the lowest one and a half octaves, the pianist creates fragile bell sounds either by muting the strings or by touching them to produce tritone and octave harmonics.

Performance directions: A weight should be placed on the sustain pedal so the hammers are released for the whole duration of the piece.

The higher stave shows the sounding pitches.

Duration: around 6 minutes.

Symbols: sounds as written (sounding)

Bars 1-4, show the ranges for each of the sounds.

1. Normal-head notes. Mute string by stopping them with one finger right at the beginning of the string. In the case with the direction ‘perc.’ Stop the string with 2 or 3 fingers in order that the fundamental tone is less audible.

2. Square-head notes. Octave harmonics. Touch the strings exactly below the horizontal frame (first frame at the beginning of the strings – as it is on Steinway grand

piano). This produces the 16th harmonic partials which is 4 octaves higher.

3. Diamond-head notes. Tritone harmonics. Touch the strings exactly above the hammers. This produces the 11th harmonic partials which is 3 octaves + a tritone higher.

4. Diamond-head notes. Major 3rd harmonics. Work like the tritone harmonics but produce the 10th harmonic partials which is 3 octaves + a major 3rd.

5. The cross-head notes after octave harmonics, mean to mute the string after producing the harmonic.

The cross-head cluster is a direction to clean the sound by placing both hands on the range shown to stop the strings vibrations.

The ‘v’ symbol next to the tritone harmonics means to bend the string by pushing it strongly at the same time as the note attack on the keys.

Καμπάνες for Ermis Theodorakis

V. Filippou 2018

Freely q=44

˙

#˙

˙™ #˙

œ w œ b˙

nœ

bœ

(sounding)

&

#˙ ™ mf f

mf

mp mf

Piano

? b3 ) ‹

{

)™

w

f

mp f

#™

3 ˙

mf

3 #)

#)

#

mf

n3 #

œ œ œ œ™ œ 4

#˙ ™

&

j nœ ˙ mp

® ®

œ ˙™ J

mf f mf

f

œ

p p

f

? ‹ #) ™

bœ œ ˙

mp

mf

˙

6

6 6 ¿ 6 ¿ 6™ 6

{

j 3 ##

˙™ b˙

j 3 #™

3 #3 )

6

œ

& ™™

™™

bœœ

™™

bœœ

#˙ ™

#˙

™™

&

mf

j œ ˙™

œ ˙

œ Ó

œ

mp mf

f mf

mp

mp mf

? ## ##)) ™™ # ˙ b ‹ b ˙ # 33 ˙

{

Y j #™ 3 w #3 6 # ˙ 6 Y

## ##)) ™™ # ˙ b # 33 ˙

Distant q=58 12

#œ œ #œ

&

bœ bœ œ œ œ

bœ n˙ œ

œ œ #˙

bœ nœ ˙ œ

n˙ œ œ

pp f

? ‹ b3 3 3 n3 3

{

™™

œ ‰ ™ n6 ¿ 6 6 ¿ 6 6 ™

b ˙ bb33 n #

# ˙˙ ™™ # ˙ œœ n˙ mp

œœ œ œ ® J

mf

œ ™™ b ˙ bb33 n #

# ˙˙ ™™ # ˙ œœ ˙

9

≈

mp

p

mp

{

‰ #˙

p

? ™™ ‹ b ˙ bb33 n # ™

bœœ

# b3 3 n3 #3 # > ©V. Filippou

pp

3 b3 3 n#

n3 3

3 b3

b# n3

2 16

bœ bœ œ œ #œ

& œ

bœ nœ

‰ œœ œœ œœJ ‰

œ ˙™

œ

3

pp f

mf

f

perc.

perc. j ‰ bb333333 ‰

3

? ‹

{

b3 3 3 n3 3 n3 >

j œ

3 b3 3 n3 ## ™

œ ˙

bœ œ

˙

rall.

19

‰

bbœœ œœ œœ œœ œœ œœ U Œ

‰ b33 33 33 33 33 ™™

&

3

3

p mf

f

ff p

perc.

perc.

3

? ‹

{

‰ j œ

3

U bb66 66 66 66 66 66 Œ

‰

œ ˙ 33 33 33 33 33 ™™

˙

bœ œ

Cyclic q=44 20

##œœ j #œ

&

#œ p p mf mf

? ‹ ˙

{

˙

˙

#œ

˙

#œ

#œ j 3

˙ #˙

## 33

˙

#˙

#˙ 3

#œ

23

& ™™

##œœ

™™

Ó p

p mf

mf

? ™™ ‹ ˙

{

˙ #œ

#3

™™

˙ #œ ## 33

˙ #˙

#˙

25

& ™™

U w

™™ œ #œ mp f

#œ mp

mp

f

mp (mp )

f

U ? ™™ ‹ ˙

™™

{

#˙ 3U

b 3U

n˙ 3U ©V. Filippou

˙

b #U

Y Y