Page 1

On the Drawing of

Constellations for piano

B e n

H

j e r t m a n n

K l w h n a a

P u b l i s h i n g


B e n

H

j e r t m a n n

On the Drawing of Constellations commissioned by The W isconsin Mu sic Teachers Association and MTNA

written for Nicholas Phillips

notes about

Constellations

(2012)

The constellations tell us not about the stars but about those who gaze at them. The stars in any given constellation are lightyears apart, and are unrelated except that they are linked by our perception. The title refers not to astrology nor astronomy in the traditional sense, but rather to the creative act of connecting the stars into symbols, animals, or other objects. Like the stars, the individual pitches in this piece are rather isolated, and yet, they are bound together in time and space, and given meaning by our perception. Some of the harmonic relationships are universal whereas others are more obscure and will be perceived differently by every listener. This piece was written for Nicholas Phillips’ American Vernacular project. The drawing of constellations is, of course, a vernacular science and art; one which is understood by all humans alike. More than that, I began composing with what I consider the American musical vernacular, triads. The principle motive begins with a B major triad, before spiraling away into more obscure harmonies. In measure 56, the music arrives at two other major triads, E b and D b . The pitch context established in the piece is not traditionally tonal, nor completely triadic, but this was the initial conception from which the piece grew.

performance notes The tempi and dynamics in this work are exacting, and are quite challenging for the performer. It is my hope that these details add a level of engagement for the performer, an interesting preparation process, and an intimacy in performance which will be communicated with the audience. If, at any point, the tempi or dynamics should become a hinderance to the expression of the music, or to the enjoyment of the performers or audience, they may be adjusted or even ignored. At its core this music is very simple. Another version of the piece exists which is the opposite extreme, containing almost no dynamic or tempo information. That version is suitable for advanced beginners or intermediate performers, while this version is meant for professionals. Dynamics which appear between the two staves apply to both hands whereas dynamics above and below the grand staff apply to only the one hand. The bracketed information which appears next to certain dynamics specifies to which notes they apply. In some cases, pitches played by the same hand are performed with different dynamics. A MIDI recording is available from the composer to help the rehearsal and memorization of the tempi, which change too rapidly to track with a traditional metronome.

duration

6 ’ 30 � bhjertmann@gmail.com

www.hjertmann.com


In memory of Carl Sagan


Te m p o s i n t h e o p e n i n g o f C o n s t e l l a t i o n s


for Nicholas Phillips

On the Drawing of Constellations commisioned by the Wisconsin Music Teachers Association and MTNA

Ben Hjertmann

Carefully place each star

7 #œ œ œ œ œ œ #œ œ œ w &4 Œ p" ! P! # w .. ? 7 w .. 4 # w .. ° q = 100

(rit.)

q = 83

rit.

q = 60

#œ œ w

& 44 # œ œ œ œ 74 p " w .. # w ? 44 74

5

( °)

& 74

10

bœ œ œ œ ˙.

" 7 n w .. &4 " #˙ 7 &4

15

& 74 # w .. "

( °)

œ w

#

4 4

#

7 Œ #œ œ œ œ œ œ 4 4 4 p ! 7 w .. 4 4 4 # w .. rit.

q = 110 rit.

Œ

#œ œ œ œ œ œ 2 #œ œ 3 4 4

F w .. # w ..

#˙ 42

q = 100

&

#œ œ œ q = 83

43 ˙ .

74 74

q = 70

p #œ œ œ œ # 44 œ œ œ œ 45 # œ œ œ œ œ 43 # œ œ œ 44 74 accel.

4 4

( °)

4 4

q = 104

œ œ œ œ ! q = 60 rit.

5 4

rit.

3 4 7 4 œ œ œ 4 #œ œ œ œ 4 #œ œ œ œ œ #œ #˙

#œ œ œ #œ ! " #œ #w n˙ °

q = 48

q = 40

q = 104

, #œ œ œ 44 # œ œ # ˙ 43 F œ œ , 44 ? 3 4 #œ #˙ #œ nœ ° °

© 2012 by Ben Hjertmann, KLWHNAA Publishing (ASCAP), all rights reserved.


2

On the Drawing of Constellations

2 #œ 4

& #œ

œ

19

? #œ

œ

( °)

q = 110

œ œ

7 & 4 #˙ #w pppp ? 74 n œ n ˙ w

24

2 4 œ

&

#œ #˙ 3 4

œ

rit.

q = 77

3 4 #œ #˙

œ

œ

q = 60

4 4

!

4 n˙ 4 #œ nœ °

& 46 œ .. r ˙ ˙˙ p bœ & 46 Œ b˙. ˙ ˙.

74

"

°

˙

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?

nœ 48 # ˙ # ˙ ! ˙ Ó 48 n ˙ ˙

°

&

46 Œ ˙ ˙ . ## ˙ p 46 b˙ ˙

& 45 # œ œ œ œ œ

32

w. # 64 œ # œ . œ œ œ œ œ

˙

46

w.

° (no F# in the pedal)

44 n ˙ 44

w

#˙ $ ˙.

"

&

œ

q = 110

?

6 4

"

Œ #˙ #˙ n˙ ˙

7 4 7 4

"

"

rit.

( °)

œ

q = 93

11 4

28

˙.

?

˙

11 # œ œ œ œ œ œ œ œ œ œ œ 7 # œ œ œ œ œ œ œ 4 œ 4

°

? 45

œ nœ

˙.

rit.

q = 52

rit.

˙

46 45 45

74 74


3

On the Drawing of Constellations (rit.)q = 63

7 & 4 # # ˙˙ ˙ p ?7 4

36

( °)

˙

n œœ # œ œ œ œ #œ

! p ˙.

#œ 6 & 4 J #œ œ P " ? 46 j # œ œ #œ °

42

# #œ

n # œœ & #œ P " œ ? & œœ œ ( p)

45

( °)

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?

œ

œ

œ

œ

œ

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j 4 œ 4

# œ n œJ n œ . " P n œ. n œ œ 44 #œ J J #œ ° œœ œ

œ œœ

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?

5 4 #œ P 45 œ

œ. p #œ #œ

j œ (E) "

œ 84 J j #œ œ œ œ œ œ œ œ " 8 #œ œ œ œ œ œ œ œ 4 œj J

œ

œœ œ

# ˙˙ > F > j˙ œ ˙

j #œ

3 4

˙

# n˙ # œœ 39 # œœ & 44 # œj # œœ .. J > FP p P > œœ ? 4 œj œœ # œ 4 J & J Ó ( °) œ

3 4

# œœ 5 # œœ œ 4

F #˙. œ œ œ œ œ œ J J

nœ n n œœ J " œ # # # œœœ œ nœ J

4 4 4 4

œ 74 J j 6 #œ œ œ œ œ œ œ 4 P" 7 j# œ œ œ œ œ œ œ 6 4 œ J 4 74 œ œ œ œ œ œ œ œ œ œ œ œ œ œ p [F, G piano sempre until measure 50] 74 $ n # œœ

" œ & œœ

œœ

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6 4 ?

46


4

& 46

47

? 46

On the Drawing of Constellations

(!) #œ

P

(°œ)

11 &4

49

" œ & œœ

(!) #œ œ #

œ

œ

œ

œ

œ

œ œœ

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œ œœ

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œ

74 œœ œœ œœ œœ œœ œœ œœ p 74 œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

œ

œ

( °)

& 46 œœ œœ œœ œœ œœ œœ 45

51

?6 4

&

bw.

( °)

& 44 œœ œœ œœ œœ

45

54

? 44

bw

( °)

&

nœ "

œ

œ

6 4

74 # œœ œ œ œ œ œ œ nœ œ œ œ œ œ œ P 7 4 b w ..

44

#œ 46 n œœ œ bœ P p 64 bœ œ

74

œ

5 ? 4 œœ œœ œœ œœ œœ nœ

nœ "

45 œœ nœ

œ

œ

œ

œœ

œœ

œœ

œœ

11 4

7 #œ 4 n œœ œœ œœ œœ œœ œœ œœ œ P [all voices] 74 b w .. q = 65

& 11 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ?

11 4

?

œ œ

œ œ

œ œ

œ œ

œ

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46

4 4

74


5

On the Drawing of Constellations [D] [A b]

n n b œ œ œ œ œ œœ œ & 74 œ œ œ œ œ œ œ

45

57

?7 4

b w ..

( °)

6 &4

&

[F]

j #œ

! n œœ œ œ œ œ accel.

7 4

" " œ œ œ œ œ œ nœ # œ œ œ œ # œœ œœ œœ

[G]

63

&

[A #]

P ? œ œ œ œ œ œ œ

( °)

& 44

67

? 44

#œ œ œ œ œ œ œ œ

( °)

42

7 4 bœ œ œ œ ˙.

œ œ œ œ œ œ œ bœ œ œ œ œ œ œ

?

46 6 4

œ œ œ œ œ œ œ #

?

n

#œ œ œ w # œ œ œ w

44

44

#œ œ œ œ

#œ œ œ

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p #œ œ œ w

#œ œ œ œ 24 # œ œ 44 œ œ

74

7 bœ œ œ œ œ œ œ 4

( °)

(accel.)q = 71

5 4 b œœ œœ œ œ œ n

# œœ " nœ œ œ œ œ ? 6 n œj n œœ b œ œ œ œ œ 4 &

60

nœ œ œ œ œ

œ œ œ œ nœ œ œ œ œ œ œ œ

&

74 # w .. !# w .. 74

?

43 # œ œ œ #œ œ œ 43

44 44

#œ œ œ œ œ œ 4 # œ 4 # œœ > p f œ œ œ œ œ œ 4 4 œ >


6

On the Drawing of Constellations

œ #œ

rit.

& 44 # œ

œ

œ

œ

43

? 44 # œ

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œ

43

72

( °)

p #œ œ œ œ œ 5 &4

77

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˙˙ ˙

( °)

! #œ 8 &4

80

œ

œ

œ

! œ œ

46

42

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42

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(#) #œ œ œ œ œ œ œ œ œ œ

W W W W ? 10 4

( °)

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w .. # w # w. 46

( °)

& 10 4

œ

#œ œ œ œ œ œ

WW ? 48 WW "

82

˙˙˙˙

# " #œ œ 49 # œ œ ( !) ww .. 94 ww ..

11 4 11 4

34 # ˙ . &

q = 63

U # 4 # www

4

43 ˙ .

?

45

" #U w 44 ww

45

#œ œ œ œ œ œ œ 74 œ œ œ œ œ œ œ

48

www ...... # 74

œ œ

œ œ

48

œ œ

œ œ

œ œ

˙˙˙˙ ... .

œ œ

œ œ 10 4 " 10 4

#œ œ œ œ œ œ œ œ œ œ œ n

(depressing the key fully, trying not to let the hammer strike the strings)

$


K l w h n a a

P u b l i s h i n g

w w w . h j e r t m a n n . c o m


On the Drawing of Constellations, for piano  

Written for Nicholas Phillips, and commissioned by the Wisconsin-MTA.

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