Pear Tree By Bobby Halvorson Duration: 10 minutes
Pear Tree INSTRUMENTATION Piccolo 2 Flutes Alto Flute Oboe English Horn 3 Bassoons (Bn. III = C.Bn.) 1-2 Horns in F 2 Trumpets in Bb Trombone Tuba Tam-tam Tambourine Triangle Glockenspiel Marimba Harp Piano Violins I Violins II Violas Cellos Basses
Pear Tree INSTRUCTIONS
Rehearsal A: Given durations are approximations. Rhythmic certainty is of very minimal importance. Notes should be placed where the performer sees fit between conducted cues or within the given duration. White arrows indicate hard cues from the conductor. If the performer gets lost in his or her part, he or she should look to the conductor for these hard cues. Black arrows are soft cues given specifically in the brass section by a section leader to indicate the chords they are playing are in unison. Rhythmic accuracy of these brass chords is more important than the notes between hard cues in other parts. Those instruments that are playing repeated figures over extended periods of time should not feel bound by rhythmic accuracy. The pitches and contour are more important than a specific rhythmic pulse. Horizontal arrows pointing forward indicate that the player should sustain what he or she is playing until the next hard cue. For the string instruments that are tapping on the bodies of their instruments: the specified rhythmic motive should be the same each time. Players are meant to be mimicking the sound of pears falling from a tree and striking the ground. The space between rhythmic motives may vary but the motive itself should be static. Durations of sections are to be interpreted by the conductor. Dynamics should start at a mezzo-piano unless otherwise indicated and should very slowly crescendo until Rehearsal B. Rehearsal B: Explode and then continue as a normal determinate piece of orchestral music with the utmost sensitivity. Rehearsal C (The Tree): The first collection of instruments to enter is the group playing “The Leaves.” Motives are indicated in between double barlines and each motive is displayed in the Treble Clef. A player may enter on the motive of their choice playing at any pace they wish. THERE IS NO GIVEN TEMPO. Each motive may be repeated but NO MORE than three times. Once the player has finished playing his or her chosen motive he or she must move on to another motive either connected by dotted line or adjacent to the motive he or she just played. The player is finished when he or she has played every motive in “the leaves” section and should then stop playing. Some instruments will finish before others, as naturally each performer will choose a different pace. If the written notes are not possible on the instrument playing the motive, the performer must choose an octave at which the notes will be possible to play. After a given amount of time (determined by the conductor), the conductor will then cue “The Trunk”instruments. Their instructions are identical to “The Leaves.” However, since all motives are connected by a dotted line, they may play any motive from the given motives in their section. Again, every motive is in treble clef so the performer must choose an octave where the notes are playable. Lastly, “The Earth” instruments have the same instructions. The piece should naturally fade out as the straggling performers finish their final motives. -For Brass players (The Pears): Within “The Leaves” section, you will notice in the midst of the motives are spaces and markings that look like parentheses ie: ( ). This indicates a place where you will play. You must listen to the motives played by “The Leaves” section and where ( ) indicated must play a splat note. The note should be without definite pitch and should be very short, starting at fortissimo and ending at piano. The note should gliss down from where the note began. Brass players stop playing when “The Leaves” section has stopped.
Pear Tree
Piccolo
Flute
Oboe
*Transposed Score
q=40
3
3
Contrabassoon
3
3
Glockenspiel
Horn in F
Trumpet in Bb Trombone Tuba
Harp
Piano
3
ppp
mp
mf
3
1. 2.
pp
ppp
mp
mf
q=40
con sord.
ppp
con sord. div.
uni
div.
uni div.
ppp
con sord.
Contrabass
f
pp
pp
3
3
ppp con sord. div.
Violoncello
ppp
Viola
ppp
f
3
p
con sord. Violin I Violin II
Bassoon
pp
mp
Clarinet in Bb
3
p
3
English Horn
Bobby Halvorson
ppp
Copyright Bobby Halvorson © 2009
col legno
col legno div.
ppp
senza sordino
ord.
mf
ppp
col legno uni
ppp
col legno ppp
div.
ord.
mf
ord.
mf
ord. div.
mf
2
Picc.
Fl.
6
3
mp
Ob.
Eng. Hn.
Cl.
Bsn.
1. 2.
5
mp
mp
p
3
3
3
mp
3
6
mf
3 5 3
p
3
mf
Cbsn.
mf
A. Fl.
3
p
5
5
Tpt.
Tbn.
Hn.
Tba.
T.-t.
Tamb.
Glock.
Pno.
Vla.
Vc.
Cb.
3
uni. ord.
f 3 senza sordino
senza sordino
senza sordino
senza sordino
f
div.
uni.
fff
p
Vln. I Vln. II
f
Hp.
p
mp
mf
3
3
3
rit.
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
9
pp
pp
pp
3
3
pp
pp
3
3
3
Cl.
Bsn.
Cbsn.
Hn.
3
pp
Tbn.
Tba.
T.-t.
Tamb.
Tri.
Hp.
Pno.
Vla.
Vc.
mp
p
f
f
fff
rit.
pizz.
mf pizz. div.
mf pizz. div.
6
pizz. div.
6
pizz. div.
mf
3
3
1. 2
fff
6
6
5 div.
6
div.
uni
5
uni
5
6
div
ff
div.
5
uni
uni.
div.
arco
mf
mf
Cb.
fff
mp
pizz. Vln. I
Vln. II
mp
3
mp
Tpt.
6
uni
5
uni
5
6
5
uni
uni
5
4
Picc.
12
Ob.
Tbn.
T.-t.
Tamb.
Pno.
mp
6
3
mf
5
mf
f
5
6
6
6
6
6
5
5
6
6
div.
uni arco
uni arco
3
Vln. I
3
3
Vla.
3
Vln. II
Hp.
3
Tpt.
Tba.
Eng. Hn.
Hn.
A. Fl.
Cl.
Fl.
div.
6
6
mp
div. mp
uni 5
arco
mp
arco
Vc.
mp
arco
Cb.
mp
Ob.
5
mf
Cbsn.
Tpt.
Tbn.
Tba.
5
6
Vln. II
6
f
2.
3
3
3
3
3
ff
p
p
p
3
p
arco
pp
arco
div.
pp
ppp
Cb.
ppp
2
3
p
ff
uni.
ppp uni.
5
2
p
f
3
f
f
p
ppp
Vc.
ppp div.
Vla.
3
1.
mf
3
Vln. I
mf
Mar.
Pno.
mf
3
Tamb.
Hp.
T.-t.
Glock.
mf
Hn.
3
5
5
mf
Bsn.
3
mf
Eng. Hn.
Fl.
14
Picc.
6
19 Picc.
3
Fl.
Hn.
Tba.
T.-t.
Tamb.
Glock.
Mar.
Vln. I
Vc.
Cb.
7
A
q=70
mp
arco Vla.
p
R O
Vln. II
played randomly at individual tempo
Hp.
mp
(dur. appx. 18 seconds)
mp
mp
mp
mp
mp
mp
Tbn.
R O
Tpt.
q=70
played randomly at individual tempo
A. Fl.
Eng. Hn.
A
tap on body of instrument continue rhythmic figure ad libitum as you progress, make intervals between statements smaller
p
5
arco
7
arco
mp
Hn.
7
6
Tpt.
A. Fl.
Fl.
Tbn.
(dur. appx. 30 seconds)
24
Picc.
Mar.
Vln. I
Vln. II
Vc.
Cb.
arpeggiate randomly
O
R
O
R
tap on body of instrument continue rhythmic figure ad libitum as you progress, make intervals between statements smaller
p
col legno battuta
7
(dur. appx. 20 seconds)
27 Picc.
A. Fl.
Fl.
Hn.
Tpt.
Tbn.
Tba.
Tamb.
O R O
O
behind finger board
5
7
1.
2.
Vln. I
3
Mar.
8
R
repeat randomly
tap on body of instrument continue rhythmic figure ad libitum as you progress, make intervals between statements smaller
R p
cresc.
Vln. II
Vc.
Cb.
arco sul tasto
sul tasto div.
R O
Hn.
Tba.
Tamb.
Vln. I
9
5
Mar.
6
3
Tbn.
Tpt.
Fl.
A. Fl.
(dur. appx 22 seconds)
32
Picc.
2
3
cresc.
cresc.
cresc.
Vla.
Vc.
tap on body of instrument continue rhythmic figure ad libitum as you progress, make intervals between statements smaller
p
Cb.
col legno battuta
ord.
10
(dur. appx. 17 seconds)
cresc. Fl. cresc. A. Fl. 36
cresc.
Picc.
7
Ob.
B q=60 fff fff
fff fff
English Horn
fff
Bsn.
fff
fff
Hn.
f
Tbn.
Tba.
Tpt.
Mar.
Hp.
f
f
f
f
Glock.
cresc.
3
repeat notes randomly
cresc.
Vln. I
cresc.
cresc.
cresc.
div.
B
q=60
ff
cresc.
cresc.
arco
ff
arco
ff arco
cresc. cresc.
Vc.
Cb.
fff
fff
Vla.
Vln. II
Pno.
Cl.
Cbsn.
3
3
tap on body of instrument continue rhythmic figure ad libitum as you progress, male intervals between statements smaller
ff
cresc.
arco
ff
11
43
Picc.
Fl.
A. Fl.
Ob.
Cl.
Tbn.
Glock.
Mar.
Pno.
1.
1.
2.
Vln. I
uni
div.
Vln. II
Hp.
1. 2.
Tpt.
Tba.
2.
Cbsn. Hn.
Bsn.
p
p
p
pp
Vc.
Cb.
mp
div.
div.
Vla.
uni. pizz. p
uni. pizz.
p uni. pizz.
p
ff
arco
mp
arco
mp
arco
mp
pizz.
p
arco
12
51
Picc.
Fl.
Eng. Hn.
Glock.
Vln. I
p
Vc.
arco
f arco
pizz.
3
f
3
f
pizz.
f
pizz.
Fl.
A. Fl.
Ob.
ppp
Eng. Hn.
f
Vla.
mf
pizz.
pizz. 3
3
arco
ppp
ppp
Cb.
ppp
ppp
Vc.
3
3
3
3
3
arco
arco
3 3
3
pizz.
pizz.
Vln. II
2.
1.
Vln. I
ppp
pizz.
54
Hp.
pizz.
div.
Cl.
Vla.
Picc.
bisbigliando
p
Vln. II
Cb.
Hp.
3
3
13
59
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
Cl.
Hn.
Tpt.
Tbn.
mp
Vln. I
Vln. II
Vla.
Vc.
Cb.
pizz.
pizz.
3
3
3
f
f
3
f
3 3
arco
3
3
3
arco
arco
3
3
f 3
5
6
mp
Hp.
3
3
pizz.
3 3
pizz.
14
65
Picc.
Fl.
3
ff
A. Fl.
Ob.
Eng. Hn.
Cl.
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Hn.
Tpt.
Tbn.
Tba.
ff
rit.
3
3
3
arco p
p arco
p
p
arco
p
mf
mf
mf
mf
3
p
f
mf
Hp.
70
Eng. Hn.
p
p
ff
3
rit.
3
mp
15
Hn. 80
Tpt.
Tbn.
Tba.
To Rehearsal C