Instrumentation
Violin
Cello
Electric Guitar
Marimba
Duration
ca. 21’
About
This work is both a reflection of the composer’s current compositional tendencies and aspirations as well as an exploration of the influences of the genres of blues, bluegrass, and rock music in various manners. The first movement is most reflective of Klock’s current stylistic choices. The second and third movements contain direct references to the genres mentioned above, including structural elements (e.g. call and response, 12-bar blues progression), articulations such as ‘bent’ notes on the guitar, an emphasis on the backbeat, and extended techniques, among others. The final movement utilizes techniques that Klock will be exploring further in the near future.
Performance Notes
1. Undefined pitches are notated with an “x” as the notehead. The pitch on the staff is an approximation of where the performer’s note should sound.
2. “X” in the guitar signals a muted pitch. This should be performed at pitch, but the mute technique is up to the performer.
3. Glissandi in the guitar are notated in three manners. The first, a straight line, is a standard gliss. using a finger on the left hand; the following note is plucked. The second uses a bottleneck, and the following note is plucked. The third, with both a straight line and a slur, uses a bottleneck and the following note is not plucked. In the case of glissandi with a chord, all pitches gliss. to the subsequent pitches (shown below).
4. In Movement 2, the guitarist should lightly rock the metal of a screwdriver across all six strings in order to produce the “sound bed.” This uses and upward and downward motion of the screwdriver.
5. In Movement 3, the cellist should use their thumb to knock the fingerboard of their instrument, resulting in an unpitched, percussive sound (shown below).
6. In Movement 4, all string instruments perform an oscillating pattern notated with the symbol below. In every instance, the violin and cello may change bow directions at will, and the guitar may pluck or strum pitches at will after sounding the initial pitch(es). However, each performer should only oscillate within the given range. For example, the blow excerpt may oscillate between A B and A µ
Vkqnkn Eennq GneettkeGwktct Mctkobc Andante Vnn0 Ve0 G0Gtt0 Mtb0 3 (e=e) A Vnn0 Ve0 G0Gtt0 Mtb0 8 3 3 Pqw,Vhen,Vhen DcxkfMnqek
Seqte oqxeoent3
«2222 DavidKlock
Vnn0 Ve0 G0Gtt0 Mtb0 12 3 3 Vnn0 Ve0 G0Gtt0 Mtb0 15 Vnn0 Ve0 G0Gtt0 Mtb0 20 B Pqw,Vhen,Vhen 2
Vnn Ve G Gtt 25 3 3 3 Vnn Ve G Gtt 27 3 3 3 3 Vnn Ve G Gtt Mtb0 29 C Pqw, Vhen, Vhen 3
Vnn Ve0 G0Gtt0 Mtb 32 Vnn Ve G Gtt Mtb0 40 Vnn Ve G0Gtt0 Mtb 47 D Pqw, Vhen, Vhen 4
Vnn Ve0 G0Gtt0 Mtb 56 Vnn Ve G Gtt Mtb 64 E Vnn Ve G Gtt Mtb 71
w/bqttneneek 5
Pqw, Vhen, Vhen
Vnn Ve0 G0Gtt0 Mtb 78 Vnn Ve G Gtt Mtb 83 F Vnn Ve G0Gtt0 Mtb 88 Pqw, Vhen, Vhen teoqxe bqttneneek 6
Vnn0 Ve0 G0Gtt0 Mtb0 90 Vnn0 Ve0 G0Gtt0 Mtb0 92 Vnn0 Ve0 G0Gtt0 Mtb0 94 Pqw,Vhen,Vhen 7
Vnn0 Ve G Gtt Mtb0 97
Vhen, Vhen 8
Pqw,
Pqw, Vhen, Vhen
2
Eennq Gneettke Gwktct Gneettqnkeu Lento Ve G0Gtt0 Gnee0 9 Ve G Gtt Gnee 16 sim.
Dcxkf Mnqek «2222
Seqte oqxeoent
:25" teeqtf qn teeqtf qhh; )uqwnf bef) eqntknweu wkth uetewftkxet :38" :59" 1:05" texetb -fenc{ qn, wuebqttneneek
DavidKlock
Vnn0 Ve G Gtt Gnee0 Mtb 3 22 Vnn0 Ve0 G0Gtt0 Gnee Mtb0 3 26 Pqw, Vhen, Vhen 1:31" 1:23" 1:36" 1:45" 1:57" 10
Vnn0 Ve0 G0Gtt0 Gnee0 Mtb03 31 Vnn0 Ve0 G0Gtt0 Gnee0 Mtb03 37 Pqw,Vhen,Vhen 2:03" 2:15" 2:31" 11
Vnn Ve0 G0Gtt0 Gnee0 Mtb0 3 43 Ve0 G0Gtt0 Gnee 48 A G Gtt Gnee0 56 Pqw, Vhen, Vhen teeqtf qhh; texetbfenc{ qhh 2:48" 2:59" 3:09" 3:26" teeqtf qn uqwnf bef qhh 12
Vnn Ve G Gtt Mtb 3 60 pizz pizz Vnn Ve G Gtt Mtb 3 64 Vnn0 Ve0 G Gtt Gnee Mtb 3 68 arco B
teeqtf qn, teoqxebqttneneek teeqtf qhh 13
Pqw, Vhen, Vhen
Vnn G Gtt Gnee 75 Vnn0 Ve G Gtt Mtb 3 77 arco Ve0 G0Gtt0 Mtb 3 80 Vnn Ve G Gtt Mtb 3 82 D C Pqw, Vhen, Vhen 14
Vnn Ve G Gtt Mtb03 86 F Bm G Em Vnn0 Ve0 G Gtt Mtb 3 90 A Fm D arco Vnn Ve G Gtt Mtb 3 94 Fm Bm Em A Pqw, Vhen, Vhen 15
Vnn Ve G Gtt Mtb 3 99 Fm G cantabile D Vnn Ve G Gtt Mtb 3 104 pizz Vnn Ve G Gtt Mtb 3 110 pizz Pqw, Vhen, Vhen 16
Vnn0 Ve G Gtt Mtb03 115 arco arco E Vnn Ve0 G0Gtt0 Mtb03 119 Vnn0 Ve G Gtt Mtb 3 123 F Pqw, Vhen, Vhen 17
Vnn Ve G Gtt Mtb 3 126 3 3 Vnn0 Ve0 G0Gtt0 Mtb 3 129 3 3 3 AG Gm E7 Vnn0 Ve0 G0Gtt0 Mtb 3 pizz G Pqw, Vhen, Vhen nkiht 18
Vnn Ve0 G0Gtt0 Mtb03 139 pizz Vnn Ve0 145 accel Pqw, Vhen, Vhen attacca 19
Vkqnkn Eennq GneettkeGwktct Anneitq q=144 rkzz rkzz Vnn Ve G0Gtt0 Mtb 9 Vnn Ve G0Gtt0 Mtb 32 Pqw, Vhen, Vhen Dcxkf Mnqek «2222
Seqte oqxeoent 5 w/ bqttneneek thwob qn hknietbqctf
DavidKlock
Vnn Ve0 G Gtt Mtb0 39 cteq uko Vnn Ve0 G0Gtt0 Mtb 25 5 5 5 5 5 5 3 5 5 5 5 cteq Vnn Ve G Gtt Mtb 28 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
21
Pqw, Vhen, Vhen *NJ owte)
Vnn Ve0 G Gtt Mtb 52 5 5 Vnn Ve G Gtt Mtb 2 uko Vnn0 Ve0 G Gtt Mtb 62 3 5 5 2 5 5 5 5 5 5 5 Pqw, Vhen,
ehqr Kortqxkue wkth hqnnqwkni 6 eennu< teoqxe bqttneneek 22
Vhen
Ve G Gtt Mtb 65 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 Ve0 G Gtt Mtb0 52 5 5 6 Ve0 G0Gtt0 Mtb 56 3 Pqw, Vhen,
Kortqxkue wkth hqnnqwkni 5 eennu< 23
Vhen
Vnn Ve G Gtt Mtb0 82 2 5 5 5 tcnn Mqfetctq 5 G0Gtt0 Mtb 86 G0Gtt0 Mtb 89 Pqw, Vhen, Vhen r qn owtef G uttkni 24
Vnn Ve0 G0Gtt0 Mtb 92 5 neictq 5 5 5 Vnn Ve G0Gtt0 Mtb 96 rkzz 8 Vnn Ve G Gtt 9; 5 neictq 5 5 5 5 5 5 Pqw,
25
Vhen, Vhen
Vnn Ve G Gtt 86 cteq Vnn0 Ve G Gtt 88 tkt Pqw, Vhen, Vhen cttceec 26
Vkqnkn Eennq Mctkobc Vnn0 Ve0 Mtb0 32 rqnt Vnn Ve Mtb 25 3 Pqw, Vhen, Vhen Mnqek «2222 DavidKlock Seqte oqxeoent 6 w/bqttneneek
Vnn Ve G Gtt Mtb 55 2 Vnn0 Ve0 G0Gtt0 68 5 3/6 Vnn0 Ve G Gtt 5; Pqw, Vhen, Vhen *3/6 tqneu) *3/6 tqneu) 28
Vnn0 Ve G0Gtt0 Mtb 6 Vnn Ve G0Gtt0 Mtb0 95 5 Vnn0 Ve G0Gtt0 Mtb0 82 Pqw, Vhen, Vhen 29
Vnn0 Ve G Gtt Mtb0 8 qtf Vnn Ve G0Gtt0 Mtb0 ;3 bqttneneek 9 Vnn Ve0 G Gtt Mtb ;9 qtf bqttneneek Pqw, Vhen, Vhen *3/2 uteru) *3/2 uteru) *3/6 tqneu) *3/6 tqneu) 30
Pqw, Vhen, Vhen
*whqne tqneu)
*whqne tqneu)
Vnn0 Ve0 G Gtt Mtb 325 5 5 8 5 5 5 5 5 5 Vnn0 Ve G Gtt Mtb 328 5 5 5 5 5 5 5 5 5 5
Vnn0 Ve G0Gtt0 Mtb0 333 5 5 qtf bqttneneek 5 5 5 5 5 5 5 5 5 5
5 5
31
Vnn0 Ve G0Gtt0 Mtb0 335 5 5 5 5 5 5 5 5 5 5 5 5 Pqw, Vhen, Vhen 32