Steingrimur Rohloff: Motion (2006)

Steingrimur Rohloff Motion (2006) for percussion and electronics Dur. 11โ ฒ

For Sven Pollkรถtter

SCORE

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

Steingrimur Rohloff Motion (2006) for percussion and electronics Dur. 11′

PERFORMANCE NOTES The 4/4 time in large parts of the piece is provided for guidance only. There should be no special emphasis on the 1st or the other beats. The whole piece should have an energetic character in terms of interpretation. It is thus very “espressivo” – even where this instruction is not explicit.

This also brings about dynamic fluctuations, again also where not necessarily specified.

In bar 181 and following (ad libitum): The snaking line over certain notes means that the same notes (exact pitch! – simultaneously with the vibraphone) can be “whistled” as an uninterrupted legato line. The whistling should be very inconspicuous – with a lowered head, so that it is not necessarily noticed by the audience (thus “barely audible”). Two points are important here: First, of course, certain impurities in the whistling are desirable – inevitable. Secondly the whistling should be omitted in places (or wholly) if the specified tones cannot be whistled satisfyingly by the interpreter. (Whistling is ad libitum) ELECTRONICS There are five soundfiles: four for the quadraphonic sounds and one for the click track that the drummer receives via headphones (it is only intended for him/her). The electronic setup should be rehearsed sufficiently so that dealing with the click track and making the adjustments in terms of volume can be practiced by the artist. A small headphone is recommended – if possible only for one ear. The click-track provides a count in of 2 minutes before the piece begins.

The balance between the live played sounds and the electronic sounds is meant to be equal. It is quite desirable that both the performer and the mixer/sound technician make adjustments dynamically while the piece is playing, in order to achieve a balance between these two elements.

From the electronics side, however, all 4 channels should be increased or decreased together, since the quadrophonic effect will otherwise be impaired.

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