docG risaille - Anthony Vine
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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 player might choose to play with while the next duration, the player might duration, the player might choose play with normalbowing, bowing,while the next duration, thefor player might duration, the≥≤≥≤≥≤ player might choose to play with normal bowing, while innormal. the next duration, the player might while inthe duration, the player might choose toto play with normal inin next duration, the player might duration, the player might choose to play with normal bowing, while in the next duration, the player might duration, the player might choose to play with normal bowing, while in the next duration, the player might instead decide change bow direction one ortwo two timesmore morethan than necessary. instead decide toto change bow direction one two necessary. instead decide to change bow direction one oror two times more than necessary. than instead decide to change bow direction one or times necessary. instead decide to !change bowbow direction one one or two timestimes moremore than necessary. instead decide to change direction or two than necessary. Avoid extreme gestures that detract from the musical Forinstance, in that predominantly sul tasto Avoid extreme gestures that detract from the musical phrase.For instance, that predominantly sultasto tasto Avoid extreme gestures that detract from the musical phrase. For instance, atexture texture that is predominantly sul tasto inainatexture atexture Avoid extreme gestures that detract from the musical phrase. isisispredominantly Avoid extreme gestures that detract from the musical phrase. For instance, in aintexture thatthat isthat predominantly sulsul tasto Avoid extreme gestures detract from the musical phrase. For instance, in aattract texture is to predominantly sul tasto and still, do not choose apiercing piercing sul ponticello andvery very fastbow bow changes that attention the player. and still, do not choose apiercing sul ponticello and very attract attention tothe the player. and still, do not choose athat piercing sul ponticello and very fast bow changes that attract attention toplayer. the player. changes that and still, do not choose a sul ponticello and fast changes that attract attention to and still, dodo notnot choose a piercing sul ponticello and and veryvery fast bow changes that attract attention to the player. and still, choose a piercing sul ponticello fast bow changes that attract attention to the player. q BOK BOX! w Casey Grev and M Intonation System Intonation System Intonation System Intonation System Intonation System Intonation System The quartertone tuning system used in thepiece pieceisisisissort invented, pseudo-Renaissance system. The The quartertone tuning system used the piece sortofof oflike like pseudo-Renaissance system. The The The The quartertone tuning system used ininin the sort likeanan an invented, pseudo-Renaissance system. invented, quartertone tuning system used the piece invented, pseudo-Renaissance system. The The tuning system used in the piece is sort of context like invented, pseudo-Renaissance system. The Thequartertone quartertone tuning system used intuned the piece isthe sort of an likeof an invented, pseudo-Renaissance system. The quartertones must therefore be carefully tuned within each vertical sonority, like what would be done quartertones must therefore be carefully tuned within the context vertical sonority, likewhat what would be done quartertones must therefore bebe carefully within of each vertical sonority, like what would be done each quartertones must therefore carefully tuned within the context of each vertical sonority, like would be done quartertones therefore beintention carefully tuned within the context of each vertical sonority, like what would be quartertones must therefore be carefully the context ofthat eachisisisvertical sonority, like what would betotodoneto for justmust intonation. The intention totuned create a chorale-like chorale-like texture transparent and smooth, asasopposed for just intonation. The isis to create achorale-like transparent andand smooth, opposed for just intonation. The intention isisto create aa within texture that transparent smooth, asdone opposed that for just intonation. The intention to create chorale-like texture that is transparent and smooth, as opposed to forforjust intonation. intention is to a chorale-like texture that isthat transparent andnotice smooth, as opposed toit’s just intonation. The intention iscreate tosome create a“dirt”. chorale-like texture iseven transparent and smooth, as opposed to atonal tonalThe progression and adding some Theaudience really the quartertones; taking progression and adding some “dirt”. The audience shouldn’t really notice the quartertones; taking ataking tonal progression and adding “dirt”. The shouldn’t even really notice the quartertones; even taking a atonal progression and adding some “dirt”. The audience shouldn’t even really notice the quartertones; it’sit’s it’s taking amore tonal progression and adding some “dirt”. The audience shouldn’t even really notice the quartertones; it’s taking a tonal progression and adding “dirt”. The audience shouldn’t even really notice quartertones; it’s about hearing aharmony harmony that issome familiar butsomehow somehow a little strange, as ititifitif were based on athe scale from some more about hearing a that is familiar but somehow little were based on a scale from somesome more about hearing a harmony that is familiar but a strange, as if were based on a scale from strange, as more about hearing a harmony that is familiar but somehow a little strange, as it if were based on a scale from some more about hearing a culture. harmony thatthat is familiar but somehow a little strange, as it ifaswere on a scale more about hearing a harmony is familiar but somehow a little strange, it ifbased were based on afrom scalesome from some other period or culture. other period other period or culture. other period ororculture. other period or or culture. other period culture. s # ss ,, Œ o ‰ o o s , ™ , ,, ë mf – – ‰Bµs s , , o mf – ,, o – Ó Œ ,, p$ ∑ s s , o p$> 6 ‰ Œ ëf ,, ™™ µ, , o , , ™™ o Seattle, Was Ó o ,, ,, ™™ ,, ™™ o mp , , ™™ ,, ∑ , Ó Ó™ ∑ o∑ o ppp ∑ o 4J ÷ 4 ÷ Tbn. I ÷ Vc. resonance. ∑ & Œ 4 ∑ Ó mf Celeste Cb. ¢÷ 3 mp palm clusters˙ through 1 f œ the instrument Œ ‰ air through theærange ofæthe instrument æ æ æJ æ j Electric Frother: place the vibrating blades of æ1the ffrother on the -æ -æ highest ¿ & æ o mf strings piano to produce a buzzing sound. is ∑ of the ∑ ffThe frother gesture Ó Cb. ¢÷ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ air through the instrument fff fast j ? Œ notated with 77 ¿ a “z” on the stem. ° Tbn. II ÷ Vln. II ÷ æ∑ C Tpt. II ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ° Vln. I ÷ ∑ trill with the f-attachment on the lowest note possible ∑ ? p 2A 4 Ó ∑ behind the bridge col legno, half wood half bow hair slow æ! ææ mf ææ 3 4 f.t. ææ ææ ææ æ æ electric frother buzz on highest strings 1 o air through the instrument ææj ∑ ææ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 7 (move? along strings) ° Vla. ÷ ∑ Œ fff ÷I ÷ ¿ Ó B. Tbn. Vln. ∑ œœ ° p mf o ff o p mf mf sub. pp air through the instrument l with the f-attachment ? n the lowest note possible Vc. ¿ Move along strings: buzz gradually detune the E string while bowing Tba. ¢÷ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Œ (mf) poco until the string offmfthe bridgethe down theff medium begins to fall fast blades up andslow roll china cymbal on top of drum (medium) o ÷ mf p Vln. II highestæ register of the piano. ? °? ææ nœææ ææ ææ ææ ææ œ ææ ææ ∑ ææ ææ ææ ææ ææ ææ ææ Œ ææ ææ Timp. æ ∑ ¢ l with the f-attachment n the lowest note possible sul pont. (onppthe bridge) Cb. ¢ ææ slow p ? ∑ „ / Perc. II ææ Perc. III ææ 3:2e æ œæ Snare Drum with wire brushes slow poco p ææ Vc. & ææ æ Perc. IVæ Cb. / ¢ medium Pn. I °÷ ææ Pn. II ‚ p sul E sul pont. - p ææ 77 ÷ 1> 1 ææ medium fast medium æ ææ ¢÷ œæ æ æmf mf ∑ ∑ mp ææ ææ pp ¢÷ 1 1 Vla. æ Œ æ p ææ ∑ 1 ∑ Cb. ∑ ∑ 6 ææ ææ 77 æ p p ææ - ææ 3:2e - æ slow p p ææ slow p 1 ææ 1> 1 ææ sff poco mf æ medium f sf 21 ææ medium f ææ pp ° ææVln. I æ ÷ pp mp 24 slow fff unmetered p pp p slow æ Yæ / Œ poco medium Celeste: ∑ pp mp ææ ææ Suspended Cymbal let ring slow slow ¿ The celesteŒ sounds∑ two octaves higher than written. ææ f ææ ææ ææ mf ææÓ pp – – – 2 f && Perc. B 3 / 444 /pVln. I Perc. I f f behind the bridge as fast as possible Perc. III / ææ Ó ÷ Vla. slow ææ -6 slow æj as fast as possible E A D G Vla. DG p 3 C ! ÷ ÷ p Perc. Violoncello 4 / 4 4 25 ff ÷ ° Vln. I & o4 n i s s ææ 4 4 1 1 - mf 2 4C ææ sff - ¢÷ ææ medium slow 3:2e 1 f p Bowing techniques poco sf æj ææ p 7 ord. div. slow ææ ææ f p 7 Œ ‰ J Sul Ponticello (onb˙˙the bridge): literally move p sf p the bow on top of the bridge. The bow hair shouldunmetered slow be divided slow in the middle by the bridge with half col legno tratto, only wood fast 7 7 7 the bow hair ææ above the bridge ææ and half the hair 7 p ff below the bridge. p pp o (pp) 4 / 48 u c Perc. r Pe3 3 sul pont. ææ ∑ Crash Cymbal harmonic scrape with bead of snare stick scrape around the surface of the cymbal ∑ / ∑÷ A fD G C ∑÷ G Vla. DA - sul A E 1 p Ö 77 Bass >1 sul G - 1> 7 7 3 4 ¢÷ -- Defined, clear rearticulations should sff only occur on sforzando indications. sul D sul pont. All other figures should be as sustainp ? Cb. -> Cb.ed and seamless as possible. Cb. ¢ ææJ æj ¢÷ 5 G Fl. ¢÷ G Flute & 44 sff - -- p sf p sf 1 - 2 Œ p 1> sff -- sf æ œ™æ ∑ ∑ ∑ ppp 1> ∑ 1 sff f œ sff > 11 sff -> J 44 / - poco sul C - p ‰ (p) sul D sulG sff 1> J -- p ‰ Ó slow 6 !! G Fl. & Œ rc. e P Œ G Fl. & ∑ pp 1 - sul A æ œæ Œ 1> > 11 sf 1 f sharp cutsf off - mf sff mf Œ 17 && -- - p sharp cut off sharppoco cut off 1 sul G sul pont. f ∑ poco ∑ p œ7 ff poco Œ sul D sul G -- 1 mf 1 1 f -> sff 10 1 p f 1 1 - sharp cut off poco 1 >1 sharp cut off sff >sharp sff cut off -- sharp sff cut off Ó --> / ∑ - ∑ -- ∑ mf ∑ ∑ 48∑ 4 4 ∑ ? Ó ? rc. e P j 77 sul pont. ∑ bsimile O bO sul pont. p ∑ 7 p simile &∑ bbOO nO O nOO j 77 ∑ 11> ∑ ∑ ∑ ∑ ∑ ∑ ∑ p simile ? ? ∑ simile bbOO bbOO œœ œœ G Fl. nO O æææ œ col legno sharp tratto, wood only p cut off p p œœ . f.t Fl. œ - 5 nO O sharp sul pont. cut off p col p legno tratto, wood only G To G ∑ sharp sul pont. cut off sharp wood only col legno tratto, cut off p col legno tratto, wood only p Ó 1 84 / ∑ ∑ ∑ œœ 10 ∑ 4 7 4 ∑ 10 10 11 rc. e P 1 1 - sul E sul A f ∑ ∑ ∑ 1 ∑ ∑ poco f 4 4 ∑ ∑ ∑ (as fast as possible) fast sharp cut off sff sff 3 8 ∑ mf ∑ ∑ medium ∑ ∑ ∑ ∑ 4j ∑ j 4 7 7 4 ∑ f For questions regarding the performance notes or equipment needs for ʻTransmissionʼ for orchestra, please contact the composer: anthony.d.vine@gmail.com & p mf > -- ‰ p 4&∑4 f.t. To->G Fl. poco mf ∑ ppp as fast as possible 4 4∑ p ∑ f as fast as possible ff mp ∑ œ ¿ pp very lightly ∑ mp ∑÷ Vla. behind the bridge as fast as possible ∑ until the string begins to fall off the bridge ∑÷ 3 f 3 slow Left Hand:medium for all gestures slow that doÖ not involve any left hand specifications, medium ææ ææ such as playing behind the bridge, the performer æmust mute the strings ææwith mf f f their left hand. This is extremely important to achieve the desired timbrep of slow slow the col legno tratto and other bowing techniques.medium 1 ææ · Ö4 7fifififi œ fifififififififififififi7 °÷ ∑ ∑ ∑ gradually detune the E string while∑ bowing ° Vln. I ∑ ÷ j j 77 II /77 Perc. 5 p ÷ poco poco p poco 44 Glissandi Passages: glissando figures with the highest- note possible and sff p ææ ææ lowest note possible ææ p sff noteheads should bep realized with(p) variable p precision in (mp) fp mp regards to pitch, but not rhythm. ff Celeste ord. Vc. 1> 1 1> 1 Vc. palm clusters through 1 1 the range of the instrument æ 7 æ 1 ææ 7 The dynamic shifts and rhythmic & ‰ ææ Œ -æ -æ ææ Ó J Vln. II & 2& ææ ææ o p sf devices should be closely adhered fff ° p sff p p poco p (p) sff ° 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”: “Palm 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. ? Cb. contour of the line. contour of the line. Vc. Cb. 4 f ææ B poco 3 4 Radio (mixture) medium ff 3:2e mp æ ‰ slow 3 pont. (on the bridge)) „ Large Soft Mallets: roll two large bass (sul drum mallets on the lowest strings of slow p transparent æ ææ æJ Thundersheet Tam Tam scrape with piece of metalA f p soft mallets let ring Strings ord. mf œ Ö 77 ‰ poco sul pont. (on the bridge) 1 slow fixed pitch) 7 Ó™(stationary, j œ œ œ œ œ œ ‰ o 2 q = 60 4C medium 1 1 ææ - bœ ææ °÷ 77 ™ down &&bow symbol and a77 bracket. 77 o double ° Vln. pI mp Unwinding String (contrabasses only): unwind the ? Snare Drum snare sticks æj E string until the string can barelyf stay attached to the Ó Œ ‰ œæ Perc. IV ¢ / mp bridge and has a wavering, toneless sound. Stationary, fixed 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 œæ 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 œæ 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. &
