Simon Løffler
F.O.W.L. (2023, rev. 25)
for cl, sax, pno, perc, vln, vlc, db (cl, pno, perc, vln, vlc play conventional as well as unconventional instruments) Dur. 18′
Commissioned by the Oslo Sinfonietta
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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
FOWL is in six movements; three movements proper and three refrains. It is written for a combination of conventional and unconventional instruments. The different instruments are distributed as follows:
Instruments
- Saxophone and Double Bass solely play their conventional instrument.
- Clarinetist plays modified sirene whistle (1st and 3rd movement), clarinet (2nd movement) and swung whistle (1-3 refrain).
- Pianist plays drill (1st and 3rd movement), tuning fork piano and glockenspiel with fingertips (2nd movement) and swung whistles (1-3 refrain).
- 1st percussionist plays snare drum with a vibrating drumstick (1st and 3rd movement) and bowed flexatone and metalplate (2nd movement and 1-3 refrain).
- 2nd percussionist plays chair with rubber feet, hand pipe 1+2 and duct tape shoes (1st movement), bowed flexatone and metalplate (2nd movement) and swung whistles (1-3 refrain).
- Violin plays violin (1-3 movement) and swung whistles (1-3 refrain).
- Cello plays cello (1-3 movement) and swung whistles (1-3 refrain).
Transposition
Transposing instruments are notated in their relevant transposition. These include clarinet (Bb), alto saxophone (Eb) and double bass (octave lower). The tuning fork piano written as it sounds in score, but is transposed up a third in the part according to the keys.
Amplification
Due to the big difference in volume between conventional and unconventional instruments, amplification of unconventional instruments is necessary to ensure a proper balance of the ensemble (see amplification section).
The clarinetist plays a modified Acme siren whistle in all movements except the 2nd. The tension of the rotating wheel is loosened to enable pitch control, and the metal shield is removed.
Pitches in paranthesis are approximate. Pitches without paranthesis should be attempted to produce precisely, yet it is understood that the instrument is inherently fluid. It is recommended that the musician has an intonation device in one ear.
Video example of siren whistle: https://www.youtube.com/watch?v=YDX2erZk4MA
A dampening sign above a rest means to kill the sound of the whistle instantaneously with the index finger. When no dampening sign occurs, the rotating wheel continues to rotate without sound. Always breathe through the nose to avoid unwanted sound. The lowest register of the siren whistle has an undefinable pitch quality, and has therefore not been notated precisely.
Inhaling air through the whistle, producing a downwards glissando. It is important to stop the inhalation just before the rotating wheel spins the other way, which will produce a new upwards glissando.
In the case of 16th notes or 8th notes with a staccato mark, the airstream should be blocked with the tongue to create a quick glissando. The musician should breath through the nose to avoid unwanted sound.
The alto saxophone is notated in transposition and sounds a major sixth lower than written.
Video exampe of overblown major schord: https://www.youtube.com/shorts/TJF5__1eKL4
Overblown major chords. The sound should be immediate and there should be a distinct linear progression from chord to chord. Only three chords are used (sounding Ab major, Bb major and C major).
Downwards smooth glissando from an undefined highest pitch that can be controlled dynamically. The sound should blend with the other instruments in the relevant context.
Pianist Dril
In the 1st and 3rd movement the pianist plays a battery powered drill, amplified by a pick-up microphone. The battery driven drill has a hole saw attached to it which acts as a bell. The pitch should be e2 (an octave and major third above middle c). In the musician’s other hand is held a rugged wooden stick (reibenstock), which is used to make the bell ring continuously when the drill is turning.
Video example of drill: https://www.youtube.com/shorts/PDZai2aiK9A
Gradually depressing and releasing the “on” button of the drill is notated as crescendo and de-crescendo.
A waved line above note heads indicates to place the rugged stick on the bell while its turning to make it ring continuously. An accent at the end indicates to scrape the bell downwards quickly on the beat. Staccato notes indicate as short notes as possible, regardless of the duration of the individual note value.
Tuning fork piano
The tuning fork piano is used in the 2nd movement and consist of 8 tuning forks from c1-c2. The tuning forks are microtonally detuned to be slightly off from standard diatonic tuning. It is notated in C in the score, but transposed up a third in the part according to the keys
The instrument is inhenrently soft, but is easy to amplify through the resonane box. It is by nature slightly unbalanced; some tuning forks are a bit louder than others, and the decay time when the keys are released are slightly uneven. These characteristics gives the the instrument charm and personality.
Video example of tuning fork piano: https://www.youtube.com/shorts/GoFTe1rP7G4
Glockenspiel played with fingertips
A Studio49 alto glockenspiel must be used.
The playing technique is a in sense the opposite of normal piano playing: the fingertips are placed on the metal bars silently and lifted quickly to create a fleeting ressonance. The sound is very soft and the instrument enters as a soloist to provide a ghostly ending to the 2nd movement.
Black note heads indicate to place the fingertipss on the metal bars, white note heads indicate to lift the fingertips.The top note must be emphasized to bring out the melodic contour. To facilitate reading the top note is labled above the staff.
Video example of glockenspiel played with fingertips: https://www.youtube.com/shorts/Ry9vTx65n7k
PIanist, 2nd percussionist, violinist and cellist play swung whistles in refrain 1-3. They hold one wooded stick in each hand, at the end of which are placed two small hollow plastic tubes on each side (small bottles and vitamin pill containers). The plastic tubes have a rectangular 5 mm x 5 cm hole cut into their side, causing them to resonate with a clear pitch quality when moved through the air.
The swung whistles are played by moving them downwards and upwards through the air. The faster the movement the higher the pitch. They are notated according to when they should sound, not according to when the movement starts. However, a unaviodable sense of being slitghly out of time is part of their espressivity.
Video example of swung whistles: https://www.youtube.com/shorts/f6J_a9pA52Q
The downwards and upwards movement of each hand is notated with arrows above the note heads
In the 1st and 3rd movement percussionist 1 plays snare drum with a vibrating drumstick. In the remaining movements the musician plays bowed flexatone and metalplate.
Snare drum
The snare drum is turned upside down so that the snares face the musician. A vibration motor is attached to the base end of the drumstick, causing it to vibrate. A carefull tightening of the snares, neither too tight nor too loose, is crucial to obtain the effects described below. The snare drum should be amplified.
Video examples of snare drum:
3 types of pressure on snares and skin: https://www.youtube.com/shorts/BOJBbzr-Iuk
Rapid drumstick movement on the snares with brief dampening at the outset: https://www.youtube.com/shorts/4FHgRAKasD0 3 static points with 1 finger dampening: https://www.youtube.com/shorts/Uq7xyrQ20BQ
Sideways gliss on drumskin together with side of the hand: https://www.youtube.com/shorts/hby_GG7fUuk
Here is a 1:30 improvasition showing overtone glissando with 1 finger, glissando with both drumstick and 1 finger, and several other elements. The snare dum solo at the end of the 3rd movement is a transcribed and adjusted version of this improvisation. The timing should therefore not be taken literally, but the general manner of playing should: https://www.youtube.com/shorts/TNGsHPQN9VA
The snare drum is notated on two lines. The upper line indicate the center of the drum, the lower line indicate the edge of the drum towards the musician. A large part of the material consist of moving the drumstick back and forth between center and edge.
Zig-zag note heads indicate to play directly on the snares. Normal note heads indicate to play on the drumskin next to the snares.
3 types of pressure levels are employed.
- One single tremolo line means to hold the drumstick lightly without downward pressure.
- 3 tremolo lines means to apply moderate pressure, creating a loud noisy sound.
- A round empty note head means to apply a hard pressure, creating a deep and somewhat soft pitched hum.
A dampening symbol above a note means to place three fingers on the snares in the center. When employing rapid movement on the snares, a very brief dampening of the snares at the beginning of the movement is sometimes called for to enable a distinct upwards overtone glissando. This is notated with a dampening symbol and a short line.
A rectangular note head above the drumstick note head means to place one finger across the snares just behind the drumstick. In this example the finger slides with the drumstick from center to edge, creating a less noisy glissando.
While the drumstick is resting loosely on the snares, a finger placed across the snares slides from the edge towards the center. This creates an overtone glissando. To achieve this effect, the snares should be neither to loosely nor to tightly fastened. It is beneficial to start the movement somewhat slower and to speed up towards the center.
At letter C in the 1st movement, the side of the left hand (pinky side) is placed to the left of the drumstick, notated with an oblong shape above the note. The arrows indicate a movement of both drumstick and hand to the right edge and back to center, creating yet another kind of glissando effect.
Bowed flexatone and metal plate
In the 2nd movement, as well as refrain 1-3, percussionist 1 plays bowed flexatone and metal plate with a high shrill sound. The flexatone is notated as normal pitch, the metalplate is notated with a rectangular note head. They are held in the following way:
In the 1st movement percussionist 2 play chair with rubber feet, hand pipe 1+2 and duct tape shoes.
In the 2nd movement the musician play bowed flexatone and metal plate as percussionist 1 (see description above).
In the 3rd movement the musician play chair and sirene whistle (see description on page I).
In refrain 1-3 the musician plays swung whistles (see description on page III).
The chair should be a heavy one with rubber feet, and the stage floor need to be wood. If it is not, a wooden surface should be placed underneath the chair.
When dragged along the floor on all four legs, the chair will make various scraping sounds. When dragged backwards on its two front legs, the chair should produce a softer sound.
The size of the movement of the chair is relatively small; roughly 10-15 centimeters.
Video example of chair: https://www.youtube.com/shorts/iGPfhqkCZGg?feature=share
An arrow above the note head indicate the direction of the chair. A 4-point square symbol indicates to drag the chair on all four legs. A 2-point symbol indicate to drag on its two front legs.
Hand pipe 1+2
Video example of hand pipe 1: https://www.youtube.com/shorts/j5T_eMWidvc
Video example of hand pipe 2: https://www.youtube.com/shorts/gFnhDR592tg
Hand pipe 1 is hung around the neck and notated with crossed note heads in the center of the staff.
Hand pipe 2 is placed on the thigh and notated with square note heads above the staff.
Duct tape is spun around both shoes with the sticky side turning down. Lifting the shoes quickly off the floor should produce a loud “swish” sound.
Video example of duct tape shoes: https://www.youtube.com/shorts/INn81ck1Ja0
Lifting the shoe quickly is notated with square note heads below the staff. A letter above the note head indicate which foot to lift; L for left, R for right.
In movement 1-3 violinist and cellist play their normal instrument. In refrain 1-3 they play swung whistles (see description on page III).
The fourth string of the violin is tuned down one fifth to c throughout the piece. When playing on the 4th string the notation is transposed according to a normally tuned violin and the resulting pitch is giving in paranthesis underneath.
Triangular note heads indicate an undefined highest pitch. Fast glissandi without a specified end point should be over as wide a range as possible within the duration.
Video example of "Tight Roll", abbreviated T.R in score: https://www.youtube.com/shorts/4iFdaG4aKWM
Video example of vertical jeté: https://www.youtube.com/shorts/LoSXc56TIIQ
Video example of continuous vertical bouncing on open string: https://www.youtube.com/shorts/z2n6O6h87U4
Tight Roll, abbreviated T.R. Letting the bow bounce rapidly on the string with a great deal of pressure and a minimal of horizontal movement. The string is dampened.
Vertical jeté. The bow bounces downwards toward the bridge, producing an ascending “grainy” pitch quality.
Soft vertical bouncing of the bow up and down the string.
The following amplification strategy is suggested:
Clarinetist___________1 condenser mic. on a stand to amplify the sirene whistle. Drill________________1 coil pick-up attached directly to the drill and a DI box.
Tuning fork piano_____ 1 condenser placed at the opening of the ressonance box.
Glockenspil__________1 condenser placed as close to the keys above.
Percussion 1_________1 mic. for the snare drum.
Percussion 1_________1 condenser on a stand for the bowed flexatone and metal plate.
Percussion 2_________1 condenser on a stand to amplify everything.
Swung whistles 1
Swung whistles 2
Swung whistles 3
Swung whistles 4
Whistle (played by Cl.)
Alto Sax. (Eb)
Bowed flexatone & metalplate.
Bowed flexatone & metalplate. (played by Perc. 1)
Bowed flexatone & metalplate. (played by Perc. 2)
Swung whistles 1
Swung whistles 2
Swung whistles 3
Swung whistles 4
Sirene Whistle (played by Cl.)
Alto Sax. (Eb)
Bowed flexatone & metalplate.
Swung whistles 1
Swung whistles 2
Swung whistles 3
Swung whistles 4
Whistle (played by Cl.)
Bowed flexatone & metalplate.
& & &