EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED
HENRY LITOLFF’S VERLAG / C. F. PETERS FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK
HODOGRAPH I (1959) For Severino Gazzelloni, David Tudor, Christoph Caskel
Instruments Flute Piano / Celeste Percussion
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
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.
areas “possible,” the others may remain tacit for the given time. Each performer may employ any of the possible
instrumental techniques as he considers them appropriate relative to the “implications.”*
f l ute
“sing ” indicates a vocal tone to be produced
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.
Litolff/Peters Nr. 11113
Earle Brown (1926–2002)
© 2009 by Henry Litolff ’s Verlag