to Andrew Seigel
Fragments
Demi-clarinet (lower joint) mysteriously 1
&
2
&
3
&
play into pno. (allow maximum resonance)
w+ *O
U,
f
O
like a Doppler shift
ca. 3–5"
ca. 3"
o
w+ O
U,
+
ƒ
O
sim.
ca. 5–8"
ca. 5"
o
w+ O
o
F
p
ca. 3"
o
+
U,
+
f
O
ca. 8–13"
w+ O
o
P
+
o
p
F
ca. 2"
o
+
p
6
&
O
ca. 5–8"
5
&
U,
+
f
w+ O
(b. 1984)
ca. 5"
ca. 5–8"
4
&
Andrew Martin Smith
for demi-clarinet and piano resonance
Duration: ca. 7:00
f
gradually turn to stage right
ca. 8–13"
accel.
w+ O
o
+
rit.
+
o
* mute bell with left hand, lowering pitch
+
o
f
+
o
+
o
Copyright © 2017 by Andrew Martin Smith Published by ADJ•ective New Music, LLC ALL RIGHTS RESERVED
+
U,
O
right , to stage ca. 1" U "
O
-̇ !
sotto voce
2 7
(to stage right)
ca. 2"
U , &
accel.
w+ O
8 ca. 1"
w+ O
U , &
& 11
& 12
& 13
&
o
+
o
+
o
+
o
+
F
o
+
o
+
rit.
œ ˙ # ˙+ !
sim.
œ œ # œ >˙ ˙ + p
,
P
like a Doppler shift accel. j œ
,
w+ Í
o
o
+
o
+
ca. 8–13"
+
o
F
o
+
+
o
+
o
+
,
o
ca. 1"
U ,
rit.
o
+
+
o
f
+
o
o
+
+
O
ca. 5–8"
œ ˙ # œ œ b œ œ # œ n œj ˙ w + o~~+o P Í
o
f
+
p
o
F
+
p
ca. 2"
o
U,
+
P
O
ca. 5–8"
j -̇ # œ œ b œ œ #o+˙oœ n œ œ- ˙ n œ # œ œ +̇ ~~ F
gradually turn to audience
œ œ œ œ œ # œ- œj n œ œj b ˙ w + f Í
o
+
ca. 3"
o
+
f
U,
O ca. 1"
ca. 3–5"
* A brief, rapid, unmeasured oscillation between open and stopped positions; a musical ornament
o
F
+
,
O
ca. 5–8"
accel.
w+ O
U "
rit.
o
+
ca. 2"
# ˙O ! , ca. 3" U" j #œ ˙ > + OÍ
+
o+ o+ o+ o+ o+ o+ o+ o+ o+ o+ o+ o+ o
chant-like
*
o
+
accel.
9
10
rit.
ca. 8–13"
U , &
ca. 1"
o
,
ca. 8–13"
U ,
O
3 to audience
14
&
&
U ,
œ- œ- # œ- œ-̇ P
Grave
15
ca. 1"
chant-like
mournful
· ·,
· ·
&
œœ ˙ ˙ œœœœœœ˙ ˙ pp sempre
j bœ
ca. 2"
, ·
N œ- œ- -̇ p
·
U ,
,
a piacere
&
· ·
w !
œ #œ
,
gradually turn to stage left
U
· ·
j ˙ œ œ œ ˙ ˙ b œ œ œ œ ˙ œ ˙ ˙ œ- n œ ˙
ca. 3"
U ,
ca. 1"
U ,
————————————————————————————————————————————————
Performance Notes Setup • The piano lid should be open (full stick) so that the clarinetist has room to play at the soundboard. • The piano damper tray should be locked before the performance, so that the strings are allowed to vibrate freely. This may be accomplished by inserting a rubber wedge to keep the damper pedal engaged. • The piano resonance may be amplified if the acoustic space does not allow sound to carry at a reasonable volume. • See Setup Diagram for suggested stand locations. Alternatively, the piece may be performed from memory. Notation • AFAP = As Fast As Possible • Accidentals apply only to the notes they precede, except in cases of direct repetition or rapid oscillation. • For muted sounds, the left hand almost completely covers bell; this will lower the pitch. Muting is indicated with "+" and cancelled by "o". Remove all jewelry to avoid extraneous noise. Similar to a timbre trill, "o+o" is a brief, rapid, unmeasured oscillation between open and muted positions. • All theatrical markings are indicated within rectangular enclosures. These indications should be strictly observed. When turning to change performance vantage, strive for continuous, fluid motion. Always turn in the direction of the shortest distance. • All timings should be strictly observed. • See Demi-Clarinet Fingering Guide for more details. ————————————————————————————————————————————————
Program note Fragments is a collection of musical gestures that explores the timbral possibilities of the demi-clarinet, played by literally using half of the instrument. This unconventional configuration evokes a haunting, folklike, and ancient sound. Overall, the composition is process-based, allowing the performer freedom to express themselves through limited, aleatoric improvisation. The first iteration of this work was created and premiered at Interlochen Center for the Arts during the summer of 2016. This revision was developed a year later, with input and feedback from clarinetist Andrew Seigel at the State University of New York at Fredonia.
4 to stage left e = e sempre
16 q. = 52
·. · 7 · · 3 · 10 ·. 8 6 ·· &8 j 8 4 8 8 j b œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œœ œ. œ œ œ œp cantabile
& 45
,
œ- . œ- .
17 poco più mosso
· · 3 · 10 ·. 88 j · . · 78 68 · · j 4 8 œ œ ˙. œ œ œ œ . œ œj b œ œ œ œ œ œœ œ œ . œ œ œ œ œ œ œ œ œ œj œ > O P
·. ·. 5 & 4 œ- . œ- .
,
18 poco più mosso
88 j · . · 78 œ œ ˙. œ œ œj œ . œ > O F
·· & 68 j œ œ œ œ œ& 10 8
·. ·. 5 4
·. ·. 5 4
gradually turn to audience
j œ
œ . œ- .
œ œ ˙. > o+o ~~
68 · · j œ œ œ œ œ œ œ- b œœ œ œ œ œ-
·
,
œ œ
· · 3 4
œœœœœœ
· 10 8
œ œ œj œ
19 to audience
più mosso 88 j · . · 78 œ œ œj œ . œ f
· . · . 10 8
œ œ
œ . œ- .
œœœœœœ
œ œ œ. œ. ƒ
œ nœ
œ œ œ œ. œ bœ
· · 3 4
gradually turn to pno.
j œ
·.
j œ
· 10 8
œ œ œj œ
20 q. = q
42
˙ p
68
˙ Í
j bœ
5
& &
play into pno.
œ œ œ. > Í
˙ Í
j #œ
j œ
& 43 & 43
42
j bœ
œ
>œ œ œ . # >œ œ b œ œ œ
œ œ bœ œ #œ œ. >
œ
j œ
œ
b >œ œ # œ œ n œ œ .
agitato j œ
œ
>œ œ œ œ œ œ
œ œ œ œ œ œ. > f sempre
œ >œ œ œ œ # œ œ b œ œ
AFAP
‰
j #œ
œ. bœ œ
senza misura
œ œ œ œ bœ œ œ œ œ œ œ bœ œ #œ œ Nœ œ #œ œ nœ œ #œ œ nœ œ #œ œ œ >œ œ- œ- # œ- > # œ- n œ- œ- >œ # œ
21 q = 60
&
sim.
œ œ œ œ œ œ bœ œ. > >
˙
accel.
4 &4
bœ œ #œ œ œ >
œ
*5
j 4 j ‰ ˙ .. œ œ œ œj w " o+o ~~~~~~~ƒ ß Í Í
2 4
‰ Œ 43 ‰ jœ j œ œ b œ # œj ˙ ß Í p subito
2 4‰
bœ œ nœ œ ç
Œ
43 43 44
˙ ƒ
œ œ
Cadenza al fine ** July 2016 Interlochen, MI Revised 2017 Fredonia, NY
* Optional ending; allow pno. resonance to decay naturally (the piece should end with silence) ** Improvise, based upon any previous materials, for 21–34"; allow pno. resonance to decay naturally
STAGE SETUP DIAGRAM FOR FRAGMENTS
DEMI-CLARINET FINGERING GUIDE (SEE FINGERING EXAMPLES ON BACK) • • •
•
In general, read the notated music as you would if you were playing a standard clarinet. An “L” or “R” above a note indicates whether the fundamental fingering is to be played using the left or right hand. In general, if no indication is given, fundamental fingerings are to be performed with the right hand only. Alterations to the fundamental fingerings are indicated with diamond noteheads. These diamond noteheads refer to a specific tone hole or key on the demi-clarinet (see diagrams below). An open diamond notehead indicates that the key should be raised or the tone hole uncovered. A filled diamond notehead indicates that the key should be lowered or the tone hole covered. A “wah-wah” effect can be achieved by covering most of the bell of the demi-clarinet with the left hand. Covering the entire opening will most likely result in the accentuation of upper partials (i.e., squeaking); this is undesirable. A “+” is used to indicate a covered bell, and “o” is used to indicate an open bell. Dotted lines are used to show the continuity of a gradual transformation between each state.
ABOUT THE COMPOSER Andrew Martin Smith (b. 1984, Sharon, CT) is a composer, clarinetist, and musical entrepreneur. Through his music he explores the sonic ramifications of interdisciplinary influence and inspiration, highlighting the similarities shared between seemingly disparate disciplines, artistic endeavors, and stylistic trends. His compositions have been included in contemporary music festivals and conferences throughout the United States and Europe. Smith received degrees in music from the State University of New York at Fredonia and Bowling Green State University (BGSU). His primary composition instructors have included Mikel Kuehn, Elainie Lillios, Burton Beerman, Andrea Reinkemeyer, Donald Bohlen, and Karl Boelter.
www.adjectivenewmusic.com