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in the dark air, interfering with the projection
kurt isaacson
for yarn/wire
percussion (2 players)piano (4 hands)
performance notes
NOTE: accidentals carry through each measure, though cautionary accidentals are occasionally utilized for ease of reading
NOTE: if possible, this piece should be performed with stage lights down (dark); in this case, performers should utilize small music stand lights in order to read the score
percussion (2 players)
2 triangles (lowest possible)1 ratchet1 maraca1 snare drum
player 1
general
1 güiro1 hi-hat (rigged to “sizzle” loudly when pedal fully depressed)1 maraca
2 crotales (Db4 & Eb4)
player 2
NOTE: player 1 must move to piano and touch notated harmonic nodes when indicated to do so; refer to “piano” section of performance notes for an explanantion of this technique; performer’s setup location should facilitate this event
NOTE: duration of güiro notes indicate the desired length of each “pull” across the instrument
NOTE: in the second movement, player 2 must perform a roll on the lowest, most-resonant crossbeam of the piano; this is notated on the same line as the hi-hat, but with a different notehead; performer’s setup location should facilitate this event
/ &œ ¿ œ œ/ œ œ s ¿ ¿
snaredrum
maraca
pno crossbeam(mov’t 2 ONLY)
maracatriangles
(L) (H)
ratchet
crotales
hi-hat(rigged)
güiro
–)AªA⁄A6A
- arco; bowed
- triangle beater
- with hands
- soft mallet
- drum sticks
- rub/scrape superball across drum head; friction roll
superball
- at exact center of snare drum head (sempre until next indication)
- near edge of snare drum head (sempre until next indication)
- muted/open (triangles); closed/open (hi-hat)
- güiro “pull”
- circular stroke on drum head (superball on snare)
- hit triangles together
- dampen
(c)
(e)
T
é
+ o
-
"
NOTE: performer should allow ALL actions to vibrate freely & decay naturally unless otherwise specified to dampen or silence a particular instrument
i
approximate duration: 8 minutes
performance notes (cont.)
piano (4 hands)
NOTE: secondo begins piece by standing within the “curve” of the piano facing primo; from this position, secondo ONLY touches indicated harmonics for those strings which primo plays “on the keys” OR plucks (pizz.) indicated strings; secondo takes “seated” position when indicated in the score (following bar 45)
NOTE: due to secondo’s position facing the piano’s keyboard, notated clefs have been “reversed” from the ordinary treble/bass to reflect the relative operable “range” of each hand while secondo remains standing
NOTE: secondo is indicated to silently place or drop 3 metal rulers onto the strings of the piano (metal side down) within given ranges; these ranges’ (1-3) locations are specified on the diagram to the right; primo and secondo must silently remove these rulers from the strings when indicated to do so near the end of movement (1.)
NOTE: primo operates pedals while secondo is standing; upon returning to seated position, secondo assumes control of pedals, as reflected in the score
- damper pedal
- sostenuto pedal
- play on keys of piano (with various modifications of timbre, as indicated — harmonics, mutings, etc...)
- pluck strings of indicated pitches with fingers; always near end of speaking length of string closest to performer
- perform indicated action on strings of piano, rather than on the keys (glissandi, etc.)
- muted pitch; touch end of string(s) of indicated pitch(es) with finger tips
- harmonics; place finger of one hand on the nodal point of indicated string while activating string with other hand (in indicated manner) to produce notated harmonic; the number above the conventional harmonic symbol (o) indicates the harmonic to be produced: 2nd partial (octave), 3rd partial (octave + fifth), 4th partial (two octaves) & 5th partial (two octaves + major third), and so on . . .
when harmonic indications are “stacked” (in a quasi-“fraction”), each should be read in a top-down fashion (i.e. the top symbol applying to the highest note in a chord, the bottom symbol applying to the lowest note in the chord, etc...)
[secondo/perc. 1 touch harmonics on strings while primo plays on keys]
on keys
pizz.
on strings
+
°I
°II
œ
7oo2
8oo3
9oo4 o5o11
6o
bridge
range 1
range 2range 3
secondo’sstarting position
ii
(1.) colloquy/(arterial longing, discharge)
in the dark air, interfering with the projection for yarn/wire
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(2.) soliloquy/when the sun grows yellow on your tongue. . . . the world is slow to dissolve & leave us.
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