Simon Løffler: (.. .. ....) (2009)

Simon Løffler (.. .. ....) (2009) for 2 clarinet or saxophone mouthpieces, viola, distorted electric piano, synthesizer, and kalimba Dur. 8′30″

Commissioned by SCENATET

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Simon Løffler (.. .. ....) (2009) for 2 clarinet or saxophone mouthpieces, viola, distorted electric piano, synthesizer, and kalimba Dur. 8′30″

Performance notes Electric Piano Performance notes

Performance notes The piano part is written for an electric piano distorted by a Max patch.

PERFORMANCE Since the playing styleNOTES involves a lot of very quick glissandi, the pianist might prefer to play with thin gloves.

!

Electric Piano

Electric Pianoœ Electric Piano The piano part is written for an electric piano ? distorted J by a Max patch. j & The piano part is written for an electric piano distorted by The piano part is written for an electric piano distorted by a Max patch. a Max patch.

Since the playing style involves a lot of very quick glissandi, pianist might to play with thin gloves.

Since the playing style involves a lot of very quick the pianist mightthe prefer play withprefer thin gloves.

Since the playing involves a lot ofglissandi, very quick glissandi, theto pianist might prefer to play range ofstyle theneed keyboard The rangeThe of the keyboard to be atneed least:to be at least: œ ! ! with thin gloves. œ œ The range of the keyboard need to be at least:

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j & white keys) Diatonic (only j &whithin the specified notes.

Ther range need to becluster at least: r of –the keyboard –

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To be played with one hand only.

j œ

j œ

Diatonic cluster (only keys)thewithin the specified notes. To be cluster (only whitewhite keys) whithin specified notes.

– Diatonic To beCluster played with one hand only.

Diatonic cluster (only white keys) whithin the specified notes. with the whole upperarm. played with one hand only.

–

R

To be played with one hand only.

Cluster with the whole upperarm.

Cluster with the whole upper arm.

Glissando, ranging an octave but need not be entirely exact.

Cluster withabout the whole upperarm.

Played as quick and violently as possible.

Glissando, ranging about anbut octave need exact. not be entirely exact.

Glissando, ranging about an octave need notbut be entirely Played as quick and violently as possible.

Played as quick and violently as possible.

Glissando,still ranging about octaveasbut need not be entirely exact.

Longer glissando, as qiuck andanviolent possible.

Played as can quick and violently as possible.

Again, the pianist choose to wear gloves if neccessary.

Longer as and quick and violent as possible. Again, the Longer glissando, glissando, still still as qiuck violent as possible. the pianist can choose to wear gloves if neccessary. j Again, can pianist choose to wear gloves if neccessary. œ Longer glissando, still as qiuck and violent as possible.

Again, the pianist can choose to wear gloves if neccessary.

Viola Moderate overpressure. More pitch than bow noise.

Viola

! œ œ

! œ œ

Viola Moderate overpressure. More pitch than bow noise.

! œ œ

Viola

Moderate overpressure. More pitch than bow noise.

Moderate overpressure. More pitch than bow noise.

SAXOPHONE & CLARINET Throughout the whole piece, both the clarinet and saxophone play solely with their teeth on the reed. This means placing the teeth lightly on the reed, instead of against the lower lip as in normal playing. The results in a thin high-pitched sound. Changes of pitch can be made by Saxophone and Clarinet altering the pressure on the reed, or by sliding the teeth over its surface.

The two musicians need twoboth seperate one forsolely the first part of teeth the piece Throughout the whole piece, clarinetmouthpieces; and saxophone play with their on thewhich reed. is This means placing the the teethquiet lightly onbeginning the reed, instead ofF.against the lower lip as in normal playing. very loud, and one for part at letter The results in a thin high-pitched sound. Changes of pitch can be made by altering the pressure on the reed, or by sliding the teeth over its surface.

The second mouthpiece for the very soft part needs to have its opening almost entirely closed, Theastwo musicians need twoofseperate for the ďŹ rst partand of the piece which is very so to let out a minimum air. Use,mouthpieces; for instance,one some gaffa tape make a few holes withloud, a and one for the quite part beginning at letter F. needle, or use your hand.

The second mouthpiece for the very soft part needs to have its opening almost entirely closed, so as tothe letexact aminimum air out. for instance, som gaffa and makepart a few with a needle, or use your hand.

Since pitch of cannot byUse, controlled, the clarinet andtape saxophone areholes notated graphically.

Thepitch totalcannot range, by meaning the lowest to highest notated note, is notated graphically.

Since the exact controlled, the clarinet and saxophone part are The total range, meaning the lowest to highest notated note, is (TOR meaning teeth-on-reed): (TOR meaning teeth-on-reed):

" J

j "

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T O R

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j " j "

Veryshort shortand andquick quickglissando. glissando.

Very

Longerglissando. glissando.Played Playedby bysliding slidingthe the teeth. teeth.

Longer

Kalimba The kalimba needs to have the following range:

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quite part beginning at letter F. The second mouthpiece for the very soft part needs to have its opening almost entirely closed, so as to let aminimum of air out. Use, for instance, som gaffa tape and make a few holes with a needle, or use your hand.

Since the exact pitch cannot by controlled, the clarinet and saxophone part are notated graphically.

The total range, meaning the lowest to highest notated note, is (TOR meaning teeth-on-reed):

" J

j "

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T O R

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Very short and quick glissando.

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Longer glissando. Played by sliding the teeth.

Kalimba KALIMBA The kalimba needs to have the following range:

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The kalimba needs to have the following range:

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Use for instance a Hugh Tracey treble kalimba.

Use for instance a Hugh Tracey treble kalimba.

Depending on the circumstances, it might need to be amplified, but its fragile sound versus the deep Depending on the circumstances, it might need to be ampliďŹ ed, but its fragile sound versus the deep synth is intended. synth is intended.

Synthesizer

The synth is a very simple max patch, played through a midi keyboard:

SYNTHESIZER The synth is a very simple Max patch, played through a midi keyboard:

As indicated in the score, it is to be extremely soft.

As indicated in the score, it is to be extremely soft.

(.. .. ....)

Simon Loeffler (2009) qd = 90 Extremely aggresive

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> > .. ># ‰ " # ># ‰ " # .. .. #

Sax.

T O R

.. ># ‰ " ># ># ‰ " ># .. .. ># ‰

x6

62

Vla.

E. Pno.

& ..

? .. >– –

Cl.

T O R

Sax.

T O R

E. Pno.

j œœ

œœ b œœ

j œœ

œœ

.. ..

!œ

.. #

r >– " – – – >

r >– " – .. .. – – >

# #

# .. #

x17

##

j œœ

j œ

œœ b œœ

j œœ

œœ b œœ

j œœ

& .. " & .. – – > ? .. >– –

j œœ

"

œœ

j œœ

" ..

‰ " – – ‰ " – ..

– – > >– > r– – " ‰ " – ..

– – >– > >

b œœ

# #

#

œœ b œœ

j œœ

œœ b œœ

j œœ

œœ b œœ

j œœ

œœ

r " – – – ‰ " – – ‰‰" – – ‰ " – – – ‰" – – ‰" – – – – >– – >– – >– >– – >– > >– >– > > > > > r – – r > – – – – – " – ‰" – ‰ " – ‰ " – – " – ‰" – – – > – > >– – >– – >– > > > > >

# Œ.

$

.. ># ># ># " " ># ># ># ‰ " ># .. ># ‰ " ># ># ># ‰ " ># ># ‰ J b œœ

##

> >> > > > > > >> > > > " # # #‰" # # ‰ " # # ‰ " # # #‰" # # ‰" #

b œœ

J & .. ‰ ‰ " r ‰ ‰ " r .. .. ‰ œ œ

66

Vla.

b œœ

# #

j œœ

œœ b œœ

j œœ

j – ‰‰ – – – ‰ – – > >– >– >

‰ Œ.

œœ b œœ

j œœ

$

>– – – ‰ ‰ ‰ – – – – –> J >

‰ – –– –– Œ .

– >> J

9

$

98

$

$

98

$

œœ b œœ

9 8 $

– – – – – ‰ Œ.

– > > J

9 8

j œœ

œœ b œœ

j œœ

$

9 ‰ – – – Œ. Œ.

8 – – – >J >

Cl.

T O R

..

$

x5

Sax.

T O R

..

$

..

71

Vla.

œ b œœ

j œœ

!-->œ

& .. & ..

E. Pno.

$

? .. – – – ‰ Œ . Œ .

– – – > J >

E

3 & 8

E. Pno.

Synth

Kal.

e = 75

..

b œœ

$

$

$

$

$

38

$

$

$

$

$

3 8 j œœ

%

dim.

3 8

..

$

$

$

$

$

3 8

..

$

$

$

$

$

38

$

$

$

$

$

$

$

$

$

? 3 8

$

$

$

$

$

$

$

$

$

? 38

$

$

$

$

$

$

$

$

$

? # 38

$

$

$

j œ-œ ‰ ‰

j œ-œ ‰ ‰

j œ œ- ‰ ‰

j œ-œ ‰ ‰

j œ œ- ‰ ‰

77

Vla.

..

molto rit.

sempre

j œ œ- ‰ ‰ Øp

œ? # 3 ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ œœœœ 8 J œ-œ œ-œ œ-œ œ-œ œ-œ œ-œ sempre Øp œ # 3 ‰ ‰ j ‰ ‰ j ‰ ‰ j œ ‰ j œ ‰ j œ ‰ j œ ‰ J & 8 œœ œœ œœ J œœ J œœ J œœ J sempre Øp

10

œœœœœ‰ ‰ j ‰ ‰ J œ-œ œ œ ‰ j œ ‰ J J œœ J

? # œjœ ‰ ‰ -

j œ-œ ‰ ‰

86

Synth

Kal.

œ? # ‰ ‰ j ‰ ‰ œœœœ J œ-œ œ # œ & J ‰ jœ œJ ‰ J œ

j œ œ- ‰ ‰

$

j œ-œ ‰ ‰

œœœœœ‰ ‰ j ‰ ‰ J œœœ -

‰ ‰

œ œ ‰ j œ ‰ J J œœ J

œœ- ‰ ‰ J

j œœ

‰ ‰

œ ‰ j J œœ

œœ- ‰ ‰ J

j œ-œ

œ ‰ j J œœ

j œ-œ ‰ ‰

œœ- ‰ ‰ J

œœœœœ‰ ‰ J

‰ ‰ œjœ ‰ ‰ j œ-œ

œ œ ‰ J J

œ ‰ j œ ‰ j œ J J œœ

Cl & Sax: Use a seperate mouthpiece thats almost entirely closed.

For instance, close the opening with gaffa tape and make a few small holes.

T O R

$

$

$

$

$

$

$

Sax.

T O R

$

$

$

$

$

$

$

Vla.

&

$

$

$

$

$

$

$

$

$

$

$

$

$

$

$

$

$

$

œ ‰ j œ J

œ ‰ j œ J

œ ‰ j œ J

œ œ J j œ J

Synth

Kal.

? # œœ- ‰ J ?#

$

œ # œ J j & J œ F

‰

j œ-œ ‰ œ ‰ J

j œ-œ

j œ-œ

‰

‰- ‰

j œ

œ œ J j œ J

# J ' &----> œ ‰ ‰ J ' ‰

œ J

‰

‰

j œ

# ‰ ‰ J

#.

#.

# ‰ ‰ J

#

"‰ #

#"‰ #

#

"‰ #

#"‰ #

#"‰ #

# R"‰ ‰

#.

#.

#.

#.

&--œ> .

œ.

‰ ‰ #J

œ.

œ.

‰ ‰ #J

#"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰ #

# "‰ ‰ R

Cl.

T O R

Sax.

T O R

&

#.

e = 100

‰

‰

#.

103

Vla.

j œ-œ

‰

# J '

Cl.

95

œ ‰ ‰ J

œ ‰ ‰ J

œ

"‰

Kœ

œ

11

"‰

œ

œ

"‰

Kœ

œ

"‰ œ

œ"‰ œ

œ R"‰ ‰

Cl.

T O R

j ‰ ‰ # # " ‰ #

# " ‰ #

# " ‰ #

# " ‰ #

# " ‰ #

# # " ‰

#"‰ ‰ R

Sax.

T O R

j ‰ ‰ # # " ‰ #

# " ‰ #

# " ‰ #

# " ‰ #

# " ‰ #

# " ‰

#

œ " ‰ kœ

œ " ‰ œ

œ " ‰ kœ

œ " ‰ œ

œ

# R"‰ ‰

œ " ‰

115

Vla.

œ J ‰ ‰ & &-->

" ‰ Kœ

œ

Cl.

T O R

j ‰ ‰ # #"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰

Sax.

T O R

j ‰ ‰ # #"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰ #

#"‰

œ " ‰kœ

œ

œ

œ " ‰ Kœ

œ"‰

123

Vla.

&--> K œ

œ"‰ œ

&‰ ‰ J

Cl.

T O R

#"‰ #

Sax.

T O R

133

&--> Vla.

&

?# Synth

Kal.

G

e = 75

&

#

œ"‰

"‰ œ

#

#"‰ #

#

#"‰ #

œ

œ

œ

"‰

#"‰ #

# R"‰ ‰

$

$

$

$

$

$

#"‰ #

#"‰ #

#"‰ #

œ

œ

œ

#"‰ ‰ R

$

$

$

$

$

"‰

œ

$

"‰

œ

$ sempre

?#

œ"‰ œ

"‰ œ

œ

œ R"‰ ‰

$ $

$ ‰

‰

sempre

"‰

œ

œœ- ‰ ‰ J Øp j œ-œ ‰ ‰

j œ ‰ œœ Øp

œ

œ

"‰

œ

œ

"‰

œ

œœ- ‰ ‰ J

j œ-œ ‰ ‰

‰- ‰ œjœ -

$

œ ‰ œ

œ J

12

‰

œ

"‰

œ

œ

"‰

œ

œ R"‰ ‰

œ-œ ‰ œœ ‰ ‰ jœ œ-œ ‰ œœ œœœœœœ‰ J ‰

j œ œ œ

œ

œ

j œ-œ ‰ ‰ œ ‰

œ

œœœœœ‰ J ‰ œ

œ

œ

$ $ j œ-œ ‰ ‰ œ ‰ œ

?#

$

$

$

$

$

?#

$

$

$

$

‰ ‰

142

Synth

Kal.

œ œ # œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ J ‰ &

?#

$

152

Synth

Kal.

?# ‰ &

œ # J

Kal.

‰

j œœœœœ -

‰

œ J

j œœ

‰

$

$

?#

$

$

‰

œ œ

œ J

&

# œ œ œ

?#

Kal.

j œœ

‰

?# ‰ œ # J &

‰

œ

‰

$ j œœœœ j œœ

‰ œ J

$

$

$

‰

œ œ œ

œ œ œ

œ J

‰ ‰

j œ œœœ j œ œ

‰

œ J ‰

j œœ

‰ œ J

j œœ

$ j œœœœœ -

‰

‰ œ J

j œœ

‰

‰ ‰

$ j œœœœœ -

‰

j œœ

‰

‰

‰

œ J

‰

j œœœœœ j œœ

$

$

$

$

$

$

$

$

œ œ œ

œ œ œ

œ œ œ

13

$

$

$

$

$

‰ ‰

œ œ œ

œ œ œ

œ J ‰

$

$ j œœœœœœ -

j œœœœ -

‰ ‰

œ j J ‰ j œœ œœ

$

‰

$

j ‰ ‰ j œœœ œ-œ -

$

$

168

Synth

j œœœœœ -

‰

?#

160

Synth

$

$

œ

œ

j œœœœ j œœ

$ j œœœœœœ j œœ

‰

j œœœœ œœœ -

‰

œ J

$

j œ œ

‰

$ œ

œ œ

$

$

$

$

$

$

œ œ œ

œ œ œ

œ

œ

$ ‰ œ

œ J

‰ ‰

œ

$ j œœœ j œ œ

‰

‰

œ J

‰

j œœœ j œ œ

?#

$

$

?#

$

$

‰

#

œ œ

œ œ œ

œ J

176

Synth

Kal.

&

œ

$ ‰ ‰

$ j œ-œ j œœ

‰ œ J

‰ ‰

j œj œœ

14

$

$

$

$

$

$

$

$

œ J ‰

œ J ‰

œ J ‰ ‰

œ J ‰ ‰

j œ

j œ