Aeolian Harp - Common Music

The Aeolian Harp
for piano and computer generated tape
Heinrich Taube
duration: 22' 30"
Special Symbols
3
Unpitched
sound.
Tape gesture
continues.
Measured
glissando.
Rapid (unmeasured)
tremolo.
Chromatic set.
Smooth accellerando. Notated rhythm
should not be performed literally.
More attacks may be added if it results
in a smoother effect.
Modal set.
Accidentals apply through measure.
6/4 and 6/8 do not express compound division.
Equipment
8 channel mixer
ADAT
Reverb unit
Stereo mics
Speakers
Optional click light (available from composer)
Mics
Click Light
About the Click Light
The click light is a small, dual color LED that can be
fixed to the piano's music stand to provide visual timing
cues from a click track recorded on a third ADAT
channel. The light displays the pulse and meter of the
performer's part, blinking red on downbeats and green
on secondary beats. During unmeasured sections of
tape solo the light blinks seconds. Alternately, the
performer can listen to the click track using a single
earphone, or not use the click track at all.
ADAT
Reverb
Mixer
Speakers
Acknowledgements
The harmonic and melodic structures in the piece were derived primarily through Frequency Modulation
(John Chowning). The tape and piano parts were written using Common Music (Rick Taube). The
audio tape was realized using CLM (Bill Schottstaedt).
The Aeolian Harp
In loving memory of my sister, Marianna Christine Taube, 1949-1997.
Heinrich Taube
=
*
evenly, like a tolling bell
with quiet intensity
Piano
72"
* Fingernail glissando to the melodic tone.
9:8
6
1
Pedal as needed, alway resonant.
9:8
9:8
9:8
12
5
5
=
17
subito
3:2
3:2
3:2
3:2
3:2
3:2
5:4
3:2
3:2
5:4
23
3:2
l.h.
l.h.
3:2
2
3:2
29
3:2
*
=
*
**
*
* This measure has 5.5 beats in
the click track to account for the
fermata. The half-beat should be
considered a quarter note pick up
to the next section.
* Strums in this section should be crisp and accented.
Activate the left hand's Ab last and most prominantly.
**Metric grouping in this section is indicated by slur.
Bar lines are provided only for convieniece.
35
39
43
3
47
51
55
59
4
63
67
72
76
5
80
84
89
cres.
=
92
*
*
* Position right hand on white notes and left hand on black notes.
Tremolo very rapidly while moving hands toward the ending point.
5
5
5
5
5
5
*
* This strum should sound like the
conclusion of the upward gesture.
(Tape fade.)
6
99
3
=
cantabile
*
* Bring out upper tones melodically.
3:2
3:2
107
3:2
3:2
113
rit.
119
*
=
teneramente
6
7
6
(Tape fade, click light off. Piano solo to 206.)
The run should "emerge" from the tremolo, ie. make a
smooth transition so the downward and upward motion
sounds like a single gesture.
7
6
7
6
7
7
7
127
9
9
10
136
10
ritard.
10
11
10
10
11
10
144
a tempo
*
espressivo
6
12
150
65
60
* A distant memory of Schumann's Chopin. Each measure lasts 3" (so the more notes in a measure the
faster they are to be played). The italicized number under each measure indicates the metronome
marking for a quarter note at the proper speed.
55
60
8
60
7
9
7
155
60
50
80
55
6
7
9
*
159
95
75
55
80 (1/2 measure)
70
9
15
164
70
60
115
75
19
16
10
168
55
70
9
9
10
173
poco a poco accel. e cres.
=
178
184
191
10
or faster
ritard.
199
206
=
3
3
3
3
(Tape and click light on.)
213
3
3
3
3
**
*
216
(Tape fade.)
3
3
3
Repeat 3 times, decrescendo applies over all twelve beats.
3
8"
*
* Continue rapid activity but
apply to random selection of
any chromatic pitch within
each hand's octave range.
11
**
8"
16"
** Gradually make attack times more random and slow to roughly 8th note
motion by the end of the tape sounds. Smoothly transition from the chromatic
set to the ending subset. Continue activity for a few seconds past the last tape
sound.
2"
221
molto cres.
224
*
5
* Reduce speed of tremolo and gradually blend
with tape sounds (notation is only approximate).
229
*
* The accelerando should connect to the strums.
The strums should be broad and harp-like.
12
236
3
5
3
5
3
cres.
3
3
3
3
3
5
242
3:2
3
3
molto cres.
3
245
5
3
3:2
molto
*
*
* Tremolo should accelerate through first measure.
a tempo
ritard.
9:8
quasi improvisitory
3
3
3
251
9:8
(Tape fade, click light off on downbeat.
Piano solo to 259.)
13
3:2
255
3
3
6
3:2
3
259
3
3
3
3
=
(Tape and click light on.)
3
3
266
7
3
10
7
3
9
272
3
6
6
3
14
3
9
7
277
3
3
3
3
3
3
9
3
282
7
3
3
3
3
3
3
287
3
3
3
3
293
15
3
3
3
299
3
3
3
303
=
Zen Sho Kada
307
Visions Fugitives VII (Arpa), Serge Prokofiev
Forearm strikes
76"
4"
20"
16
4"
315
315
320
320
3:2
3:2
326
*
6"
6
12"
3:2
* Always legato and
with a slight stress on
the downbeats.
17
7
6
6
7
336
7
7
7
7
7
7
7
9
9
345
9
10
9
10
10
352
10
10
358
10
9
11
12
3:2
18
366
3:2
3:2
373
(Mumbled prayer.)
373
*
8"
(Tape and click light off.)
* Remain stationary with hands in
position until tape fades to silence.
19