James Black – At night...

James Black At night, walking shoes full of blood on the door (or, steam heating a room full of opium) (2015)

for wind quintet Dur. 10′

Written for The International Carl Nielsen Chamber Music Competition 2015

SCORE

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At night, walking shoes full ofEEblood wind quintet (flute/piccolo, oboe, clarinet in flat/A, horn, bassoon) bassoon) , steam heating a room full of opium) wind quintet (flute/piccolo, oboe, clarinet in flat/A, horn, he Carl Nielsen International Chamber Music Competition, Copenhagen 2015 wind quintet on (flute/piccolo, the door oboe, clarinet in E flat/A, horn, bassoon) wind quintet (flute/piccolo, oboe, clarinet in E flat/A, horn, bassoon) he Carl Carl Nielsen International Chamber Music Competition, Copenhagen 2015 2015 he Nielsen International Chamber Music Competition, Copenhagen (or, steam heating a room full of opium) wind quintet (flute/piccolo, oboe, clarinet in E flat/A, horn, bassoon) he Carl Nielsen International Chamber Music Competition, Copenhagen 2015 form ance instructions (2015) International Chamber Music Competition, Copenhagen 2015 he Carl Nielsen he Carl Nielsen International Chamber Music Competition, Copenhagen 2015 for wind quintet form instructions core isance transposed.

form ance instructions form ance instructions Dur. 10 ′ core is transposed. form ance instructions all instruments core is transposed. score transposed. formisance instructions

core is transposed. allnoteheads instruments re signify breath noise only (unpitched). The opening of the instrument should be held all instruments all instruments core is transposed. ly away from the mouth to increase the volume of the sound. The breath noise should be very PERFORMANCE NOTES are noteheads signify breath noise only (unpitched). The opening of the instrument should be held allnoteheads instruments ful and alwayssignify loud. breath re noise only (unpitched). The opening of the instrument should be held tly away from signify the mouth to increase the volume of the sound.

The breath noise should be very are noteheads breath noise only The opening the instrument should held allaway instruments ly from the mouth to increase the(unpitched). volume of the sound.

Theof breath noise should be be very The score is transposed. ful away and always loud. re noteheads breath noise only Thesound. opening the instrument should held tly from signify the mouth to increase the(unpitched). volume of the Theofbreath noise should be be very ful and always loud. ly from the mouth increase the(unpitched). volume of the sound.

Theof breath noise should be be very eful and always loud. uare notehead below thetostave signifies an out breath. re away noteheads signify breath noise only The opening the instrument should held General ful and always loud. ly away from thenoteheads mouth tosignify increase the volume of the sound.

The breath should be very Square breath noise only (unpitched).

The opening of thenoise instrument should uare notehead below the stave signifies antoout breath. ful and always loud. be held slightly away from the mouth increase the volume of the sound.

The breath noise uare notehead below the stave signifies an out breath. uare notehead notehead below the stave signifies an in outbreath. breath. shouldabove be verythe forceful andsignifies always loud. uare stave an uare notehead below the stave signifies an out breath. uare notehead notehead above the stave signifies an in breath.

A square notehead belowsignifies the stavean signifies an out breath. uare below the out breath. uare notehead above the stave stave signifies an in breath. uare e notehead above the stave signifies an in breath. uare notehead above the stave signifies an in breath.

A square notehead above the stave signifies an in breath.

e thenotehead uare stave an player in breath. re flute partabove is split the over two signifies staves, the should sing the e e r stave whilst playing the lower stave simultaneously. NB throughout e the re theuntil fluteb225, part is split over two staves, the player should sing the iece, singing andstaves, playingthe are in unison.

From re fluteFlute part isthe split over two player should singb225 the r stave whilst playing the lower stave simultaneously.

NB in throughout re thethe flute part isinsplit over staves, the player should sing Where the flute part istwo split over two staves, player sing the upper ards, accents the lower stave align with thethe accents thethe upper restave whilst playing the lower stave simultaneously.

NBshould throughout iece, until b225, the singing and playing are in unison.

From b225 stave whilst playing the lower stave simultaneously.

NB throughout re theuntil flute part isthe split over two staves, the player should singb225 the the piece, r stave whilst playing the lower simultaneously.

NB throughout .iece, b225, singing andstave playing are in unison.

From until b225, the singing and playing are inplayer unison.

From b225 onwards, ards, the accents in the lower stave align with the lower. accents in the upperthe accents riece, stave whilst playing the lower simultaneously.

NBFrom throughout until b225, the singing and playing are in b225 voice part is too high, it may bestave sung an octave re thethe flute part isin split over two staves, the should sing the ards, accents the lower stave align with theunison. accents in the upper in the lower stave align with the accents in the upper stave. e. iece, until b225, thethe singing and playing are in From b225 ards, the accents in lower stave align with theunison. accents in the upper r. stave whilst playing the lower stave simultaneously.

NB throughout If the voice partwhistle is may too high, it may bewith sung an octave lower. voice part is too high, it be sung an octave lower. ond noteheads signify tone blowing extremely gently into a ards, the accents in the lower stave align the accents in the upper e. iece, singing in unison. voiceuntil partb225, is too the high, it mayand be playing sung an are octave lower. From b225 embouchure, with notated pitch voice part is tooinhigh, it may be sung anfingered. octave .ard ards, the accents the the lower stave align with the lower. accents in the upper mond noteheads signify whistle tone blowing extremely gently into ainto a noteheads signify whistle - extremely blowing extremely voice partDiamond is toosignify high, it may be sung antone octave lower. noteheads whistle tone - blowing gentlygently into a .ond dard embouchure, with the notated pitch fingered. mond noteheads signify whistle tone blowing extremely gently into a standard embouchure, with the notated pitch fingered. dard embouchure, withathe notated pitch voice part is too high, ittongue may be sung anfingered. octave lower. sed noteheads signify ram. ond embouchure, noteheads signify tone pitch - blowing extremely gently into a dard with whistle the notated fingered. dard embouchure, withawhistle the notated pitch fingered. ondnoteheads noteheads signify tone - blowing sed signify tongue ram.

Crossed noteheads signify a tongue ram. extremely gently into a sed noteheads signify a tongue ram. dard embouchure, withathe notated pitch fingered. sed noteheads signify tongue ram. oe sed noteheads signify a tongue ram.

Oboe oe sed noteheads signify a tongue ram. oe Triangle noteheads signifyinany in the altissimo The exact pitch is gle noteheads signify any note thenote altissimo register.register.

The exact oe unimportant, it must be produced placing the onto the reed. is unimportant, but it but must be produced bybyplacing the teeth teethdirectly directly oe All the triangle notes should have the same pitch. gle noteheads signify any note in the altissimo register.

The exact the reed.

All the triangle have theregister. same pitch. gle noteheads signify anynotes note should in the altissimo The exact oe is unimportant, but it must be produced by placing the teeth directly

gle noteheads signify any note in the altissimo register.

The exact is unimportant, but it must be produced by placing the teeth directly Glissandi should be achieved by manipulating thethe embouchure only i.e. they are the reed.

Allbe the triangle notes should have the same pitch. andi should achieved by manipulating the embouchure only i.e. gle noteheads signify any note in the altissimo register.

The exact is unimportant, but it must be produced by placing teeth the reed. All the triangle notes should have the same pitch. directly not true glissandi, but rather a bending of the note towards the notated pitch. are not true but notes rather athe bending of note towards the the reed.

Allglissandi, the triangle should have thethe same is unimportant, but it must be produced by placing thepitch. teeth directly gle noteheads signify any note in altissimo register.

The exact Blank noteheads mark the duration of the glissando. andi should be achieved by manipulating thethe embouchure only i.e. ed pitch.

Blank noteheads mark the duration of the glissando. the reed.

Allbe theachieved triangle notes should have same andi should embouchure only i.e. is unimportant, but it mustby bemanipulating produced bythe placing thepitch. teeth directly are not true be glissandi, butby rather a bending ofembouchure the note towards the andi should achieved manipulating the only i.e. are not true glissandi, butnotes rather aa bending of the note towards the the reed.

Alltremolo the triangle notes should have the same pitch.

A tremolo on two notes signifies trill, as fast as possible, between the two A on two signifies a trill, as fast as possible, between ed pitch.

Blank noteheads mark the duration of thenote glissando. andi should be achieved manipulating theofof embouchure only i.e. are not true glissandi, butby rather a bending the towards thethe two notes. ed pitch. noteheads mark the duration the glissando. notes Blank NB not a multiphonic (NB not a multiphonic.) are pitch. not true glissandi, butby rather a bending ofof the towards the ted Blank noteheads mark the duration thenote glissando. andi should be achieved manipulating the embouchure only i.e. ed pitch.

Blank noteheads mark the duration of the glissando. are not true glissandi, but rather a bending of the note towards the

ed pitch.

Blank noteheads mark the duration of the glissando.

Clarinet

Clarinet rinet

hange between E flat and A clarinet before figure H should be done as fast as possible at figure Clarinet d notClarinet in the general pause in b175.

Clarinet The change between E flat and A clarinet before figure H should be done as fast as possible at figure change between E flat and pause A clarinet before figure H should be done as fast as possible at figure Clarinet H and not in the general in b175. riangle noteheads between figures A and before C signify an H incredibly The change between E flat and A clarinet figure should behigh done as fast as possible at figure d not in the general pause inEb175.

The change between flat and A clarinet before figure H should be done as fastas as possible at at figure The change between E flat A clarinet before figure H should bebe done achieved by playing with the teeth directly onbefore the reed.

The three The change between Eand flat and A clarinet figure H should doneasasfast fast as possible possible at figure H and not in the general pause in b175.

The triangle noteheads between figures A inand C signify an incredibly high figure H and not in the general pause b175.

H and not in not the in general indistinct b175.

H and the general pause in b175. of the stave correspond thepause three pitches (high-mid-low pitch achieved by playing with the teeth on the The three riangle noteheads between figures A anddirectly C signify an reed. incredibly high The triangle noteheads between figures A and C signify an incredibly ve to each other) achieved by adjusting the position of the teeth onhigh lines of the stave correspond the three distinct pitches (high-mid-low achieved by playing with the teeth directly on the reed.

The three The triangle noteheads between figures A and C signify an incredibly high The triangle noteheads between figures A and C on signify an an incredibly Theor triangle between figures A and Cthe signify incredibly high pitch pitch achieved by noteheads playing with the teeth directly reed.

The threehigh eed towards away from the ligature.

A percussion clef has been relative to each other) achieved by adjusting the position of the teeth on pitch achieved by playing with the teeth directly on the reed.

The three of the stave correspond the three distinct pitches (high-mid-low pitch achieved by playing with the teeth directly on the reed.

The three lines of the stave correspond the three distinct pitches (high-mid-low achieved by playing with the teeth directly on the reed. The three lines of the to indicate that the pitch is relative, not absolute. the reed towards or away from the ligature.

A percussion clef has been lines of the stave correspond the three distinct pitches lines ofstave the stave correspond the three distinct pitches (high-mid-low ve torelative each other) achieved by adjusting the position of (high-mid-low the teeth ononto each to each other) achieved by adjusting the position of the teeth correspond to the three distinct pitches (high-mid-low relative used torelative indicate that the pitch is relative, not absolute. to each other) achieved by adjusting the position of the teeth relative totowards each other) achieved by adjusting thepercussion position ofclef thehas teeth onon or eed towards or away the ligature.

A percussion has been the reed orfrom away from the A been other) achieved by adjusting theligature. position of the teethclef on the reed towards the reed towards or away from the ligature.

A percussion clef has been ills are thethat written note and theabsolute. preceding grace to note. the between reed towards or away from the ligature.

A percussion has been used toaway indicate the ispercussion relative, not to indicate that the pitch ispitch relative, from the ligature. clefabsolute. has been usedclef indicate that the pitch indicate that theApitch isnot relative, absolute.

All trillsused are to between the written note and thenot preceding grace note.

used toisindicate thatabsolute. the pitch is relative, not absolute. relative, not All trills are between the written notethe andpreceding the the preceding grace note. n are All trills are written between the written note and preceding grace note. ills between the note and grace note.

Horn All trills are between the written note and the preceding grace note.

All trills are between the written note and the preceding grace note.

HornHorn n Horn sed noteheads signify a tongue ram. ram.

Crossed noteheads signify a tongue

Horn Crossed noteheads signify a tongue Crossed noteheads signify a tongue ram.ram.

Crossed noteheads signify a tongue ram.

Square noteheads with a tremolo signify a strong breath noise above) re noteheads with a tremolo signify a strong breath noise (as(as above) Crossed noteheads a tongue sed noteheads signify signify a tongue ram. ram. with the addition of a rapid and random manipulation of the valves. the addition of a noteheads rapid andwith random manipulation of breath the valves. a tremolo signify a strong noise above) SquareSquare noteheads with a tremolo signify a strong breath noise (as(as above) with the addition of a rapid and random manipulation of the valves.

Square noteheads with a tremolo signify a strong breath noise (as above) with the Square with a tremolo signify a strong breath (as above) with the noteheads addition a rapid andthat random manipulation of noise the(as valves. re noteheads with aoftremolo signify a strong breath noise above) The notation opposite signifies the player should rapidly alternate notation opposite signifies that the player should rapidly alternate addition of a rapid and random manipulation of the valves. with theThe addition ofopposite a and rapidout and random manipulation ofrapidly theshould valves. signifies that the player should alternate between breathing in into the instrument.

The effect the ofnotation a and rapid and random manipulation of rapidly the valves. eenaddition breathing out into the instrument. effect should bebe asas The notationinopposite signifies that the playerThe should alternate between breathing in and out into the instrument. The effect should be as loud as possible.

The notation opposite signifies that the the instrument. player should rapidly alternate as possible. between breathing in and out into The effect should be as between The notation opposite signifies that the playerrapidly should rapidly alternate loud as possible. notation opposite signifies that the player should alternate between breathing in and out into the instrument. The effect should be as loud asbreathing possible. in and intothe theinstrument. instrument. The be be as loud een loud breathing in and outout into Theeffect effectshould should as as possible. as possible.

Bassoon

Bassoon as possible. soon

Bassoon Throughout the piece, the bassoon plays with the reed removed, directly onto the crook.

Bassoon Bassoon Throughout the piece, the bassoon plays with the reed removed, directly onto the crook.

ughout soon the piece, the bassoon plays with the reed removed, directly onto the crook.

Throughout the piece, the bassoon playsplays withwith the reed removed, directly onto the crook.

Throughout the piece, the bassoon the reed removed, directly onto the crook.

Throughout the piece, the bassoon plays with the reed removed, directly onto the crook.

Crossed noteheads signify a tongue ram.

Crossed noteheads signify a tongue ram.

ughout theCrossed piece, the bassoon plays with ram. the reed removed, directly onto the crook. noteheads signify a tongue sed noteheads signify a tongue ram.

Crossed noteheads signify a tongue ram.

SquareSquare noteheads with awith tremolo signify a strong breath noise (as(as above) noteheads a tremolo signify a strong breath noise above) Crossed noteheads signify a tongue ram. with thewith addition of a rapid and random manipulation of of thethe keys. the addition of a rapid and random manipulation keys.

SquareSquare noteheads with awith tremolo signify a strong breath noise (as above) re noteheads with a tremolo signify a strong noise (as above) noteheads a tremolo signify abreath strong breath noise (as above) with the sed noteheads signify a tongue ram.

Square noteheads with a tremolo signify a strong breath noise (as above) with the addition aand rapid and random manipulation of the keys. the addition of a rapid random manipulation keys. addition of aofrapid and random manipulation of of thethe keys. with the addition of a rapid and random manipulation of the keys.

The notation opposite signifies the player should rapidly alternate The notation opposite signifies that that the player should rapidly alternate re noteheads with a tremolo signify a strong breath noise (as above) between breathing in and out into the instrument.

The effect should The notation opposite signifies that the player should rapidly alternate between breathing in and out into the instrument.

The effect should bebeasasbetween the addition of aopposite rapid and random manipulation of rapidly the keys.

The notation signifies that the player should alternate loud as possible. notation opposite signifies that player should rapidly alternate in and out intothe the effect should be as loud as possible. loudnotation asbreathing possible.

The opposite signifies thatinstrument. the instrument. playerThe should alternate between breathing in and out into the Therapidly effect should be as een between breathing in and out into the instrument.

The The effect should bebe asas breathing in and out into the instrument. effect should loud as possible. as possible. notation opposite signifies thatthe the player,rapidly maintaining strongbreath breath loud opposite asThe possible.

The notation opposite that player, maintaining aastrong notation signifies thatsignifies the player should alternate The notation opposite signifies that the player, maintaining a strong breath noise directly into the opening of the crook, performs a series of tongue noise the opening of the crook, performs a series of tongue een noise breathing in into andthe outopening into theofinstrument.

The effect should as directly the crook, performs series of be tongue rams pitch and accelerating inmaintaining tempo.aThe The pitches are inexact rams ascending in pitch and accelerating in tempo. pitches are inexact The notation opposite signifies that the player, a strong breath as possible. ramsnotation ascending inascending. pitch and The accelerating in tempo.

The pitches are inexact but must be tempo of the tongue rams is from slow to The opposite signifies that the player, maintaining a strong breath but mustinto be ascending. of maintaining theperforms tongue rams is from slow tofast, fast, notation signifies that The the player, strong breath noiseopposite directly the opening of tempo the crook, aa series of tongue but must be ascending.

The tempo of the tongue rams is from slow to fast, but must last for the duration of the breath noise written underneath i.e. inin noise directly into the opening of the crook, performs a series of tongue but must last for the duration of the breath noise written underneath i.e. rams ascending in pitch and accelerating in tempo.

The pitches are inexact directly intolast thefor opening of the crook, performs a series of tongue but must the duration of the breath noise written underneath i.e. in the opposite example, the duration is of one dotted crotchet.

The amount ramsmust ascending in pitch andthe accelerating in The pitches are inexact the opposite example, duration istongue of tempo. oneThe dotted The amount but be ascending.

The tempo ofinthe rams iscrotchet. fromare slow to fast, ascending pitch and tempo. pitches inexact the opposite example, the duration is of one crotchet. amount ofin tongue rams isaccelerating unimportant, as long asdotted the rams duration isstrong asThe written. notation opposite signifies that the player, maintaining a breath but must be ascending.

The tempo of the tongue is from slow to fast, last for the duration of the breath noise written underneath i.e. of tongue rams is unimportant, as long as the duration is as written. but ascending. must must be tempo of as thelong tongue is series from to fast, in of tongue rams isThe unimportant, as therams duration is asslow written. directly into the opening of the crook, performs a of tongue but must last for the duration of the breath noise written underneath i.e. the opposite example, the duration is of one dotted crotchet. The amountin must last for! in thepitch duration of the breathisinnoise written underneath i.e. in thetongue opposite example, the duration crotchet.

The inexact amount ascending accelerating The pitches are of rams isand unimportant, as longoftempo. asone thedotted duration is as written. ! rams the pposite example, duration isas of oneas dotted crotchet. amount ! tongue of isThe unimportant, therams duration is asThe written. must be ascending. tempo of thelong tongue is from slow to fast,

ngue! rams is unimportant, as long as the duration is as written. must last ! for the duration of the breath noise written underneath i.e. in !! example, the duration is of one dotted crotchet. The amount pposite ngue! rams is unimportant, as long as the duration is as written.

At night, walking shoes full of blood on the door (or, steam heating a room full of opium) For wind quintet

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