Vagn E. Olsson: Circuit (2001)

Vagn E. Olsson Circuit (2001) for ensemble ad lib.

Text: Vagn E. Olsson

SCORE

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Vagn E. Olsson Circuit (2001) for ensemble ad lib.

if word in a round part and of dust NOTE Preferably the circle should be cut out and mounted on a revolving disk.

The circle can be read clockwise or counterclockwise, indicated with arrows on the outer circle.

The circle can be read from the inside and out, that means that the inner circle indicates the low-pitched tones and the outer circle indicates the high-pitched tones – or it can be read from the outside and inwards, that means that the outer circle indicates the low-pitched tones and the inner indicates the high-pitched tones.

The instrumentation is optional.

The numbers of participants is optional.

The tempo is free.

Begin at any point on the circle and play around the circle one or more times until the piece is over.

The piece is over when the musician or the musicians decide so.

The piece can be led by a conductor, if so he will decide the changes of the parameters.

Singular elements beginning with the textual sequence and moving clockwise.

1. The textual sequence is repeated at least three times so that every word is represented at least one time. The direction of reading can be up or down and from the left to right or vice versa. The words can either be recited or sung. If the words are sung, the relative pitchrange should be observed. The dynamic range is optional.

2. The single note sequence is executed with due respect to the pitchrange. It can both be played as a fast run or as more dwelled upon singular tones or as a combination of the two modes of playing. The different size of the notes, indicates a free parameter that can be applied to the notes and express for instance duration, tempo, timbre, articulation etc. The musician desides what parameter, f.i. small noteheads; staccato – big noteheads; legato.The dynamics range from ø to π.

3. The diminuendo – crescendo sequence is either to be played as a singular tone, a triad or a cluster. The dynamic range goes from diminuendo to crescendo, from niente to µ and back again or vice versa. The sequence can be repeated, for instance with the three different tonecontents.

4. Pause. Short or long.

5. Glissandosequence. Relative pitch with regards to the instrument. Graduated or ungraduated glissandi regarding the instrument. Monophone or polyphone. Long or short sequence. Dynamic range between ∆– ∑.

6. Theme. Can be played in all clefs. If the instrument is tuned in an alternative way the intervals can be played at an arbitrary place on the instrument. The theme can be played one or more times. The dynamic range is optional.

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CIRCUIT

vagn e. olsson - 2001