Simon Christensen: UNTITLED 1 & 2 (2015/23) by Edition·S

Simon Christensen UNTITLED 1 & 2 (2015/23) Set for solo percussion Dur. 16′

For David Hildebrandt

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Composed with support from the Danish Arts Foundation. Supported by Koda’s Cultural Funds. Støttet af Kodas kulturelle midler. Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Instruments: Five drums, two hi-hats, a set of maracas and two pairs In addition, two small tables are required.

Simon Christensen UNTITLED 1 & 2 (2015/23) Set for solo percussion

Set-up:

Dur. 16′

Tom 14"

UNTITLED . . . . for percussion solo 1.Hihat Table

1.Tom 16"

All the drums must have a lot o This allows the shells to bounc Paper clips, attachable sizzles The tuning of all the drums sho between the highest drum and Tom 12" Tom 10’’ The sound of the two 16’’ toms

2.Hihat The Hi-hats should be damped rows PERFAttach ORMEat R least four 2.Tom 16" of pap Tab The bottom cymbal and the top the Hi-hats should only be perf

The shell shakers should be wr

Each table should have two set The choice of sticks or mallets PERFORMANCE NOTES Instruments: Five drums and two hi-hats All the drums must have a lot of single shells attached to the skin close to The two pieces might be perfo This allows the shells to bounce on the skin of the drum creating a "rattle" Paper clips, attachable sizzles or other objects that makes InInstrumentation addition, two small tables are required. TITLskin ED rattle, #1 . . : Notation for UNthe Five drums, two hi-hats, a set of maracas and two pairs of shell shakers. The tuning of all the drums should be fairly low and close in sounding "pitc Two small tables are also required. 1.Tom 16" and Tom 10" should b between the highest drum and the lowest drum. andthe Tom 14"ofshould The sound of the two 16’’ toms should differ2.Tom slightly16" from rest the drb Tom 12" can be performed with Set-up: The Hi-hats should be damped with duct tape or similar to make a fairly dr Tom 14″ Tom 12″ Tom 10″ Attach at least four rows of paperclips or sizzles to each of the Hi-hats, all Hi-hat 1 Hi-hat 2 Set-up: Tom 14" Tom 12" Tom 10" The bottom cymbal and the top cymbal should not touch each after being the Hi-hats should only be performed with the feet, except the ending of U Table

Table

Hihat 1

Tom 16″

Tom 16"

Performer

Tom 16″

PERFORMER

Table Hihat 2

The shell shakers should be wrapped around the wrist on each hand, but o

Each16" table should have two sets of mallets or regular drumsticks lying read Tom Table

ofthe sticks or mallets is up to the performer - brushes should All the drums must have a lot of single shells attached to the skin close toThe the choice edges of drums. Single shells: Shell be shaa The two pieces might be performed together, but they can also be perform This allows the shells to bounce on the skin of the drum creating a ‘rattle’ like sound. Paper clips, attachable sizzles, or other objects that make the skin rattle may also be used. Use ambassador skin Notation for UNTITLED #1 . . : on the drums. 1.Tom 16" and Tom 10" should be performed with the right hand, the 1.Hi-ha 2.Tom and Tom 14" should be performed with the left hand, the 2.Hi-ha The tuning of all the drums should be fairly low and close in sounding ‘pitch’: the 16" maximum range Tom 12" be performed must not exceed a major third between the highest drum and the lowest drum. Thecan sound of the two with both hands; upward stem indicates right h The Tomdiffer 10", slightly Tom 12" and 14"theshould have single shells attached 16″sound: toms should from theTom rest of drums;all they mayfour be tuned to the same pitch. to the skin in each corner, allowing the sh

bounce on the skin of the drum and make a kind of "rattle" sound. The Hi-hats should be damped with duct tape or similar to make a fairly dry sound. Attach at least fourtuning rows ofof paperclips or sizzles to each the Hi-hats, allowing to ‘sizzle’. "pitch". The bottom cymbal The all the drums should beoffairly low and closethem in sounding and the top cymbal should not touch each after being ‘splashed’ with the foot: the hi-hats should The player should strive for a maximum range of a minor third between the highest drum and the lowest drum. only be performed with the feet, except the ending of UNTITLED #2…

The two 16" toms may be tuned to the same pitch.

The shell shakers should be wrapped around the wrist on each hand, but only shells: Shell shakers: The Hi-hats should only be performed with the feet. They shouldSingle befor damped with duct tape to make a fairly dry sound. UNTITLED #2… The two toms 16" should each have a strap full of shells attached to the drums, allowing all the shells to bounce on the skin of the drum. Each table should have two sets of mallets or regular drumsticks lying ready for performing. The choice of sticks or mallets is up to the performer - brushes should be avoided.

Each table should have two sets of mallets or regular drum sticks lying ready for performing. The of sticks or performed mallets istogether, up to the - though brushes should be avoided. Thechoice two pieces might be butperformer they can also be performed alone. Notation for UNTITLED #1… • Tom 16″ and Tom 10″ should be performed with the right hand, the Hi-hat 1 should be NOTATION: performed with the right foot. • Tom 14″ and Tom 16″ should be performed with the left hand, the Hi-hat 2 should be Tom 16" and Tom 10" should be performed with the right hand, the Hi-hat 1 should be performed with the right foot. performed with the left foot. Tom 14" and Tom 16" should be performed with the left hand, the Hi-hat 2 should be performed with the left foot. • Tom 12″ can be performed with both hands; upward stem indicates right hand, downward stem Tomindicates 12" canleft behand. performed with both hands; upward stem indicates right hand, downward stem indicates left hand.

Untitled #1 q = 100

percussion solo Simon Christensen

j > j j> j j > j j > 3 j > ÷ 42 œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ J J J J J J J J f 5

5 5 3 5 3 j j >j >j 3 > > > > œ œ œ œ œ ÷œ œ œ œ ≈œ œ œ œ œ œ œ œ œ ≈œœ œ œ œ œ œ œ œ œ ≈ œ œ œ œœ J J J J

5 3 5 3 j j5 j j j 3 j j j j œ œ œ œ œ œ œ ÷ œ œ œ œ ≈ œ œ œ œ œ œ œ œ ≈œ œœ œ œ œ œ œ œ ≈œœ œ œœ J J J > J > > > J > >

3 3 j j j j 5 j j 3 j j 5> j > œ œ œ œ œ œ ÷ œœ œ œ ≈œ œ œ œœ œ œ œ œ ≈œ œ œ œœ œ œ œ ≈œœ œ œœ œ J J J J J J J > J > J > J > J > 5

5 3 j j j> j j > 3j > > j j j j j ÷ œ œ œ œ œ ≈ œœ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ J J J J J J J J J J J 5

5 3 3 j5 > j j > > 5 j > > ÷ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œj œ œ œ œ œj œ œj œ œ ≈ œ œ œ œ œ œ J J J J J J J J J 3

> ÷œ ‰ œ œ x ‰ œ ‰ œ œx ‰ œ ‰ œ œ 5

Left hand

Move left stick to the table on the left side in a slow motion (MOVE)

Leave stick on table and hold your hand still! (LEAVE)

> x œ >x œ x œ ≈ ‰ ‰ œœ ‰ ‰ œ ≈œ ‰ ≈œ œ

Take a new stick and move your hand in a slow motion towards the next stroke (TAKE-MOVE)

MOVE (l.h.)

LEAVE

TAKE-MOVE

> 3 > 5 >3 >5 3 43 >x x x x x x œ œ œ œ œ ÷œ ‰ ‰ ≈œ œ ‰ ≈ œ œ ‰ ‰ œ œ ≈ ‰ œ œ ‰ ≈ ‰ œ œ ≈ œ œ 5

MOVE (l.h.)

Move the right stick to the table on the right side in a slow motion

LEAVE

TAKE-MOVE

Leave stick on table and hold your hand still! (LEAVE)

Take a new stick and move your hand in a slow motion towards the next stroke (TAKE-MOVE)

œ œ ‰ œ x œ œ≈ œ x œ œ ‰ œ x œ > > 3 5 > 5

49 Right hand

MOVE (l.h.)

LEAVE

TAKE-MOVE

LEAVE TAKE-MOVE œ MOVE (r.h.) ≈œ xœ œ ≈œ x œ œ ‰ œ ≈xœ œ ‰ œx >3 > > 3 5

Simon Christensen: Untitled #1 - solo percussion 3 -

œ œ > x œ œ ÷œ œ ‰ œ x ≈œ œ‰ œ xœ œ‰ œ x œ ≈œ‰ œ x œœ ‰ œ œ ≈œ‰ ‰ œœ > 3 LEAVE MOVE (l.h.) > > > > 5

MOVE (r.h.)

LEAVE

TAKE-MOVE

LEAVE

TAKE-MOVE

>x x x x œ œ œ œ œ œ ‰ ‰ ≈ œ œ ≈ ‰ œ œ œ ‰ ‰ œ œ œ ‰ ‰ œ ≈œ œ ‰ œ≈ œ œ 5

÷ x

TAKE-MOVE

MOVE (l.h.)

LEAVE

5 > 5 3 > 5 >3 > 3 67 >x x œ ÷œ œ œ ‰ ≈ ‰œ œ œ ‰ œ ‰ œ œ ≈x œ‰ œ ≈œ œ x œ ‰ œ ‰ œ œ x œ≈ œ œ TAKE-MOVE

MOVE (l.h.)

{ e = q } q = 200

∑

TAKE-MOVE

100

43 ..

TAKE-MOVE

˙.

MOVE (r.h.)

˙.

MOVE (l.h.)

LEAVE

˙ . MOVE (r.h.)

LEAVE

˙ . MOVE (r.h.)

LEAVE

TAKE-MOVE

MOVE (l.h.)

˙ . MOVE (r.h.)

∑ ..

∑

TAKE-MOVE

˙.

TAKE-MOVE

LEAVE

∑

LEAVE

˙.

TAKE-MOVE

∑

MOVE (l.h.)

LEAVE

∑

LEAVE

TAKE-MOVE

LEAVE

˙ . MOVE (r.h.)

LEAVE

TAKE-MOVE

MOVE (l.h.)

˙ . MOVE (r.h.)

LEAVE

˙ . MOVE (r.h.)

MOVE (l.h.)

TAKE-MOVE

MOVE (l.h.)

TAKE-MOVE

˙.

MOVE (l.h.)

LEAVE

˙.

MOVE (l.h.)

˙.

∑

TAKE-MOVE

∑

LEAVE

∑ LEAVE

.. ..

{ q. = q }

TAKE-MOVE

.. 42

q = 133

5 5 3 5 3 j j >j >j 3 > > > > œ œ œ œ œ 2 ÷4 œ x ‰ ‰ ≈ œ œ x ‰ ≈ œ œ x ‰ œœx ≈ ‰ œœx ‰ ≈ ‰ œ œ x≈ œ J œ J J J J

114

MOVE (l.h.)

j x

MOVE (r.h.)

120

œ œJ J

œ œ ‰ œ J >

LEAVE

j x

TAKE-MOVE

j x

TAKE-MOVE

LEAVE

œ œ≈ œ J > J

œ œ ‰ > 5

MOVE (l.h.)

j x

MOVE (r.h.)

œ œ ≈œ > 3

j x

LEAVE

TAKE-MOVE

LEAVE

TAKE-MOVE

x x œ œ ‰ œ ≈ œ œ ‰ œ >5 J >3

MOVE (r.h.) LEAVE TAKE-MOVE 5 3 j j j œ j j j 126 œ > > x x x x œ œ ÷œ œ ‰ œ ≈œ œ‰ œ œ œ‰ œ œ œ‰ œ œœ ‰ œ œ x ≈œ‰ ‰ œœ J J J J J J J > J > > > 3 > 5 5 MOVE (l.h.)

Simon Christensen: Untitled #1 - solo percussion 4 -

LEAVE

÷ x J

132

j ‰ œj ‰ œ

5 j j> j j > 3j >j 3 j > j j œœ œ ≈œ ‰ œ œ œ ‰ œ‰ œ œ œ ‰ œ ‰ œ ≈œ œ ‰ œ≈ x x x œ x œ J J J J

TAKE-MOVE

MOVE (l.h.)

LEAVE

TAKE-MOVE

MOVE (l.h.)

3 j5 > j > 5 j > j œ œ œ ÷œ œ x œ ‰ ‰œ œ xœ ‰ ‰ œ œ ≈ x œ ‰ ≈œ œ J 3

138

TAKE-MOVE

MOVE (l.h.)

LEAVE

MOVE (l.h.)

LEAVE

5 3 j >j > j œ x œ ‰ œ ‰ œ œ x œ≈ œ J J J

3 5 3 j 5 j 3 j j5 j j j > 144 œ > œ x > œ œ x œ œ > > ÷ œ œ œ œ x œ œ œ œ œ œ œ œ x œ œ œ œ œ œ œ œj x œ œ œ œ x J J J J J J J J

>j ÷œ œ œ

150

j œ

> 5

>j œ x œ œ œ œ xœ œœ œ œ J 3

j œ

œ x œ 3 > > x œ œ œ œJ œ œJ œ œ œ x œJ œ œ œ œ 3

5 3 3 j j5 j j j 3 x j j x j j x œ œ œ œ œ œ œ ÷ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ J œ œ œ œ œ œ œ > > > J > > > J J J 5

156

> 3 j j x j j j x j j j x > j œ œ x œ œ œ œ œ ÷ œœ œ œ œ œœ œ œ œ œ œ œœ œ œ x œ œ œ J J J J œ œ œ œ œ J J > J > J > J > J J > 5 3 5 3 3 j 5 j j j > j j> œ j > œj j j 168 > œ œ œ œ x j x x x œ œ œ œ ÷ œ œ œ œ œ œ œ œ œ x J œ œ J œ œJ x J œ œJ J x œ œJ œ œJ J J J 5

162

÷x œ œ J

174

j œ

j x ÷ ‰‰ ‰ ‰ 5

180

3 5 j j > j j j > œ x œ x œ œ œ œ x œ œ œ œ x œj œ œ œ œ œ œ œ œ œ x x x J œ J œ œ œ J œ J J J J J 3

x œ

x≈ ‰

j5 œ

j œ

œ. x

x‰ ‰

j x ‰ ‰‰ 5

œ J

j œ

j x ‰‰ ‰ 3

xœ

Simon Christensen: Untitled #1 - solo percussion 5 -

j 5 j œ x œ.

j œ 3

x ‰ œ J J

j œj ‰ x ‰‰ 5

œ J

j3 œ

j œ

j œ j j œ x x x x ÷ x≈ ‰ ‰≈ ‰ x≈ ≈ ‰‰ ≈ ‰‰ x œ. œ œ œ 3

189

÷‰‰‰‰

198

÷Œ

207

‰

j œ

≈ Œ ‰ œ 5

œ œ

j œ

˙ j œ

‰ ‰ 3

x œ J o

j œ

≈

œ J œ

j œ

‰ ‰‰‰ +

xœ‰

j œ

∑ ‰ Œ ≈

œ J œ

œ J

x ‰œ + 3

j œ

‰ ‰

˙ j œ 5

‰

j5 œ

j œ

œ.

‰ ‰‰

j œ

j œ 5

‰ ‰‰

œ J œ

3 o j œ œ x ‰ ≈ œ œ J J

œ J f dim. p cresc. cresc. + 5 3 5 3 + 5 o j j j j j 214 j œ œ œ œ œ œ œ œ x x ÷x ‰ ‰ ≈ ‰ j x œ œ œ œ œ œ xJ œ ‰ œ J + 3 o f dim. p cresc. f dim. 5 > 5 3 + 5 3 o j j j 220 œ œ œ > x œ œ 3 œ œ œ œ x ÷ ‰ œ x ‰ ‰ ‰ ≈ œ œ œ œ x œ œ œ œ œ œ œ J œ > J J J + o > > f dim. p cresc. p cresc. + 3 > 5 j o >5 3 + 5 j j j 226 j œ œ œ œ x œ œ œ 3 œ x x ÷œ ‰ ≈ ‰ œ œ œ œ œ j x x œJ œ œ œ œ J œ œ > œ > J + o > > f dim. p cresc. 5 f dim. 3 5 + 5 3 > o j j> j j j œ 232 œ œ œ œ > œ 3 œ œ œ x x ÷ ‰ œ x ‰ œ ‰ œ ‰ ≈ œ x œ œ œ J J œ œ œ œ œ J œ œ > o J J J > + > p cresc. p cresc. f dim. 3 5 3 5 3 + 5 o j j j j j 238 j > > œ œ œ œ œ œ œ œ x j x ÷ œ ‰ ≈œ ≈ œ œ ‰ j œ œ œ x x œ œJ œ œ œ œ œ J œ > > > J o o f dim. p cresc. f dim. > 5 + 5 5 3 o 3 + j j j œ > œ 244 œ œ 3 œ œ œ xj œ x x ÷ ‰ ‰ x œ ‰ œ ‰ ‰ œ œ‰ x J œ œ œ J œ œ œ œ œ J + > J > J J > J J o p cresc. p cresc. f dim. Simon Christensen: Untitled #1 - solo percussion 6 -

250

> 5 œ

f dim. ÷ 12 4 ..

256

q = 266

˙.

MOVE (r.h.)

w π

÷ ..

262

÷ ..

268

÷ ..

274

280

283

j oj œ x

Ó.

MOVE (l.h.)

LEAVE

∑

TAKE-MOVE

Ó.

∑

LEAVE

˙.

MOVE (r.h.)

Ó.

˙. q = 200

˙.

Ó.

w w

Ó.

˙.

q = 150

˙. w

Ó.

˙.

∑ ∑

∑

Ó. Ó.

∑ ∑

Ó.

∑ ∑

˙.

Ó.

Ó. w

Ó.

˙. ˙.

Ó. w

Ó.

˙.

∑

Ó.

{e= q}

Ó.

Ó. w w

Ó.

∑

∑ ∑

˙. ˙.

∑ ∑

∑

MOVE (r.h.)

LEAVE

∑

∑ ∑

˙. ˙.

˙.

TAKE-MOVE

˙.

∑

LEAVE

MOVE (l.h.)

TAKE-MOVE

sempre sim.

j j j j j > œ œ œ 3 œ > œ œ œ j x 12 ‰ œ ≈ ‰ ‰ ‰ œ œ œ 4 J œ xJ J œ œ œ œ œ œ xJ > J J > J J J o + p cresc. f dim. 3

∑ ∑

LEAVE

Ó.

Ó. w

TAKE-MOVE

MOVE (l.h.)

Ó.

Ó. w w

Ó.

˙.

TAKE-MOVE

˙. ˙.

Ó. w w

Ó.

˙.

∑

MOVE (r.h.)

∑ ∑

LEAVE

Ó.

∑

LEAVE

Ó.

.. { w = h. }

Ó. Ó.

∑ ∑

Ó.

∑

Ó.

TAKE-MOVE

Ó.

∑

Ó.

{ w = h. }

∑

Ó.

∑

TAKE-MOVE

{ w = h. }

Ó.

3 5 j > > > œx x x j œ œ 2 ÷ 4 œ œ œxœ œ ≈ œ œ œ œ œ œ œ œxœ œ ≈ œ œ œ œ œ œ œ œ x œ œ ≈ œ œ œ œ œ J J J J 3 > J >f p fp p f p fp f p

286

q = 112

{ h = q. }

> > j 5 5 > ÷ œ œj œ x œ œ ≈ œ œj œ x œ œ œ œ œ œ x œ œj ≈ œ œ œ x œ œ œ œ œ œ x œj œ ≈ œ œ œ x œ œ œ J J J J > >p > f fp f p f p fp f p

292

Simon Christensen: Untitled #1 - solo percussion 7 -

5 > q = 84 298 5 > 3 x ÷ œ œ œ œ œ ≈ œ œ œ x œ œ œ œ œ œ x œ œj ≈ œ œ œ x œ œ œ œ œ œ x œ œ > > > 5 3 p f p f p f p f f p

{ h = q. }

5 > >j 3 > x j x ÷ ≈ œ œ œxœ œ œ œ œ œ œ œ ≈ œ œ œxœ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ J > > > p fp f f p f p f p f 5 q = 63 > 3 5 j x j > j j j 308 5 3 x x x ÷ ‰ œ œ œ ‰ x œ œ œ œ œ œ ‰ œ œxœ œ œœ ≈xœ œ œ œ œ œ ‰ œ J J J > > p f f f p p f p 303

> j x j j 3 ÷ x œ œ œ œ œ ≈ œ œ œx œ œ x œ ‰ œxœ œ œ œ œ ≈ x œ œ x œ œ œxœ ≈ œ J J J J > > p f p f f p f p 3

313

÷œ J

318

322

j œ œ

q = 47

x œ œ > f

x ≈

œ J p

j >j x œ œ œ x œ œ œ œ ‰ J f p 5

œ œ œ œ œ ≈ œ œ œœœ œ ≈ œ œ œ œ œ 5

≈ 9 16 ≈

œ œ œœ‰ œ ≈ œ œ œ œ œ œ œ œ œœœ œ

5 P sempre

q = 47

≈ œ œœœœ œ œ œœœ œœ 11 9 ÷ 16 ‰. Œ Œ ≈œ œ œ œ ≈œ 8 œ œ œœœ œ

327

œ‰ œ œ œœ

‰ 13 16 ≈

œ œœœ œ œ

≈ œ œ œœ œ œ 15 ÷ 16 ‰ Œ ≈œœ œ œ œœ

331

‰ . 85

œœœ œœœ

q = 58

œ œ œ œ œ

44 œ œ œœœ ‰

∑

q = 47

÷ 85

336

œ ‰ œ œœœ

≈ œ œ œœœ œ œ 24 9 16 ≈ œ œ œœœ œ œ

q = 58

œ œ œ œ œ

‰ œ œœœ œ

11 16

Œ Œ Œ

15 16

∑

œ œ œœœ œ

œœœœ œ

‰ . ‰ 118

3 3

œ œ ‰ œ œ

q = 58

q = 47

≈ 78

q = 58

q = 47

q = 58

x‰ ‰ œ œ œ x > f 3

œ œ œœœ œ œ

{ h = q. }

∑

q = 47

≈ œ œ ‰ œ œ œ

42 ≈

œ œ œœœ œ œ 3

Simon Christensen: Untitled #1 - solo percussion 8 -

MOVE (r.h.)

LEAVE

MOVE (l.h.)

LEAVE

∑

Untitled #2 . . percussion solo

7 q = 54 Throughout the whole piece, both arms should draw a circle in front of your body. Always have the arms stretched out. 4

Simon Christensen

   *)  rapido poss.

gradually

2700 2

Seed shaker around right wrist

360/00 2

 

2 270

 

Seed shaker around left wrist

 



900

 (bouncing tremolo)

2 180

gradually towards next position

   3       rapido poss.

900 1

 

900



    sub.    0o 2

  

 

900 1

 

        sub.  1800 3

900 1

2 180

 

1 90

 

00 1

  

       

1 180

1800 3

  

2700 2

   0o 2

   1 90

 

 

2 270

 

2 180

   



2700

 

900 1

 

 

1 180

       seed shaker & maraca 270 2 270 2 180        

 

2 180

 3    

2 180

 

900

900 1

 3  

 

1 90

 

00 1

 

 

00 1

 

 

900 1

90 1          180 2 270  1 180           

 

2 270

**) Never dampend the Hi-hat.

 

2 270

 

 

   

 

0o 2

2700 2

 0 2    **)   90 1 90           

   

 

1 180

2700 2

 2 270       **) 

 

2 180



 

00 1

 1800

900

900 1

1 180

 

0o 2

     16

 

1 180

2700 2

00 1

270o

          1 90

900 3



 3  

2700 2

 

 1 90 (bouncing tremolo)

*) To accomplish really fast and dense shake with the hand, rotate the wrist from side to side. 4

 

 

00 1

2700 2

 

 5  00

     molto

900 3

 

molto

 3 

0o 2

 

1 90

***) Avoid any attack, draw small circles with the wrist. Like a continuous white noise sounding from the maraca. Simon Christensen: Untitled #2 - solo percussion 10 -

 1800 3

 

   

 

2 270

2700 2

2 180

 3  

270o

900

come sopra

     ***)

1800 1 1800     3

  8  4 2 270   

 

2 180

 270 2 0 2     7  4 1 180 2 270    

    6  4 90  ****)  1 90       

00 1

900 1

 

seed shaker & maraca

270o

  

       8  4 1 180   

1 90

 

 

0o 2

2700 2

  

 

0o 2

900 1

  

 

 

    

 

900 1

90 1 90 sempre sim. 0

2700 2

00 1

 

       3:11

2 270

 

2700 2

        



 

2 270

 

1 90

 

 3      0o 2

 

1 90

 

1 180

 3     

900 1

5 3                                8 3 4   4 4  sub. 180  4 270 180 1 903 1 180   2  2              sempre 0o 2

900

3:5

900 1

00 1

 

0o 2

      

2 180



2 180

 

 3     

 

         

       

2 180

 

2700 2

2 270

 

    

2 270

1 180

 

 3      00

2 270

2700 2

1 180

270o

 

1 90



00 1

 

          

00 1

    270o sempre sim.

2 180       

2700 2



 

00 1



 

 

2 180

      

1800 2 1800     

00 1

2700

1 90           

900

900 1

  

      1 180 2270         3

               6    *)  7  270 4 180 4 2 270 2 180 3 1 180  1 90              3              

  180 3 1 180              

900

900 1

  

  



1800

0o 2

 

02 90 1  ****)       

3        

   31

 

2700 2

00 1

00     

****) Molto secco; the maraca should sound like a firmly closed Hi-hat played very dry with a thin drum stick 22

    

900 1

Simon Christensen: Untitled #2 - solo percussion 11 -

270o

2700 2

    6  4 5 5 2 180        

1 3:11  90 1             5   6 3  90 180 6 5 4 4 Leave 2 270 4 2 180 270 3 maraca!                (only shaker)    sub. 

0o 2

   6   4 90  1 

shaker) 45 (only 2700 2 0o 2

 

  2  4  

 

2 270

 6 4 1 90   



 

1 90



1 4

6 4 2 270   

 

1 90

 

2 270

900 1

1 180

 

2 180

    180

 

 

 

1 1800

 

2 180

 

 

1 90

 

1 180



 

 

 900

 

 



 900

5 270 4     0

 

0o 2

2 270

 

900 1

2 1800

7 4 2 270 270    

 

2 2700

 7 4 1 180 180    

270o

2 180

 

0o 2

 

900



 

1 90



6 4

2700 2



 

(Right hand: Avoid sound from the shells)

 

1 180

    



 7 4 180  2 180    0

2700

 6  4 2 180  

 

2700 2

  

00 1



 

Leave maraca!

 

1 180

Sudden shifts in direction!

00 1

270o

900 1

1 180

  7 4 1 90   

 





 

 1800

00 1

3 4



 



    7:5            7:5                               sempre sim. Hi-hat's  *****)    7:5             7:5            7:5             *****)                 64

   7:5        

q = 68 / e = 136

sempre sim. 7:5

*****) With the seed shaker on your arm, slide from side to side directly on the Hi-hat; lift the shells slightly after the accentuated last stroke, so the Hi-hat can ring a little bit.

    

   7:5         7:5          7:5            7:5         7:5 7:5 7:5 7:5                                                 

   7:5         

       7:5



             

             7:5

Simon Christensen: Untitled #2 - solo percussion 12 -

molto rit.



          4:5

4:5