Infinite Copies for Mixed Percussion Quintet

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Performance notes

Each player should have a stopwatch on their stand in order to keep time during the piece. Players should start their stopwatches at the same time. Each player should play from the full score. The player should start playing each box on the time stamp which lines up with the left side of the box. If the left side of the box does not line up with a time stamp it should start approximately that amount of time in between 2 10-second time stamps. This box should be repeated until the bar connected to the box reaches a rest.

When multiple boxes with varying time signatures are being played simultaneously, the 16th note must remain constant amongst the players.

The overall dynamic should be piano. Players may add a degree of dynamic variation if they feel it is necessary. This dynamic variation can be predetermined or improvised.

Gestures in each box should be performed as follows:

* A box with a time signature should be played in exact rhythm and tempo.

* A box with no time signature should be played approximately with the beginning tempo indication (♪=80).

* A box that contains stemless notes indicates neither order nor duration. The player may improvise on these notes according to the parameters given in the score.

In order to aid in a smooth and successful performance of this piece. The pianist may choose to wear headphones playing a metronome at 160 BPM (sixteenth note pulse).

1) Continuous roll with the pedal down. Roll should be fast and unmetered. Swells should be at least 8 seconds apart. Freely vary intensity of swells.

2) Use the butt of the mallet to glissando on resonator pipes. Perform the glissando quietly; start at a slow speed then gradually increase speed. The glissando should last 3-7 seconds with 3-7 seconds of silence between glissandos.

3) Use the mallet head to glissando on resonator pipes. Perform the glissando quietly; start at a slow speed then gradually increase speed. The glissando should last 3-7 seconds with 3-7 seconds of silence between glissandos.

4) Perform a stick buzz by striking the bar with one mallet. Hold the butt of the other mallet against the bar with a loose grip and allow the butt of the mallet to buzz against the bar. The player may choose to vary the amount of pressure on the mallet to increase sound diversity. Strike every 4-10 seconds. Do not dampen sound

5) Play with approximate rhythm. Play with butt end of mallets. Player may add 0-5 seconds of silence in between repetitions (with 0 seconds being an immediate repetition). The player may play either octave but not both. The player may also switch octaves. Sound should be sluggish and distant.

Program Notes

Aleatoric music is a type of music where an aspect of the sound is left up to chance. My goal when writing Infinite Copies was to take this concept and use it to create an ethereal soundscape for the audience to simply exist in without any extraneity. Although this piece can be played in a concert hall, I believe that the performance of this work would be more effective in a more intimate location, such as a classroom or gallery. I envision the sound of this piece swelling to fill the room like a heavy, pink mist, momentarily numbing the thoughts and feelings of the audience in a sort of therapeutic trance.

This piece is divided into 3 sections, with instruments staggering transitions between sections in order to maintain a smooth form. The introduction begins with piano and incorporates subtle gestures from each instrument. The middle section uses a complex mixture of different meters to create a viscous collage of sound. This sound slowly thins leading into the final section which uses elements from the introduction to bring the piece to a close.

Enjoy Infinite Copies -Brady Wolff