G risaille - Anthony Vine

Transcription

G risaille - Anthony Vine
!!
!
!
!
!
!!
!
!
!
Performance Notes:
Notation
de
quarts
de
ton/Quartertone
Notation
Notation
dequarts
quarts
de
ton/Quartertone
Notation
Notation
de
quarts
dede
ton/Quartertone
Notation
Notation
de
quarts
de
ton/Quartertone
Notation
Notation
dede
quarts
ton/Quartertone
Notation
Notation
de
ton/Quartertone
Notation
-3/4
-1/4
+1/4
+3/4
Indications
en
boîtes
Indications
en
boîtes
Indications
en
boîtes
Indications
en
boîtes
Indications
en
boîtes
Indications
en
boîtes
Quarter
Tones: The quarter tones are not to be interpreted precisely. They
Choisir
lerépertoire
répertoire
de
gestes
dans
la
boîte
pourcréer
unetexture
qui
légèrement
au
cours
de
Choisir
parmi
le
de
gestes
dans
boîte
sese
légèrement
de
Choisir
parmi
lerépertoire
de
gestes
dans
boîte
pour
créer
texture
transforme
légèrement
aucours
cours
Choisir
parmi
lerépertoire
gestes
dans
lala
boîte
pour
créer
une
texture
transforme
légèrement
au
cours
delala
qui
setransforme
Choisir
parmi
leparmi
dede
gestes
dans
la
boîte
pourpour
créer
uneune
texture
quiqui
se
transforme
légèrement
auau
cours
de
ladelalalade
Choisir
parmi
lerépertoire
répertoire
de
gestes
dans
lala
boîte
pour
créer
une
setransforme
transforme
légèrement
au
cours
should
merely
resemble
anqui
out-of-tune
effect.
phrase.
Combiner
à volonté
indépendamment;
changer
gesteà àtoutes
toutes
1-4durées
duréesrythmiques.
rythmiques.
Parexemple:
exemple:
phrase.
Combiner
à volonté
et et
indépendamment;
changer
dedegeste
lesles1-4
Par
phrase.
Combiner
à volonté
et
indépendamment;
changer
de geste
geste
àààtoutes
les
1-4
durées
rythmiques.
exemple:
phrase.
Combiner
changer
de
toutes
les
1-4
durées
rythmiques.
Parexemple:
exemple:
phrase.
Combiner
ààvolonté
etet
indépendamment;
changer
de geste
à toutes
les 1-4
durées
rythmiques.
Par Par
exemple:
phrase.
Combiner
àvolonté
volonté
etindépendamment;
indépendamment;
changer
de
geste
toutes
les
1-4
durées
rythmiques.
Par
r
poco
s.p.
molto
s.t.
signifie
la
gamme
de
positions
d’archet
entre
légèrement
vers
le
pont
et
très
loin
sur
poco
molto
s.t.
signifie
lagamme
gamme
d’archet
entre
légèrement
vers
lelepont
et
rpoco
poco
s.p. molto
molto
s.t.
signifie
lagamme
gamme
depositions
positions
légèrement
vers
pont
ettrès
très
loin
sur
rr r rpoco
s.p.
molto
signifie
lala
de
positions
d’archet
entre
légèrement
vers
pont
etloin
très
loin
surlala
entre
poco
s.p.
s.t.s.t.
signifie
la gamme
de positions
d’archet
entre
légèrement
vers
levers
pont
très
loin
sursur
la lalala
s.p.s.p.
molto
s.t.
signifie
de
positions
d’archet
entre
légèrement
leleetpont
et
très
loin
sur
Slap
Tongue
touche.
Donc
poco
sul
ponticello,
ordinario,
poco
sul
sul
molto
sul
tasto,
et
toutes
les
positions
entre.
touche.
Donc
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
sul
tasto,
molto
sul
tasto,
et
toutes
les
positions
entre.
touche.
Donc
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
tasto,
tasto,
et
toutes
les
positions
entre.
touche.
Donc
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
sul
tasto,
molto
sul
tasto,
et
toutes
les
positions
entre.
molto
sul
touche.
Donc
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
sul
tasto,
molto
sul
tasto,
et
toutes
les
positions
entre.
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
open slap tongue: the embouchure is opened abruptly and
≥!≤ ≥≤≥≤≥≤
≥≤≥≤≥≤
signifie
les
variations
dans
lafréquence
fréquence
de
changements
d’archet.
Donc
pour
une
durée
rr≥!≤≥!≤
≥!≤
≥≤≥≤≥≤
signifie
variations
dans
changements
d’archet.
Donc
pour
une
durée
rr r r≥!≤
≥!≤
≥≤≥≤≥≤
signifie
variations
dans
lalala
fréquence
de
changements
d’archet.
Donc
pour
une
durée
≥≤≥≤≥≤
signifie
lesles
variations
dans
la
d’archet.
Donc
pour
une
durée
signifie
lesles
variations
dans
la fréquence
de de
changements
d’archet.
Donc
pour
une
durée
≥≤≥≤≥≤
signifie
les
variations
dans
fréquence
dechangements
changements
d’archet.
Donc
pour
une
durée
completely
atd’habitude,
the
moment
of
attack,
producing
apeut-être
strong,
rythmique,
on
peut
choisir
de
jouer
comme
d’habitude,
dans
la
prochaine
durée,
peut-être
qu’on
choisit
rythmique,
on
peut
choisir
de
jouer
comme
d’habitude,
mais
prochaine
durée,
peut-être
qu’on
choisit
rythmique,
on
peut
choisir
de
jouer
comme
d’habitude,
mais
dans
la
prochaine
durée,
qu’on
choisit
dans
la
rythmique,
on
peut
choisir
de
jouer
comme
d’habitude,
mais
dans
la
prochaine
durée,
peut-être
qu’on
choisit
rythmique,
on
peut
choisir
de
jouer
comme
mais
dans
la
prochaine
durée,
peut-être
qu’on
choisit
rythmique, on peut choisir de jouer comme d’habitude, mais dans la prochaine durée, peut-être qu’on choisit
changer
de
direction
d’archet
une
ou
deuxfois
foisplus
percussive,
truncated,
forceful
sound.
dede
changer
de
direction
d’archet
une
ou
deux
fois
plusque
quenécessaire.
nécessaire.
dede
changer
dede
direction
d’archet
ou
deux
fois
plus
que
nécessaire.
de
changer
dedirection
direction
d’archet
une
ou
deux
changer
de
direction
d’archet
uneune
ou
deux
fois
plus
que
nécessaire.
changer
d’archet
une
ou
deux
fois
plus
que
nécessaire.
Éviter
les
gestes
extrêmes
qui
nuisent
la
phrase
musicale.
Par exemple,
dans
une
texture
principalement
sul
tasto
Éviter
les
gestes
extrêmes
qui
nuisent
phrase
musicale.
une
texture
principalement
sultasto
tasto
Éviter
les
gestes
extrêmes
qui
nuisent
laàla
phrase
musicale.
Par
exemple,
dans
une
texture
principalement
sultasto
tasto
dans
Éviter
les
gestes
extrêmes
qui
nuisent
laà la
phrase
musicale.
dans
une
texture
principalement
Éviter
les
gestes
extrêmes
qui
nuisent
à laàààphrase
musicale.
ParPar
exemple,
dans
une
texture
principalement
sulsul
tasto
Éviter
les
gestes
extrêmes
qui
nuisent
phrase
musicale.
Parexemple,
exemple,
dans
une
texture
principalement
sul
ettranquille,
tranquille,
ne
choisissez
pas
un
sul
ponticello
extrêmement
des
changements
d’archet
très
rapides
qui
ne
choisissez
pas
ponticello
extrêmement
perçant
changements
d’archet
très
rapides
qui
et
tranquille,
ne
choisissez
pas
un
sul
ponticello
extrêmement
perçant
et
des
changements
d’archet
très
rapides
qui
etet
des
Grace
Notes:
All
grace
notes
should
be
played
as
fast as
possible.
Every
grace
etettranquille,
nechoisissez
choisissez
pas
unun
sulsul
ponticello
extrêmement
perçant
etet
des
changements
d’archet
très
rapides
qui
etet
tranquille,
ne
choisissez
pas
un
sul
ponticello
extrêmement
perçant
et des
changements
d’archet
très
rapides
qui
tranquille,
ne
pas
un
sul
ponticello
extrêmement
perçant
des
changements
d’archet
très
rapides
qui
attirent
l’attention
àl’interprète.
l’interprète.
attirent
l’attention
à
attirent
l’attention
à
l’interprète.
attirent
l’attention
à
l’interprète.
note
figure
should
occur
before
the
beat.
attirent
l’attention
à
l’interprète.
attirent l’attention à l’interprète.
Système
d’intonation
Système
d’intonation
Système
d’intonation
Système
d’intonation
Système
d’intonation
Système
d’intonation
Multiphonics:
Mdedede
Le
système
d’intonation
de
quarts
de
tons
est
unpeu
peucomme
pseudo-Renaissance
inventé.
Les
quarts
système
d’intonation
de
quarts
tons
peu
commeunun
système
pseudo-Renaissance
inventé.
Lesquarts
quarts
Le système
d’intonation
dede
quarts
tons
est
unun
peu
comme
unsystème
système
pseudo-Renaissance
inventé.
Les quarts
LeLe
système
d’intonation
quarts
tons
estest
pseudo-Renaissance
inventé.
Les
LeLesystème
d’intonation
de de
quarts
de tons
est un
comme
un système
pseudo-Renaissance
inventé.inventé.
Les quarts
système
d’intonation
quarts
de tons
estpeu
un peu
comme
un système
pseudo-Renaissance
Les quarts
tons
doivent
donc
être
bien
accordés
dans
lecontexte
contexte
sonorité
verticale,
comme
on
leleon
ferait
pour
dede
tons
doivent
donc
être
bien
accordés
dans
contexte
dechaque
chaque
verticale,
comme
onle
ferait
pourpour
de
doivent
donc
être
bien
accordés
dans
lelele
contexte
chaque
sonorité
verticale,
comme
ferait
pour
sonorité
de
tons
doivent
donc
être
bien
accordés
dans
dede
sonorité
verticale,
comme
ferait
pour
dedetons
tons
doivent
donc
être
bien
accordés
dans
le
contexte
de chaque
sonorité
verticale,
comme
onon
le
ferait
tons
doivent
donc
être
bien
accordés
dans
contexte
de
chaque
sonorité
verticale,
comme
on
lelepour
ferait
une
intonation
juste.
L’intention
c’est
de
créer
une
texture
de
chorale
claire
et
lisse,
pas
de
“salir”
une
progression
uneintonation
intonation
juste.
L’intention
c’est
de
créer
unetexture
texture
paspas
de“salir”
“salir”
une
progression
une
intonation
juste.
L’intention
c’est
de
créer
une
texture
dechorale
chorale
claire
etlisse,
lisse,
de
“salir”
une
progression
claire
et
une
juste.
L’intention
c’est
de
créer
une
de
claire
et
lisse,
pas
de
une
progression
une
intonation
juste.
L’intention
c’est
de
créer
une
texture
de
chorale
claire
et
lisse,
pas
de
“salir”
une
progression
une intonation juste. L’intention c’est de créer une texture de chorale claire et lisse, pas de “salir” une progression
autrement
tonale.
Le
public
ne
devrait
pas
tellement
quarts
de
tons;
c’est
plutôt
question
de
faire
autrement
tonale.
Le
public
devrait
pas
tellement
remarquer
les
tons;
c’est
plutôt
question
defaire
faire
autrement
tonale.
Lepublic
public
devrait
tellement
remarquer
les
quarts
tons;
c’est
plutôt
question
de faire
quarts
dede
autrement
tonale.
public
nene
devrait
pas
tellement
remarquer
quarts
tons;
c’est
plutôt
question
autrement
tonale.
Le
nene
devrait
paspas
tellement
remarquer
les les
quarts
de de
tons;
c’est
plutôt
question
dede
faire
Program
Notes:
autrement
tonale.
LeLepublic
ne
devrait
pas
tellement
remarquer
les
quarts
de
tons;
c’est
plutôt
question
de faire
l’expérience
d’une
harmonie
familière
mais
unpeu
peuétrange,
étrange,comme
commesisisisi
elle
consistait
d’une
gamme
d’une
autre
l’expérience
d’une
harmonie
familière
mais
un
peu
consistait
d’une
gamme
d’une
autreautre
l’expérience
d’une
harmonie
familière
mais
un
peu
étrange,
comme
elle
consistait
d’une
gamme
d’une
elle
l’expérience
d’une
harmonie
familière
mais
un
elle
consistait
d’une
gamme
d’une
autre
l’expérience
d’une
harmonie
familière
mais
un
peu
étrange,
comme
si
elle
consistait
d’une
gamme
d’une
autre
l’expérience ! d’une harmonie
– familière mais un peu étrange, comme si elle consistait d’une gamme d’une autre
époque
ou
culture.
époque
ou
culture.
époque
ouculture.
culture.
époque
culture.
époque
ou
époque
ouou
culture.
The material of BOK BOX! is derived from a series of Messiaen-like transcriptions
Instructions
Boxes
Instructions
inin
Boxes
Instructions
inBoxes
Boxes
Instructions
inBoxes
Boxes
of
domesticated
chickens. I present these transcriptions in their literal forms, as
Instructions
in
Instructions
in
!between
Choose
the
various
techniques
in
theboxes
boxesinin
create
that
changes
slightly
from
one
Choose
between
the
various
techniques
in
the
boxes
inthat
order
to
texture
that
changes
slightly
from
one one
Choose
between
the
various
techniques
in
the
boxes
order
tocreate
create
atexture
texture
that
changes
slightly
from
create
well
as
many
“boks”
“clucks”
stretched,
compressed,
reversed,
Choose
between
the
various
techniques
in
toare
a aatexture
changes
slightly
from
one
Choose
between
the
various
techniques
inand
the
boxes
in order
to create
a texture
thatthat
changes
slightly
from
one
Choose
between
the various
techniques
inatthe
the
boxes
inorder
order
to create
a texture
that
changes
slightly
from
oneetc.
rhythmic
duration
to
the
next.
Combine
willand
andindependently,
independently,
changing
techniques
every
1-4
durations.
For
rhythmic
duration
to
the
next.
Combine
at
will
and
techniques
every
1-4
durations.
rhythmic
duration
to
the
next.
Combine
at
will
and
independently,
changing
techniques
every
1-4
durations.
For
changing
rhythmic
duration
to
the
next.
Combine
at
will
changing
techniques
every
1-4
durations.
For
Thetoform
of
the
work
attempts
to parallel
the
life of
these
animals
from
organic
rhythmic
duration
thethe
next.
Combine
at will
and and
independently,
changing
techniques
every 1-4
durations.
ForFor
rhythmic
duration
to
next.
Combine
at
will
independently,
changing
techniques
every
1-4
durations.
For
example:
example:
example:
example:
example:
example:
existence to eventual agricultural processing.
rpoco
poco
s.p. molto
molto
s.t.indicates
indicates
the
entire
rangeof
bowpositions
positionsbetween
between
slightly
toward
the
bridge
and
very
poco
s.p.
molto
s.t.
indicates
the
entire
range
slightly
toward
thebridge
bridge
and
very
rr poco
s.p.
entire
range
ofofbow
bow
positions
between
slightly
toward
the
bridge
and very
between
rr
s.p.
molto
s.t.indicates
the
entire
range
slightly
toward
and
very
poco
s.p.
molto
s.t.s.t.
indicates
thethe
entire
range
of bow
positions
between
slightly
toward
thethe
bridge
and
very
r far
poco
s.p.
molto
s.t.
indicates
the
entire
range
of bow
positions
between
slightly
toward
the
and very
far
up
the
fingerboard.
Therefore,
poco
sul
ponticello,
poco
sul
tasto,
sul
tasto,
molto
sul
tasto,
and
every
far
up
the
fingerboard.
Therefore,
poco
sul
ponticello,
ordinario,
tasto,
sul
tasto,
molto
sultasto,
tasto,
andevery
every
up
the
fingerboard.
Therefore,
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
sul
tasto,
molto
sulbridge
tasto,
and
every
poco
sul
far
up
the
fingerboard.
Therefore,
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
sul
tasto,
molto
sul
and
farfar
upup
thethe
fingerboard.
Therefore,
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
sul
tasto,
molto
sul
tasto,
and
every
fingerboard.
Therefore,
poco
sul
ponticello,
ordinario,
poco
sul
tasto,
sul
tasto,
molto
sul
tasto,
and
every
!between.
position
in
between.
position
inbetween.
position
in between.
position
in
position
in
between.
position in between.
≥!≤ ≥≤≥≤≥≤
≥≤≥≤≥≤
indicates
making
bow
changesmore
than
normal.
Therefore,
for
one
rhythmic
rr ≥!≤
≥≤≥≤≥≤
indicates
making
bow
changes
morefrequently
frequentlythan
normal.
Therefore,
forone
onerhythmic
rhythmic
r r≥!≤
indicates
making
bow
changes
more
frequently
than
normal.
Therefore,
for
one
rhythmic
than
indicates
making
changes
normal.
Therefore,
r r ≥!≤≥!≤≥!≤duration,
≥≤≥≤≥≤≥≤≥≤≥≤
indicates
making
bowbow
changes
moremore
frequently
than
normal.
Therefore,
forfor
one
rhythmic
indicates
making
bow
changes
frequently
than
Therefore,
one
rhythmic
the
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while
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play
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the
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thefor
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the≥≤≥≤≥≤
player
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next
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change
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ortwo
two
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morethan
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instead
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oror
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than
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that
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atexture
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atexture
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isthat
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apiercing
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athat
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fast bow
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BOK BOX! w
Casey Grev and M
Intonation
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Intonation
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Intonation
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The
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quartertone
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isthe
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chorale-like
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For questions regarding the performance notes or equipment needs
for ʻTransmissionʼ for orchestra, please contact the composer:
[email protected]
&
p
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4&∑4
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behind the bridge
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slow
Left Hand:medium
for all gestures slow
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left hand specifications,
medium
ææ
ææ
such as playing
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mf
f
f
their left hand.
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slow
slow
the col legno tratto and
other bowing techniques.medium
1
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7fifififi
œ fifififififififififififi7
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77 II /77
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p
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poco
p
poco
44
Glissandi Passages: glissando figures with the highest- note possible
and
sff
p
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ææ
p
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noteheads should bep realized
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fp
mp
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1>
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palm clusters through
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the range of the instrument æ
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&
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fff
°
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p
p
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sff
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unmetered
to. As stated in the general
electric frother
slow
1
buzz on highest strings
Vc.1
Vc.performance notes, the stems do
1
1
col legno tratto, only wood
∑ fast
7 (move along strings)
7 (stationary, fixed pitch)
7
∑ move
Vla. B
“Rapid finger movement”:
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clusters”:
with
the
palms
7
7
-fff
not refer to (re)articulations. They
7
7
7
æ
sff
the æfingers in rapid and random
face down,°rapidly hit the keys with
mf
(mf)
show the rhythmic duration of an
ff
sul A
p the
1
chromatic figurations following
the palms in
with the
11
11
q accordance
= 60 a tempo
elongated glissando.
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contour
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contour of the line.
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4
f
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B
poco
3
4
Radio (mixture)
medium
ff
3:2e
mp
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‰
slow
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Large Soft Mallets: roll two large bass (sul
drum
mallets
on the lowest
strings of
slow
p transparent
æ
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æJ Thundersheet
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scrape with piece of metalA
f
p
soft mallets
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ord.
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77
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1
slow fixed pitch)
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j
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1
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77
o
double
°
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Unwinding
String (contrabasses only): unwind the
?
Snare Drum
snare sticks
æj
E string until the string can barelyf stay attached to the
Ó
Œ
‰
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Perc. IV ¢ /
mp
bridge and has a wavering, toneless
sound.
Stationary,
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Vln.
II
p
Vln.
II
a tempo
o
as fast
pitch: consistently buzz slow
slow
fast
as possible
Staff:
° and quasi-pitched (behind the bridge)
7 Four Line
7
7 all of the unpitched
on any pitch
in this
Pn. I ÷
ææ
æ
æ
æ
nœ
æ
string ænotationæis realized on a four note staff. The staff corresponds to the
œ the
Follow
register.æ If blades are
œthe œcontour
œ mfof
Ͼ
fœ
f
ff
Vln.
II
pp
mf
f
medium
Vln. II
four
strings
of
the
given
string
instrument.
graphic.æ
Radio (anytoo
station) wide, more than
ææ
volume swells
sul pont. (on the bridge)
fast
æ
slow
slow
77
77
one
pitch
≈œ
≈77
œ may4 be77 4
77 œææ f
77
4
4
·
Viola
p
Pn. II ¢÷
Violin
ææ
selected.
roll china cymbal on top of drum
4 2
4 4
slow
-
poco mf
¢÷
b˙ soft mallets
æ
Ͼ
mp
col legno tratto, half wood half bow hair
sf
slow
mf
÷
÷
œ
Œ
ææ
ff
Celeste
gliss. from bottom to top of the keyboard
with rapid finger movement
p
medium
÷
poco
p
f
Œ
slow
sf
Vlc.
ææj
slow
3:2e
as slow
fast as possible
slow
poco
sub. mp
slow
mf
sff
œ
slow
æ fast
œ œ œ
œthe æpiano.
œ œ
mf
f
sub. pp
°
Vln. I ÷
Vln. II
--
unmetered
medium sul pont. (on the bridge)
slow
‚
4 2
4 4
f
œ
poco
f
p
medium
p
pp
medium
mf
mp
sub. pp
f
-
?
¢sul pont.ææ(on œthe bridge)
œœ
∑
œ fifififififififififififififififi
÷
„
ææ
bœ
œ
sub. mp
Cb.
°Vla.
Perc. I /
ow hair
2
4
3
3
4Ó
p
te
u
l
F
44
&
6
G
Fl.
&
Œ
Œ
8
G
Fl.
&