Page 1



Score A



Earle Brown

HODOGRAPH I (1959) For Severino Gazzelloni, David Tudor, Christoph Caskel

Instruments Flute Piano / Celeste Percussion



Orchestra Bells

Duration: approximately 4 minutes The performance material consists of three scores (A,B,C), which vary only in the “implicit” sections. “Any of the three scores can be performed by any of the three musicians – a selection of which score to go to which musician could be based on the ”implicit” (graphic) notations .”

Note on the Performance * Each “explicit” system (staff notation) is to be performed

p ia n o

“pizz ” means pizzicato with finger, fingernail, or

in a maximum time of 15 seconds. The time-duration per

object, on the strings.

system which is ultimately chosen for a given performance

‘‘mallet ’’ indicates that the string is to be struck by a

must be used by all performers and remain constant

hard, medium, or soft mallet (player’s choice).

throughout that particular performance.

“mute ” indicates that the string is to be muted by finger, at any point (unless a particular harmonic is

“Implicit” areas (pp. 3, 5, 6, and 7) outline the complete

specified). The corresponding key is to be struck by

frequency range available to any one performer relative to

the other hand, as usual.

the instruments at his disposal as scored. Any area may

indicates that the key is to be struck with the fist.

be performed by any of the instrumental combinations,


but the total frequency range encompassed will of course

Tones above

be different in each case, i.e., it does not matter which

duration relative to their intensity.

are expected to assume a

instrument plays which “part ”. The time-duration will be the same as for the “explicit” areas. The ‘notations’ within

Pedals may be used to modify the sonority but not to

the “implicit” areas form trajectories through the total

extend durations, except where indicated.

available range and chosen time and are intended to imply the general character of the actions to be taken

p e r cu s s i on

mallets to be used: very soft, soft, medium,

by the performer. The relative thickness of the lines may

hard, very hard. X indicates tones which are

be interpreted as varying dynamic (intensity) levels; the

to be damped immediately after the attack.

configurations of the lines may be interpreted in general

Do not allow mallet head to rebound; what

to imply staccato or legato attacks, a connected or

is wanted is a very dead, unresonant sound.

disconnected type of phrasing, large or small intervals, rates

Other short durations should resonate

of speed, types of motion, and in general “process through

briefly and then be stopped by hand-damping

time.” It is the intention that these areas be performed

(where possible) unless

directly from the notation as it exists in this score. If the

Note: some of the mallet indications are

implications are considered (by the performers) to be

chosen specifically in order to achieve

insufficient as motivations for a relatively spontaneous

a high “noise” factor; they must not be

action, these areas may be ignored and only the “explicit”

changed to obtain a more characteristic

systems be performed. If one or more performers find the

or “pleasing” sound.

is indicated.

areas “possible,” the others may remain tacit for the given time. Each performer may employ any of the possible

all instruments

instrumental techniques as he considers them appropriate relative to the “implications.”*

f l ute



Attacks Indicated:

“sing ” indicates a vocal tone to be produced




hard attack


hard staccato attack

simultaneously with the indicated flute tone, equally loud, in unison or at an interval to the indicated instrumental pitch. (By singing, humming, whistling, etc., the tone quality can be greatly modified, either at the point of attack or gradually and progressively

> or ˘ .


Ø = as soft as possible (but still “speak”) Î = as loud as possible

The dynamic markings indicate a loudness relative to the

during the sound.) Extreme breath sounds or “key

instrumental possibilities at the indicated pitch as well as to

slap” may be used on notes marked

the particular technique employed. Earle Brown, June 1959 * During Earle Brown’s lifetime, no two score-part copies contained the same “implications; ” he drew them by hand on the printed copies.

hodograph i

Litolff/Peters Nr. 11113

Score a


Earle Brown (1926–2002)

© 2009 by Henry Litolff ’s Verlag








Earle Brown: Hodograph I, score a  

Earle Brown: Hodograph I, score a

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