Simon Christensen Circular Music (2009)
ensemble & live electronics
Dur. 15’
SCORE
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk
Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg
Clar inet in B b
So pra no Sax op ho ne in B b
Tr om b one
Lapto p r unnin g Max /M sp
3 o r 5 set of ea rp hon es
S ound ca rd
Percussion (snare drum, bass drum & cabasa) Mixer
Piano
D a qua rte r ton e b elo w b
d a qu arte r t one bel ow n
+ a qua rte r ton e ab o ve n
= a quarter tone above s
4 loudspeakers g cl j slightly low
Violin Microphones w r y slightly high
Cello Constant
Contrabass
Ele ct ron i cs
Gradually
-
- REMAR KS -
All i nst ru ments mu st be amp lifie d in o rde r t o b len d wel l w ith t he ele ct r oni c pa rt.
Tw o cl ose mi c s a re nee ded f o r the v iol in and t he c ello, s in ce the se t w o str ing s a re e s sential f o r th e el ect ron i c pa rt.
Indiv id ual cli ck tra c ks are pr o vi ded f o r the p ian o p laye r, t he pe r cu s si oni st and the st ring play er s .
Pia no an d pe r cu s si on al wa ys s ha re s the fi rst beat i n the cli c k tra c k, but th e s ub di vi s ion s a re n ot th e s ame and t he temp o c hange s rand om ly .
The cl ic k t rac k f or the st ring s h old s a stead y temp o.
Thi s i s the rea s on wh y th e sc o re i s wit h out th e pia no and per c us s ion pa rt.
The vi ol ini st or t he m u si cian c ont rol ling t he la pto p s ho uld cu e the w ind s when ev er n eede d.
The re hea r sal lette r s s er ve s onl y as a r efer enc e p oi nt, they ca nnot be u se d fo r re hea r sing .
It is only po s si ble t o re hea rs e fr om t he beg innin g t o the end, w ith out i nter mi s si on.
Ci rc ula r M us i c i s ap pr ox. 15 min utes lon g.
- CLARINE T IN Bb –
Multi ph oni c s:
- SOPRA NO SAX OPHO NE I N B b –
Multi ph oni c s: No 1 No 2 No 3
- STRI NG S –
rdat ura
N.P . : p re s si one n o rmal e (n or mal bo w p re s su re)
P. P . : p re s si one p iù (a dde d b o w p re s su re) a f o rc ed s ound w ith le s s re son anc e , but n ot c r us he d and n oi sy .
A rc o ci r c ola re n or male: (c i rc ula r b o win g)
A vert i cal and h or iz ontal m o vem ent ac r o s s the st ri ngs ; b o win g fr om s ul p ont to sul tast o and v ice ve r sa.
The s ound alter s bet ween n oi se and to ne - i mag in e a c ir cle w hil e pe rfo r ming t hi s a cti on.
A rc o ci r c ola re ta sto:
A vert i cal and h or iz ontal m o vem ent ac r o s s the st ri ngs ; b o win g fr om o rd ina ry p o sit ion t o alt o sul ta st o and vi ce ve r sa.
The s ound alter s bet ween n oi se and to ne - i mag in e a c ir cle w hil e pe rfo r ming t hi s a cti on.
Alto s ul tast o: Ve ry nea r the f inge r s of the left han d.
Pi zz. mut o: p izz w ith t he left hand w hile b ow ing ; a muffled s ound !
Pi zz. in c ro ci are : (p izz . in c. ) pi zz wit h rig ht hand a b ov e the f inge red left han d; pl ay bet ween left hand and nut.
Pi zz. battut o: p re s s th e finge r do wn on t he fin ger b oa rd; us e on ly t he left hand.
Lig htl y to uc hed ha rm on ic s : tou c h t he str ing l ig htly w ith t w o fing er s .
C i r c u l a r M u s i c
Clarinet in Bb, Saxophone in Bb, Trombone, Percussion, Piano, Violin, Cello, Contrabass & Electronics
3 - (Simon Christensen: Circular Music)
sempre arco circolare
Winds: exhale and inhale air, alternately, trough the instrument; the lips should never leave the mouthpiece. Long held notes only. Repetitions and "pitch" ad lib. (Airy sound)
sempre p
sempre p
sempre p
sempre con forza
alto sul tasto
sempre con forza (pizz. mod.)
sempre arco circolare normale (non arco circolare)
change to practice mute
arco circolare tasto
arco circolare tasto sempre con forza (
arco circolare normale
Repeat
q = 88-71 - tempo changes randomly!
Pizz inside the piano
The click track stops!
Click track begins again!
This section should be played on the keylid of the piano!
Play all notes as correct as possible....!
Repeat until the electronic part stops.
Play on the snare drum with the skin of the finger, or use the nail and change ad lib. "Brush" from the very edge of the snare and maximum 10 cm towards the center of the skin; the finger should not leave the skin. No strokes!
The click track has some random abrupt tempo changes, so stay awake and always try to "brush" on every second click! Start immediately.
sempre p
Play this short frase whenever you feel like it...
q = ad lib.
accel.
"Brush" with the finger on both drums!
Snare Bass Drum
sempre p
When a high pitched electronic sound appear - move on to section B.
Duration: 5:16
"Brush" on every second click with a metal thimble on the chains of a cabasa! The cabasa should be fixed on a table.
When the high pitched electronic sound disappear - move on to section C.
Duration: 1:45
Exactly like section A, but switch ad lib. between "brushes" on the snare, bass drum and the cabasa.
Play this short frase whenever you feel like it... q = ad lib.
accel.
Snare Bass Drum Cabasa
sempre p
When the click track suddenly disappears - stop playing! Move on to section D;
Repeat this section 4 times
1st time - one bar: w = 22
2nd time - one bar: w = 18
3rd time - one bar: w = 20.5 omit cabasa
4th time - one bar: w = 17.75 omit cabasa & snare count in D
Place a small piece of newspaper where the beater of the bass drum strikes. "Brush" as before on cabasa and snare, but use only fingernails or a set of metal thimbles. Play the bass drum in an ordinary fashion. Non espressivo!