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DANIEL MOREIRA

THE DELIVERY

FOR VIOLIN, PIANO AND VIDEO/SOUNDTRACK

2018


DANIEL MOREIRA THE DELIVERY

FOR VIOLIN, PIANO AND VIDEO/ SOUNDTRACK

year: 2018 duration: c.8’

Commissioned by Duo Hellqvist/Amaral with the friendly support of Arts Council Norway.


TECHNICAL SETUP / STAGING The Video/ Soundtrack part of the piece consists of a video file (.mov) with three audio channels as follows:

Video Audio

Size/Format: Wide (Panavision 2,35:1) 1920 x 818 Frame Rate: 24p Codec: Apple ProRes 422 Channels 1 and 2: Stereo Soundtrack (left and right)

Channel 3: Click-Track (for both musicians)

Channels 4,5,6: empty Format: Linear PCM, 48kHz, 24Bit

Loudspeakers / Amplification: The Soundtrack has very strong low frequencies. In addition to the stereo loudspeakers, it is advisable to use a subwoofer. In larger halls it is recommended to amplify both instruments to better mix with the soundtrack.

Projection: The projection of the video should be done near the musicians (behind or on the side) on a clear reflective surface (ex. white wall, straight projection screen). The projection should be at least as large as the piano.

Lighting: The concert hall and the stage should be totally dark (no extra stage lights). The musicians should preferably play with stand lights only. The light coming from the stand lights as well as from the video projection should be enough for the musicians to be seen.

Suggested Disposition: Video Projection

Ch.2 (RIght)

Ch.1 (Left)

Ch.3

(Click-Track)

Ch.3

(Click-Track)

PIANO PREPARATION
 • These notes should be 80% damped (muffled sound, just a little bit of pitch):

• These notes should be completely damped (no pitch, just percussive hammer sound):

Daniel Moreira 2018

www.daniel-moreira.com

• The Pianist also needs:

1. Hand Milk-Frother. Only the base of the milk-frother (where the motor is located) should touch the piano (not the loud tip!). The wood of the piano should amplify the sound of the motor.

2. Credit Card (to be quickly scratched against the tuning pegs similar to a „güiro“).


START / ENDING OF THE PIECE

TIME

VIDEO

The video of the piece has a clear story line: A violin case is being transported and is delivered at the concert venue, where the concert is taking place. This aspect requires a "personalized" ending for every performance of the piece. The last 32 seconds of the video should be recorded at the city / concert venue as follows: Footage showing the violin being carried in the city and entering the concert hall Use identifiable places (ex. important monument of the city, front of the concert hall building etc.)

07:28 (start of bar 172)

The violin case is dropped in front of the door of the concert venue. (The leather glove should be seen)

Sudden cut to wide frame of violin case alone next to the door.

Violin player enters the frame dressing the concert clothes (from inside the concert room or from the sides of the frame), takes the violin case, enters the concert room and closes the door behind him/her.

07:44 (start of bar 177)

Sudden cut to a black screen (no video) at the exact moment the door closes.

08:00 (start of bar 182)

Materials required • Camera (a cellphone camera is enough) • Black violin case similar to the one shown in the video • Black leather glove (optional) Example of videos of past performances can be send upon request to be used as a guide for the video editing. If you do not have experience with video editing, the composer will be happy to do the editing for you. Just send him the recorded footage as described above. Beginning of the piece / Entrance of the musicians An ideal situation would be to have the violin player enter the stage carrying the violin case that is going to be shown at the video and taking the instrument from inside the case. This action creates a link with the end of the piece, where we see the violin player both on screen and on stage and we realize that the whole piece („the delivery“) describes a path that leads to its own beginning, closing an „impossible time circle“. If there are technical complications for this action (ex. installation of contact microphones, tuning issues etc.) the piece can start with the violin case already on stage in a visible place.

Daniel Moreira 2018

www.daniel-moreira.com


The Delivery For V iolin, Piano and V ideo/Electronic Daniel Moreira (2017/18) www.daniel-moreira.com

q=74 1

/ 44 00:00

Timecode

2

3

4

00:03

00:06

00:09

5

6

7

8

00:12

3 4 00:16

4 00:18 4

00:21

overpressure (pitchless)

Violin

3

° 4 ¢& 4

‰ Œ Ó

3 4

4 4

3 4

4 4

>6

jŒ Ó 6 6. >

fff

4 &4

give more emphasis to the lower pitches

Piano

?4 4

{

>œ œœ ‰ Œ Ó œ

>œ >œ. ∑ 44 œœ œœ Œ Ó œ œJ “‘ 3

3 4

“‘

fff

9

10

11

12

13

14

00:28

5 4 00:31

3 4 00:35

4 00:38 4

3 4 00:41

00:25

/

Tc.

Vln.

° ¢&

3 4

3

5 4

jŒ ≈ ‰ Œ ≈ Œ Ó 6 6. 6 6 >6 > >. ∑

3 4

>6™ >6

5 4

&

3 4

≈‰ 44

‰≈ >6

6

3 3 4 ∑ 4

3 3 4 ∑ 4

6 6. >

4 4

‰Œ Ó

Pno.

>œ. >œ >œ. >> œ œ ? œ œ Œ ≈ œœ ‰ Œ ≈ œœœ œœœ Œ Ó œ œJ œ œœ “‘ 3

5 4

{

>™ 3 œœœ ™™ 4 œ™ “‘

>œ œœ ‰ ≈ œ

œœ 4 œœ >œœ. œ ≈‰ 4 œ œ ‰ Œ Ó œ œ œ

>œ œœ œ

3 3 4 ∑ 4

15

/ 43 00:43

Tc.

16

17

18

00:46

4 00:48 4

00:51

molto S.T. Low finger pressure. "Ghostly"

° 3 Vln. & 4 ¢

‰ >6™ 6 >6 6

3 &4

≈ >6

≈ ‰ >6

≈ ≈ ‰ 44 µ>O >6 6 >6 6 >6 6 mf

4 4

Œ #œ. ‰ Ó p

Pno.

>œ ™ ? 3 œœ ™™ 4 œ™ “‘

{

œœ œ œ

>œ œ œ œ

œœ >œœ œ‰ œ≈ œ œ

>œ > œ ≈ ‰ œœ œ œ œ œ

œœ >œœ œœ >œœ œœ 4 >œœ œ≈œ≈œœœ‰ 4 œ≈‰ Œ Ó œ œ œœœ œ

Daniel Moreira - 1 - The Delivery


19 00:55

21

22

23

01:01

3 4 01:04

2 4 01:07

4 4

3 4

2 4

4 4

/

Tc.

Vln.

20 00:58

° ¢& 3

& ‰ #œ. ‰ Œ

Ó

Œ #œ. ‰ Ó

Œ Œ #œ. ‰ Œ

3 4

2 4 #œ. ‰ Œ

4 4

3 4

2 4

4 4

Pno.

? ∑

{

24

/ 44 01:08

Tc.

Vln.

25

26

01:12

01:15

2 4

° 4 6≈ ≈‰ ≈ ≈≈ ‰ ≈ ≈ ≈ ≈ ≈ ≈‰ ≈ ≈ ≈ ≈ ≈ 42 ¢& 4 > 2 fff >6 6 6 >6 6 6 6 >6 >6 6 6 >6 >6 >6 6 >6 >6 6 >6 6 >6 6 >6 6 >6 3

4 &4

2 4

Pno.

> > > > > > > > > > ? 4 œœœ œœœ œœœ œœœ ≈ ‰ ≈ œœœ œœœ œœœ œœœ ≈ ≈ œœœ ‰ œœœ ≈ œœœ œœœ œœœ ≈ œœœ ≈ œœœ œœœ ≈ œœœ ≈ œœœ 4 œ œœœ œœœœ œ œ œœœ œ œœ œ œ “‘

{

>œ œ >œ œ >œ œ >œ œœ œ ≈ ‰ ≈ œœ œœ ≈ œœ ≈ œœ œœ œœ ≈ œœ ≈ 42 œ œœ œ œœœ œ

sub.fff

27

/ 42 01:18

Tc.

28

29

30

31

32

33

34

4 01:20 4

01:23

01:26

01:30

01:33

01:36

01:39

w w

w w

w w

w w

w w

3 4

molto S.T.

° 2 Vln. & 4 ¢

#w ‰ ≈ ‰ 44 # w ppp >6 6 >6

‰Œ Ó

3 4

>6 6 sub.fff

2 &4

4 4

>œ œ ? 2 œœ œœ ‰ 4 œœ :“;

>œ œ œœ ≈ ≈ œœ 4 4 œ œ

3 4

Pno.

{

>œ œœ ‰ Œ Ó œ

>œ œ œœ œœ ‰ Œ Ó œœ

∑ “‘

fff Daniel Moreira - 2 - The Delivery

3 4


35

36

/ 43 01:42

Tc.

37

38

3 2 8 01:45 4 01:46

39

40

3 3 8 01:48 401:49

41

42

3 3 8 01:51 401:53

> IIIIV II >œ ° 3 ‰ Œ Œ 3 ∑ 2 ≈‰ Œ 3 ∑ 3III œ≤ œœ≈≈ Vln. & 4 8 4 8 4 ¢ œ œj‰ # œ #œ >6 >6 o 2 ff mf o 3 3 3 2 3 3 & 4 ∑ 8 ∑ 4 ∑ 8 ∑ 4 Œ #œ. ‰ Œ > ff Pno. > > > ? 3 œœœ ‰ Œ Œ 3 ∑ 2 œœœ ≈‰ Œ 3 ∑ 3 œœœ ≈‰ ‰ ™ œ Œ 4 8 4 8 4 œ œ œ œ >œ mf “‘ “‘ “‘

{

3 801:55

1 4

≤ > ≤ 3 ∑ 3 œ œœ≈≈>œ 3 1 j≈ 8 8 4 #œ 4 œ œ ™ #œ µ œ o 2 ff mf o pppp 3 3 3 3 1 8 ∑ 4 Œ #œ. ‰ Œ 8 ∑ 4 > ff > 3 ∑ 3 œœœ ≈‰ ‰™ œ Œ 3 1 8 4 8 ∑ 4 œ œ > œ mf “‘ fff

e.= q= c.99 molto accel. 43

44

/ 41 01:56

Tc.

3+3+3 01:57 16

> > ° 1 ≈œ 3+3+3 œ ≈≈ œj™ œœ≈≈ Vln. & 4 16 ¢ #œ ™ œ> o 2 ff 2f 3 ff >œ. ™ 3 1 3+3+3 #œj™ ‰™ œ™ &4 Œ 16 . J > f ff Pno. > ? 1 œœœ ≈‰ 3+3+3 ‰ ™ œ™j ‰ ™ 4 16 œ œ œ f ‘ “ ‘ “

{

(q=c.130)

45

46

47

3 4 01:59

4 02:01 4

02:03

>œ >œ ‰ œ œ ‰ 44 œœ œj ‰ ≈œ ™ ≈‰ œ #œ > #œ o 2 6> #œo 2 f o mf f o 3 3 fff >œ. 3 4 ‰#œ. ‰ Œ 4 Œ œ ‰#œ. ‰ 4 Œ > > . > >. > 3 œœœ ‰ Œ Œ 4 œ ‰ Œ œœœ ‰ ‰ 4 4 œ œ œ œ >. “‘ “‘ mf f ff

3 4

>œ œ ≈‰ o 2 mf 3

œ œ‰ Œ 2p 3 >. œ ‰ Œ

Œ #œ. ‰ > >œ. ‰ ‰ œœ ‰ Œ ss. œ gli > o 2 f “‘ 3 f

fff fff

(q=c.155)

(q=c.180)

48

(q=c.192)

49

(q=c.230)

50

51

02:07

02:08

(click track in 2)

/ 02:04

Tc.

° Vln. & Œ ¢ >œ. & Pno.

? ‰

{

02:06

œj

œj

œ j‰ ‰ ‰ ≈œ Œ >œ # œœ f f o >œ. ‰ Œ Œ #œ. ‰ ‰ #œ. > > ff p ff >œ. ‰ œœ ‰ Œ ‰ . s ss. s œ gli > gli > o 2 f “‘ o 2f 3 3 mf

œ

Œ

œ >œ

f f

‰ ‰ œ o o 2

>

œj

f

œ o

j œ #œ

3 ‰ Œ >œ. ‰ œœ œ “‘

œ‰ Œ >. >œ. ‰ Œ mf

mf

Daniel Moreira - 3 - The Delivery

3

#œ. ‰ Œ > ‰ Œ

2

>

œj

f

œ oo 2

>

œj

œ f

oo

3

œ ‰ Œ #œ. ‰ Œ >. > >œ. ‰ Œ œ‰ œœ ‰ Œ œœ œ. > >.

œ‰ >. Œ


q=74 (tempo primo subito!) 55 54

(q=c.250)

52

53

02:09

4 02:11 4

02:10

/

Tc.

56

02:14

>~ Legno Batutto ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ° > œj œ > œj œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~4~~~~~ ≈‰ ‰ ‰ ‰ ~~ ~~~~ ¿¿ ¿¿ ¿¿ Vln. & 4 ¢ #œ~~~~~~~~~~~~~~~~~ . . . 2 f oo 2 f oo 2 ffff sub.pp 3 3 3 ◊œÿ. œ. œ. 4Œ ‰ ‰ ‰ & Œ #œ. ‰ Œ œ. ‰ Œ #œ. ‰ Ó 4 > > > sub. pp Pno. >œ. >œ. 4 ≈‰ Œ Ó ? ‰ Œ œ‰ Œ ‰Œ 4 œœ gliss. > >. :“; 2 ffff 3

02:18

ascending "clicks" SP

ST

¿¿ ‰ ¿¿ ‰ ¿¿ ‰ ¿¿ ‰ . . . .

(slowly dampen the pitch with the left hand)

normal œ. œ. œ. œ. œ. œ. œ. œ. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰

{

57 02:21

Œ œ ‘ “p

58

59

60

61

02:24

02:27

02:31

02:34

° ¢&

Ó

l.v.

62

63

02:37

3 4 02:40

4 4

#~w

3 4 O˙™™

4 4

/

Tc.

Vln.

pp (damped)

… :◊;. . . . œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ o

3 4 4 ∑ 4

3 4 4 ∑ 4

Pno.

? ∑

{

64

/ 44 02:43

Tc.

Vln.

° 4 ¢& 4

65

66

02:46

02:49

∑ e™

e™

e™

∑ e™

e™

∑ (damped)

(sim.)

normal

…. ◊ÿœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ¿ 4 &4 ≈ ≈ ‰ ≈ ≈ ‰ ≈ ≈ ‰ ≈ ≈ ‰ ≈ ≈ ‰ ≈ ≈ ‰ ≈ ≈ ‰ ≈ ≈ ‰ p

pppp

Pno.

?4 4

Œ

{

œ “‘p

Ó

l.v.

Daniel Moreira - 4 - The Delivery


67 02:53

/

Tc.

Vln.

Pno.

° ¢&

68

69

70

71

72

73

2 4 02:56

402:57 4

3 403:01

3 8 03:03

4 03:04 4

3 4 03:08

2 4

4 4

:◊;. . . . . . ¿ ¿ ¿ ¿ ¿ ¿ ¿. 2 4 & ≈≈ ‰ ≈≈ ‰ ≈≈ 4 ‰ ≈Œ 4 o A 2 4 ? ∑ 4Œ ‰≈ 4

{

Quickly scratch the tuning pegs with a credit card, as a fast guiro)

3 3 4 4 ∑ 8 ∑ 4

3 4 ∑

3 3 4 4 ∑ 8 ∑ 4

3 4 ∑

3 3 4 3 4 ∑ 8 ∑ 4 ‰Œ Œ Œ 4 ∑ “‘ œ.

≈‰ Œ Ó

s. glis ffff

>

f

74 03:10

75

76

77

78

79

80

81

82

03:12

4 03:15 4

3 803:18

3 403:19

03:22

3 8 03:24

3 4 03:25

03:28

/

Tc.

“”>œ ° ‰Œ Ó Vln. & ¢

∑ 44

“” >œ 3 3 8 ∑ 4 ‰Œ Œ

∑ 44

3 3 8 ∑ 4

∑ 83 #œ. j ‰ ‰ 43 > mf

∑ 44 ‰ Œ Ó “‘ œ.

3 3 8 ∑ 4

∑ 83

Pizz.

∑ 83

“”>œ 3 4 ‰Œ Œ

3+2 16

∑ 3+2 16

f

&

∑ 3+2 16

Pno.

?

{

3 Œ Œ 4 #œ “‘

∑ 3+2 16

l.v.

pp

83

/ 3+2 16 03:30

Tc.

84

85

86

87

88

89

90

91

03:31

03:32

03:33

2 4 03:34

3 403:36

03:38

3 8 03:41

203:42 8

2 4

Left hand almost at the bridge. very low finger/ bow pressure. Just a pitchless, high hissing sound should occur.

>- ° 3+2 1J ™ 1J Vln. & 16 ¢ Ord.

1>- ™ 1J J

1>- ™ 1J J

1>- ™ 1- IOœ Oœ Oœ Oœ Oœ Oœ Oœ 3 J J 2 4 4

mp pp

p

ppp

O˙™™

3 8

p

f f

sim.

◊ÿ. ™ œ 3+2 & 16 J ‰ f

“”>œ 2 ‰ 2 8 4

Pizz.

Scratch the wood under the piano keys with your fingernails

>œ. # 2 ∑ 4 ‰ Œ

3 4

p

>. #œ. ‰ Œ Œ 3 ###œœœ ‰ ‰ 2 ∑ 2 8 J 8 4 p

mf

Pno.

>-2™ -2 ? 3+2 J J 16

{

>-2™ -2 J J

mp pp sim.

>-2™ -2 J J

>-2™ -2 J J 42 #œ “‘

Œ

3 4

l.v.

pp

Daniel Moreira - 5 - The Delivery

3 8

2 ∑ 2 8 4


92

/ 42 03:43

Tc.

93

94

95

96

97

3 4 03:44

03:47

03:49

2 4 03:52

03:53

(C# is the main pitch. Try to find a balance between both pitches. If the C# is too soft, do not play the B)

O 3 > ≈#œOœ 4œ µœ o 2 mf o 3 >. >œ. # # œ #œ # œ 2 ‰ Œ 43 ‰ &4 Ord.

° 2 Vln. & 4 ¢

ff

Oœ Oœ

Oœ Oœ

mf

Oœ Oœ

Oœ Oœ

p

mf

Oœ Oœ

Oœ Oœ

Oœ O˙ ™™ Oœ #O˙ ™™

Oœ Oœ

p

mf

“”>œ. Pizz. Œ ‰

2 #O 4# ˙ o

sub.mf

2

ff

f

3 > ###œœœ. ‰ Œ

#>œ. Œ Œ

‰ Œ Œ 42

p

ff

p

Pno. secco

?2 4

{

3 4

2 4

‰ Œ

∑ &

œ “‘ . ff

98 03:55

99

100

03:57

4 03:58 4

/

Tc.

3 4

4 ≈µµOœ Oœ Oœ Oœ Oœ Oœ 4 >œ µ œo 2 f p mf p mf ◊ÿ >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 3 >œ 4 ‰ Œ Ó & 4

° Vln. & ¢

3 4

3 4

mf

Pno.

>. & œ

{

>œ.

œ. ‰

œ. ‰

p

3 4

p

mp

mp

101

/ 43 04:01

Tc.

4 4

102

103

104

105

106

107

108

04:04

3 8 04:06

2 04:08 8

04:08

04:09

4 04:10 4

04:13

“”>œ. ∑ J

“”>œ. 1> Arco ° 3<µ><µ>Oœ Oœ Oœ Oœ Oœ µµO˙ ™™ 3 Oœ ™™ 2 4 ≈‰ Œ Ó Jœ ‰ ∑ Vln. & 4 8 8 4 ¢ J 2 ff p mf sub.mf f o 2 fff 3 ◊ÿ>œ œ 3 œ œ take the motor (milk frother) ###œœœ ###œœœ ###œœœ 3 3 2 4 ∑ ‰ Œ Œ ∑ ‰ ‰ ‰ ∑ ∑ J J &4 8 8 4 Pizz.

ff

ff

Pno. secco

3 &4

{

?

3 2 8 ∑ 8 j ‰ “‘ œ.

secco

4 4

‰Œ Ó

œ “‘ >.

f fff Daniel Moreira - 6 - The Delivery


109 04:16

111

112

113

114

115

116

117

04:20

3 4 04:23

2 4 04:25

4 04:27 4

3 4 04:30

04:33

4 04:35 4

2 4 04:38

/

Tc.

Vln.

110

° ¢&

3 2 4 ∑ 4

3 2 4 ∑ 4

4 4

3 4 ∑

∑ 44

touch the bottom of the milk-frother on the piano (to amplify the sound of the motor).

∑ &

4 4

. ∑ 44 #œ ‰ Œ Ó

3 4 ∑

4 4

2 4

4 4

2 4

4 4

p on

off

on

3

2

3

off

Pno.

2

™ ? ∑

{

118

/ 44 04:40

Tc.

3 2 4 4 ∑ 4Œ ‰ 4 ‰Œ Ó o o

3 4 ∑

∑ 44

2 4

4 4

119

120

121

122

123

124

04:43

2 4 04:46

4 04:48 4

3 4 04:51

5 4 04:54

4 04:58 4

3 ™ 4 O˙™

5 4

3 4

II

° 4 Vln. & 4 ¢

2 4 4 ∑ 4

~w

4 4

>œ. # # œ 5 ‰Œ Œ Ó 4

4 4

5 4

4 4

ppp

#>œ. ‰ Œ Ó 4 &4

. 2 ∑ 4 ##œœ ‰ Œ Ó 4 4

on

off

Pno.

3

2

™ ?4 4

{

125

/ 05:01

Tc.

2 4 4 ∑ 4

3 4

126

127

128

129

130

05:04

05:08

05:11

05:14

05:17

Very dry Bartok pizz. Dampen the string with the left hand. Almost no pitch

II

° Vln. & ¢

~w

O˙™™

2 4

«

Pizz.

Œ

Ó

2 4

ppp

###œœœ. ‰Œ Ó

2 mf 3 ◊ÿ >œ. œ. œ. œ. œ. œ ‰ ‰ ‰ ‰

& mf on

p

off

Pno.

3

2

™ ?

{

∑ &

ff

2 >.

œ. œ. œ. ‰ ‰ ‰ ‰ 42 > ###œœœ. 2 ‰ Œ Ó 4 f

Daniel Moreira - 7 - The Delivery


131

132

133

134

135

4 05:22 4

05:25

3 405:29

4 05:31 4

/ 42 05:20

Tc.

(as a continuous glissando, but holding a little on the written pitches)

Arco molto S.T.

#œ ° 2 Vln. & 4 ¢

œ

µœ

œ

™ nœ

µœ œ 3 4

4 4

4 4

pp p

:◊; œ. œ. >. (B) œ 2 4 &4 ‰ ‰ 4 ‰ Œ Ó

3 4

f

> ###œœœ. Œ ‰ ≈

4Ó 4

ff f

on

Pno.

#w

3

A l.v.

2 &4

4 4

{

3 4Œ Œ ‰ ≈

4Ó 4 . ss

Œ ‰ ≈

gli Quickly scratch the tuning pegs with a credit card, as a fast guiro)

mf

136 05:34

137

138

05:38

5 4 05:41

/

Tc.

Ord.

° Œ Œ ‰ ≈ S.P. œ œ™ Vln. & ¢

≈ ‰ ≈ œœ

f

œ

5 4

œ

f

4 4

>œ >œ >œ >œ œ ‰ œ ‰ œ ‰ œ ‰ Œ 44 ff

> > > > ##œœœ. ##œœœ. œœœ. œœœ. # œ # œ ‰ ≈ ≈ ‰ ≈ ‰ ≈ ‰ 45 & Œ Œ ‰ ≈ ‰ ≈ p

ff

◊ÿ>œ. œ

> œœ. ≈‰

> œœ. ≈‰

> œœ. ≈‰

≈ ‰ Œ 44

p f

f f

Pno. off on

off

>œ. >œ. >œ. >œ. # œ œ œ # œ œ œ œ # œœ ≈ ‰ œœ ≈ ‰ œœ ≈ ‰ œœœ ≈ ‰ Œ ? 4 5 &4 4

on

off

2 2

3

2

3

ÆJ

≈‰ ≈

{

≈≈

&

f

139

/ 44 05:45

Tc.

140

141

142

05:48

4 05:51 4

05:55

(very quick, noisy gliss.)

Arco

° 4 Vln. & 4 ¢

æ 22æ >

With dampened strings. No pitch, just bow scratch noise.

æ 22æ

æ 22æ

æ 22æ

Arco

Arco

Molto S.P.

æ 22æ

æ 22æ

æ 22æ

mf

>œ. # # œ # œœœ ≈ ‰ Œ Ó 4 &4

æ ∑ 22æ 44 2f 3 . 4 ###œœœ ≈ ‰ Œ Ó 4

Pizz.

≈‰ Œ ≈≈ ≈ ≈ œù œ œ >œù œ f> p ◊ÿ>œ. >œ. # ≈ ≈Œ Ó

Scratch the wood under the piano keys with your fingernails

Pno.

f mp

2 2 ?4 æ ‰ 4 æ ææ n œ o mf “‘ >.

{

2 ææ

2 ææ

2 ææ

2 ææ

2 ææ 44 2f 3

?

f Daniel Moreira - 8 - The Delivery

Molto S.P. Pizz.

Ó

≈‰ Œ “‘ œp.


143 05:58

144

145

146

147

06:01

06:04

3 4 06:08

4 06:10 4

/

Tc.

Arco molto S.T.

3 4

(as a continuous glissando, but holding a little on the written pitches)

#œ œ µœ œ µœ œ 3 ‰ ≈Œ 4 pp œ. ◊ÿœ. œ. ◊ÿ >œ. 3 ‰Œ Ó ∑ & Œ ≈ ≈Ó 4 Pizz.

™ nœ

« Arco Pizz. Arco Pizz. 4≈ ‰ ≈ ≈ ≈ ‰ > ≈ œ 43 4 f >œ >œ µ >œù >œù œ mf ◊ÿÆ ◊ÿœÆ œ Æ Æ œÆ ‰ 3 4 #œ ≈ œ ≈ 4 4

° Vln. & Œ Œ ¢

p

ff p

Pno.

A 3 Œ Œ ‰≈ 4

#w l.v.

? ∑

{

∑ &

Quickly scratch the tuning pegs with a credit card (if possible!)

mf

148

/ 43 06:13

Tc.

mf

4 ? 4 . s s gli œ 2 ff ' ‘ “ 3

3 &4

œ '

œ '

149

150

151

152

153

154

06:16

4 06:18 4

06:21

06:25

06:28

06:31

Ord.

>œ. ° 3 Vln. & 4 ¢ 2

Pno.

>œ >œ ≈‰ œ ‰ œ ‰

>œ >œ >œ œ ‰ œ ‰ œ ‰ 44

>œ œ ≈‰ Œ Ó

ff

3 ◊ÿ> > > > > > >œ. œœ. œœ. œœ. œœ. œœ. œœ. # # œ # œœœ ≈‰ Œ Ó 3 4 ≈‰ ≈‰ ≈‰ ≈‰ ≈‰ ≈‰ &4 4 f > f œœœ. œ>œœœ. œ>œœœ. ###œ>œœœ. œ>œœœ. œ>œœœ. # # œ # 3 4 ? œ ≈‰ œ ≈‰ œ ≈‰ 4 ≈‰ Œ Ó & 4 œ ≈‰ œ ≈‰ œ ≈‰ n œœ. f ‘ “ >

{

ff

155

/ 06:34

Tc.

156

157

158

159

160

161

162

163

06:38

06:41

06:44

06:47

06:50

06:54

06:57

07:00

~w

~w

~w

~w

~w

With dampened strings. No pitch, just bow scratch noise. overpressure

ææ ° Vln. & Œ 2 ¢ 2 o

æ 2æ 2

æ 2æ 2

æ 2æ 2

æ 2æ 2

æ 2æ 2

æ 2æ 2

æ 2æ 2

æ 2æ 2

™ æ ‰ O˙™ 2æ 2 66 >> o

æ 2æ 2

exponential cresc. (exaggerate only at the end!)

2

ppppp

Until the end of the piece: interact dynamically with the soundtrack doing slow, soft crescendi and decrescendi on the long sustained notes (not exaggerated).

fff fff

3 ∑

Until the end of the piece: interact dynamically with the soundtrack doing slow, soft crescendi and decrescendi on the long sustained notes (not exaggerated).

& give more emphasis to the lower pitches

Pno.

?

{

?

>œ. œ ™ œœ œœ ™™ œ œ™

˙˙ ™™ ˙™ ˙™

Tremolo INSIDE the piano (keep the string vibrating by gently taping it with the fingertips)

l.v.

Aª æ wæ

“‘ fff f Daniel Moreira - 9 - The Delivery

ppppp

æ wæ

æ wæ

æ wæ

æ wæ


164 07:03

/

Tc.

165

166

167

168

169

170

171

172

2 4 07:07

4 07:08 4

07:12

07:15

07:18

07:21

07:25

07:28

2O 4˙

~ 4 #w 4 o ppppp

~w

~w

exponential gliss. (start almost imperceptibly)

° ~w Vln. & ¢

&

2 4 4 ∑ 4

?

2 4

#O #œ

##~w p o ppppp

Pno.

{ w :“;

Aª æ wæ

4 4 #œ œ ™ ˙ ™ # œœ œœ ™™ ˙˙ ™™ l.v. “‘ >.

˙

f

mf

æ wæ

æ wæ

æ wæ

æ wæ

w w w “‘ >

l.v.

ppppp mf

173 07:31

174

175

176

07:34

07:38

07:41

/

Tc.

exp. gliss. as before

° <#><#>~w Vln. & ¢

bO œ

p

& Pno.

Aª ææ w

?

{

ææ w

ææ w

ææ w

:“; ppppp

177

/ 07:44

Tc.

178

179

180

181

182

07:47

07:50

07:54

07:57

08:00

short overpressure cracking sound (pitchless)

° nII~w Vln. & ¢ o ppppp

exp. gliss. as before

µO µœ

6. ≈ ‰ Œ Ó > p

& close the keyboard lid

Pno.

?

{

bw bw w “‘ >

l.v.

Aª æ wæ

‰ Œ Ó æ wæ

æ wæ

æ wæ >¿ mf

ppppp mf Daniel Moreira - 10 - The Delivery


DANIEL MOREIRA THE DELIVERY FOR VIOLIN, PIANO AND VIDEO/ SOUNDTRACK

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Daniel Moreira - The Delivery (for Violin, Piano and Video/Soundtrack)  

Daniel Moreira - The Delivery (for Violin, Piano and Video/Soundtrack)  

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