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Jexper Holmen Lilith (2008) for big band Dur. 7’30”

Written for `The Orchestra´

SCORE


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Lilith (2008) for big band

Lilith (2008) for big band

Lilith er skrevet i 2008 på bestilling af big bandet The Orchestra. Stykket er opkaldt efter en hypotetisk sort måne, som man på et tidspunkt troede var i kredsløb om Jorden, selv om den på grund af sin mørke farve var usynlig.

Lilith was written in 2008 on a commission for the big band The Orchestra. The piece is named after a hypothetical dark moon which at one time was believed to circle around the earth even though it was, on the grounds of its dark colour, invisible.

Stykket er en del af en lang serie af værker, der er opkaldt efter astronomiske objekter, der enten er meget fjerne, hypotetiske, fiktive eller på anden måde specielle. Fælles for dem er, at de beskæftiger sig med fremmedgørelse og andethed, ofte ved at præsentere slørede lydbilleder uden klare detaljer og eksakte tonehøjder. Inspireret af ambient electronica består musikken af langsomt fremadskridende masser af blød støj.

The piece is part of a long series of works which have been named after astronomical objects that are either very far away, hypothetical, fictive or special in one way or another. They share the characteristics of being distanced and otherwise, often by presenting blurred sound-images without clear details or exact pitches. Inspired by ambient electronica the music consists of gradually progressing sound-masses of mild noise.

Jexper Holmen

Jexper Holmen


Lilith – opførelsesnoter

Lilith - performance notes

Saxofoner: · Der er ikke noteret eksakte tonehøjder. Hver saxofonist skal finde fem forskellige blødtklingende multiphonics, der fungerer godt i svage nuancer. Disse skal ordnes efter, hvor lyst eller mørkt, de klinger. En node på øverste nodelinie repræsenterer den lysest klingende af de fem multiphonics, en node på den næstøverste linie repræsenterer den næstlysest klingende multiphonic og så fremdeles. · Saxofongruppen skal klinge så homogent som muligt, og alle skal, hvor andet ikke er noteret, spille uden vibrato. · Enkelte steder skal en multiphonic dog træde frem. Dette er noteret med et p sost. espressivo og et vibrato. Disse multphonics skal holdes konstant i samme nuance (i modsætning til resten af gruppen, der hele tiden spiller crescendi og diminuendi) og spilles med et aktivt, fremtrædende vibrato. Men de skal stadig spilles svagt.

Saxophones: · Pitches are not notated exactly. Each Saxophonist should find five different mild-sounding multiphonics which function well in soft nuances. These should be ordered according to how light or dark they sound. A note on the upper staff-line represents the lightest sounding of the five multiphonics and a note on the next staff-line represents the next lightest sounding multiphonic etc. · The saxophone group should sound as homogenous as possible and all should play without vibrato, unless otherwise notated. · There are certain points at which a multiphonic should be made noticeable. These are notated with a p sost. espressivo and a vibrato. These multiphonics should be held constant in the same nuance (in contrast to the rest of the group which constantly plays crescendi and diminuendi) and played with an active, marked vibrato. They should however be played softly.

Trompeter: · Hele stykket igennem skal der synges tilfældige toner gennem instrumentet, mens der spilles. Helst bare en halv tone over eller under det spillede. Det skal resultere i en grødet, blødt flosset klang. · Alle fire trompeter spiller med bucket mutes. · To af trompeterne er stemt en kvart tone ned. · De fire trompeter kan erstattes af flygelhorn i Bb. Disse skal ikke spille med bucket mutes.

Trumpets: ·Throughout the piece tones should be sung through the instrument while playing. Preferably a tone above or below the played note. The result should be a thick, softly frayed sound. · All four trumpets play with bucket mutes. · Two of the trumpets are tuned a quarter of a tone down. · The four trumpets can be replaced by flugelhorns in Bb. These however should be played without bucket mutes.

Basuner: · Hele stykket igennem skal der synges tilfældige toner gennem instrumentet, mens der spilles. Helst bare en halv tone over eller under det spillede. Det skal resultere i en grødet, blødt flosset klang. · Alle fire basuner spiller med bucket mutes. · Nogle af de noterede glissandi kan ikke spilles i et træk. I disse tilfælde skal den involverede basun blot forsøge at camouflere det nødvendige registerknæk så godt, som det kan lade sig gøre. Dette er noteret med ordet FAKE under det pågældende glissando. · Nogle steder skal basbasunen træde en anelse frem i lydbilledet. Dette er noteret med et espressivo over den pågældende passage. I disse passager skal der ikke synges igennem basbasunen.

Trombones: · Throughout the piece tones should be sung through the instrument while playing. · All four trombones play with bucket mutes. · Some of the notated glissandi cannot be played within one sweep. In these cases the trombone in question should simply try to camouflage the necessary register break as well as possible. These are notated with the word FAKE under the glissando in question. · At certain points the trombone should be made more noticeable within the overall sound-picture. These are notated with an espressivo over the passage in question. During these passages no notes should be sung through the trombone.

Fender Rhodes: · Fender Rhodes kan i dette stykke erstattes af et andet, lignende instrument. · Alle toner skal have lov at klinge ud, ved at pedalen holdes i bund. · Instrumentet skal ligge langt tilbage i lydbilledet og kun høres som en svag resonans af blæserne.

Fender Rhodes: · The Fender Rhodes can be replaced by another similar instrument. ·All tones should be allowed to die out by holding the pedal down throughout. ·The instrument should be placed far back within the overall soundpicture and only heard as a weak resonance of the winds.

Guitar : · Der skal spilles på et elektrisk instrument. · Alle toner skal have lov at klinge så længe som muligt. · Instrumentet skal ligge langt tilbage i lydbilledet og kun høres som en svag resonans af blæserne.

Guitar: · An electric instrument should be played. · All tones should be allowed to sound as long as possible. · The instrument should be placed far back within the overall soundpicture as a weak resonance of the brass.

Slagtøj: · Der skal hele stykket igennem spilles på to, mørktklingende bækkener. Klangen af de to bækkener skal smelte sammen til én sløret klang. · Køllerne skal være så bløde, at man ikke hører ansatserne. · Bækkenerne skal klinge upåtrængende og blot høres som en svag farvning af det øvrige lydbillede.

Percussion: · Two dark-sounding cymbals should be played throughout the piece. The sounds of the two cymbals should melt together into a single blurred sound. · The beaters should be so soft as to avoid the sound of the attacks. · The cymbals should sound unobtrusive and simply be heard as a weak colouring of the rest of the sound-picture.

Kontrabas: · Kontrabassen spiller hele stykket igennem udelukkende på sin dybeste streng, der skal være stemt ned til en tilfældig dyb tone. Jo dybere, desto bedre. Det eneste, der varieres er dynamikken.

Double Bass: · The double bass plays throughout the piece exclusively on the lowest string which should be tuned down to one or another low tone. The lower the better. Only the dynamics should be varied.


Lilith  

Score of composer Jexper Holmen Lilith (2008).

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