Earle Brown
MODULES I, II & III modules i & II (1966) commissioned by the Orchestre National de l’ ORTF, Paris module III (1969) commissioned by the Zagreb Biennale
Score (in C) Any of the three MODULES must be performed
16 First Violins
simultaneously with one of the other two MODULES .
14 Second Violins
Every performance requires two conductors.
12 Violas 10 Violoncellos
Instrumentations for all three possible combinations:
8 Contrabasses
MODULES I and II
MODULES II and III
3 Flutes
3 Flutes
1 Oboe
2 Oboes
1 Eng. Horn
1 Eng. Horn
2 Clarinets in Bb
2 Clarinets in Bb
1 Bass Clarinet
1 Bass Clarinet
2 Bassoons
2 Bassoons
1 Contrabassoon
1 Contrabassoon
4 Horns in F
3 Horns in F
4 Trumpets in C
4 Trumpets in C
3 Trombones
3 Trombones
1 Contrabass Tuba in Bb
1 Piano
16 First Violins
1 Harp
14 Second Violins
1 Vibraphone
12 Violas
1 Xylophone
10 Violoncellos
1 Marimba
8 Contrabasses 16 First Violins MODULES I and III
14 Second Violins
4 Flutes
12 Violas
2 Oboes
10 Violoncellos
2 Clarinets in Bb
8 Contrabasses
2 Bass Clarinets 2 Bassoons 3 Horns in F 4 Trumpets in C 2 Trombones 1 Contrabass Tuba in Bb 1 Piano 1 Harp 1 Vibraphone 1 Xylophone 1 Marimba
Duration: Approximately 10-20 minutes If performing MODULES I and II , each conductor needs an arrow indicator with numbers 1-4 (provided with score) to show the musicians which page to perform from. If performing MODULE III , with either MODULE I or II , only one arrow indicator is needed.
Directions for Performance MODULE I and MODULE II are to be considered as two
Chords number 5 on pages 1 and 4 of both MODULES I and
separate scores which may be performed simultaneously, or
II utilize the full instrumentation of that MODULE .
either one of them may be performed simultaneously with MODULE III . . . . Any two of MODULES I, II or III will not exceed
In regard to forming and conducting relationships between
the instrumentation of a normal large orchestra. There must
the two MODULES :
be a conductor for each MODULE being performed.
Chord number 5 of page 1 of MODULE I is intervallically the same as the summation of chords 1 through 4 of
There are 4 pages for each of MODULES I and II . Each
MODULE II , but orchestrated differently. (Chords 1 to 4
page has either 4 or 5 chords; the chords may be played
of MODULE II sounded simultaneously with chord 5 of
in any sequence and each may be held for as long as the
MODULE I will produce an intervallic unison between the
conductor wishes, at any constant or variable loudness.
two MODULES , in a contrasting color distribution.)
Each conductor of each MODULE must have an arrow
The same is true between chords 1 to 4 of MODULE I
indicator which will inform the musicians of the page
and chord 5 of MODULE II .
(1, 2, 3, 4) from which he will choose chords . . . . The same condition exists on pages 4 of both MODULES From any of the pages, the precise chord which the
I and II except that the orchestration of the intervals
conductor has chosen is indicated to the musicians by the
between the two MODULES is as exactly alike as the two
fingers of his left hand. The left-hand indication is to be
instrumentations allow.
a preparation preceding the down-beat given by the right hand for the moment of attack. The size and speed of the
do not phys ically s e parate th e two g rou ps .
down-beat must give the loudness and character of attack
musicians normally but distribute the parts so that alternate
which is desired.
chairs have materials for alternate conductors. The two
Seat the
groups are to be uniformly intermixed on the stage. (This All chords are fermata ( U ), to be held by the musicians
allows any one chord of any MODULE to sound from the total
until specifically cut off by the conductor. (Wind instruments
stage-space and eliminates the distraction of visual and/or
are to breathe when necessary and comfortable and
sonic competition, which is not the intention in the work.)
to re-sound the note for as long as the chord is held by II X
the conductor.) I
I X
II X
I
X
II
X
I
X
X
I
XI
The score is written in “C” concert. Parts are transposed where necessary.
COND. MOD. I
COND. MOD. II
No musicians can be too far to the right or left of the Each chord on score pages 2 and 3 of both MODULES I and
conductors because they must have a clear sight-line to
II utilize all the instruments scored for that MODULE : i.e., no
the arrow indicator.
two or more of the chords on those pages can be sounded simultaneously in any one MODULE . Any change from chord
The arrow indicators should be placed in front of the
to chord will involve all of the conductor’s musicians.
podium, facing the orchestra, within comfortable reach of the conductor and in full view of all musicians.
On pages 1 and 4 of both MODULES I and II , the first four chords may be combined and overlapped in any sequence and combination: i.e., they are four small chords which, when played simultaneously, add up to the full instrumentation of that MODULE .
Additional Information The following text has been excerpted from a letter, dated
In Paris [7 February 1967] we (Eleazar de Carvalho and
22 May 1968, from Earle Brown to Toru Takemitsu, in
I) did pages 1 to 4 in sequence and then ended by doing
which Brown provides instructions for the conductors Seiji
pages 1 for the second time. You two [Ozawa and Akiyama]
Ozawa and Kazuyoshi Akiyama relative to their rehearsal
conductors can play the 4 pages in any sequence you like
and performance of this work in Tokyo in the same year.
but after deciding the sequence you both must do the same sequence at roughly the same times (as described above).
Here is some information for the conductors. Please see
If you wish, you can do the 4 pages in your sequence and
that Ozawa and the other conductor each get a . . . copy, or at
then do any one or more pages for the second time. The
least read this carefully.
general “tempo” of pages, however, should not allow you to do more than 5 or 6 pages in approximately 12 to 15
All chords held (fermata) as long as the conductors wish.
minutes of performance time. It should not be less than 10 minutes. The maximum length should be determined
th e lou d n e ss can b e var i e d i n any way
from chord to
(roughly) by your feelings of the extension of intensity that you feel possible between the materials, the musicians,
chord and during any one chord.
and the two of you as conductors. Rehearse moving from chord to chord (any one on the page to any other) so that there is not a break in the sound
When you are on the pages together you can conduct the
between the chords unless the conductors want a period
chords on those pages in any sequence: (left-hand signals
of silence between.
to orchestra) any number of times, for any amount of time.
i pr e fe r
that both conductors be conducting chords
from the same pages at roughly the same time, i.e., both conductors on pages 1, then pages 2, then 3, then 4, etc., b ut chang e s of pag e not synch ron i z e d exactly ,
i.e., one
conductor makes the change from page 1 to page 2 before or after the other conductor changes. During the page changes there will be an overlapping for some moments but statistically there is more time when the conductors are on the same pages than when they are on different pages. Let all of this be very loose and natural and intuitive, but with awareness of the totality at every moment. I’d like it to be relatively slow moving-transforming and quite static with independent and simultaneous rising and falling of intensity (loudness). It can be very gentle and also very powerful sound. It should have a tremendous feeling of intensity — never very dramatic but dramatically simple and intense.
MODULE III must be performed simultaneously with one
In combining Module III with another Module , the two
or more other modules . No combination of any two of
groups must not be physically separated: the musicians
Modules I, II or III exceeds the instrumentation of a normal
are seated normally, but the parts are distributed so that
large orchestra; the total number of strings required in a
alternate chairs have material for alternate conductors. This
performance of any two of the Modules is 16 first violins,
eliminates the distraction of visual and/or sonic competition,
14 second violins, 12 violas, 10 violoncelli and 8 double
since competition is not the intention.
basses. (Each Module : 8. 7. 6. 5. 4). There must be a conductor for each Module being performed.
For all Modules the woodwind and brass (including horns) must be seated as two distinct groups to the left and
The orchestra of Modu le III is divided into four sections:
right of the conductors so that signals for different chords
woodwind, brass, strings and percussion. Each of the first
and changes in dynamics in the two groups can be directed
three sections has five chords; these chords may be played
to only the desired section, without confusion.
in any sequence and combination of two or three chords (one from each section) simultaneously, and each variable
Seating for maximum clarity of sectional cueing and
loudness. The fourth section has five groups of chords. Each
independent modification of dynamics:
group is controlled by a series of downbeats, not necessarily periodic; these groups of chords may be played in any sequence. Material from the woodwind, brass and strings
PERCUSSION Cue: high to the center
may be combined and overlapped in any sequence and combination, and percussion groups added in any sequence.
Cu WO e: O 45 DW to IN th D e le ft
ht
conductor’s left hand. This is followed by a right hand
S rig AS he BR to t 5 :4
the musicians of a chosen section by the fingers of the
e Cu
The precise chord or group of chords is indicated to
downbeat signalling the moment of the attack. In the case of sections 1, 2 and 3, the size and speed of the downbeat must define the loudness and character of the attack.
STRINGS Cue: low to the center
Dynamics for the percussion section have been provided but may be scaled up or down in volume in proportion to the indications (softer or louder, but with the indicated balances maintained). All chords in sections 1 , 2 and 3 are to be held ( U ) until specifically cut off by the conductor. (Wind instruments are to breathe when necessary and comfortable and to re-sound the note for as long as the conductor holds the chord.) The score is written in concert pitch. Parts are transposed where necessary.
Conductor
Conductor
MODULE 1 SCORE IN C Earle Brown (1926–2002)
1
Flute 1
Clarinet
Bass Clarinet
Flute 2
Oboe
Bassoon
Horn 1
12345
Trumpet 1
Trumpet 2
Horn 2
Trombone
Tuba
A Violin 1
B
A
B
Violin 2
Viola
A
B
A
B
Cello
A
Contrabass
B
Litolff/Peters Nr. 11133A
Copyright © 2007 by Henry Litolff’s Verlag
2
Module 1
Ob.
Cl.
B. Cl.
Hn. 1
Hn. 2
Fl. 1
Fl. 2
Tpt. 1
Tpt. 2
Bsn.
Tbn.
Tuba
A
Vln. 1
12 3 4 5
B
A
B
Vln. 2
A
B
Vla.
A
B
A
B
Cb.
Vc.
Module 1 Fl. 1
Fl. 2
Ob.
3
Cl.
B. Cl.
Hn. 2
Tpt. 1
Tpt. 2
Bsn.
Hn. 1
Tbn.
Tuba
A Vln. 1
B
A
1234
B
A
B
A
B
A
Vln. 2
Vla.
Vc.
Cb. B
4
Module 1 Fl. 1
Fl. 2
Cl.
B. Cl.
Hn. 1
Hn. 2
1234 5
Tpt. 2
B
A
B
A
B
Vln. 2
Vla.
A
B
A
Vc.
Vln. 1
B
Tbn.
Cb.
A
Tpt. 1
Tuba
Ob.
Bsn.
MODULE 2 SCORE IN C
1
Flute Oboe
English Horn
Clarinet
Bassoon
Contrabassoon
Horn 1
Horn 2
Trumpet 1
Trumpet 2
Trombone 1
Trombone 2
Violin 1
A
Violin 2 B
A
B
Viola
A
B
Cello
A
B
Contrabass
12345
A B
Earle Brown (1926–2002)
Litolff/Peters Nr. 11133B
Copyright © 2007 by Henry Litolff’s Verlag
2
Module 2
Fl.
Ob.
E. H.
Cl.
Bsn.
Cbsn.
Hn. 2
Tpt. 1
Tpt. 2
A
Tbn. 2
Hn. 1
Tbn. 1
Vln. 1
12 3 4 5
B
A
B
Vln. 2
A
B
Vla.
A
B
A
Vc.
Cb. B
Module 2 Fl. Ob.
E. H.
Cl.
Bsn.
Cbsn.
3
1234
Hn. 2
Tpt. 1
Tpt. 2
Hn. 1
Tbn. 1
Tbn. 2
A Vln. 1
B
A Vln. 2 B
A
B
Vla.
A
B
A
Vc.
Cb. B
4
Module 2 Fl.
Ob.
E. H.
Cl.
Bsn.
Cbsn.
Hn. 1
Tpt. 1
Tpt. 2
Tbn. 1
12345
B
A
B
A
B
Vln. 2
A
B
A
Vla.
Vc.
Vln. 1
B
A
Cb.
Hn. 2
Tbn. 2
MODULE 3 SCORE IN C Earle Brown (1926–2002)
Flute 1 Flute 2
Oboe
Clarinet
Bass Clarinet
Bassoon
Horn
Trumpet 1
Trumpet 2
Trombone
4A Violin 1
12345 12345
4B
4A
3B
3A
Violin 2
Viola 3B
3A Cello 2B
2A Contrabass 2B
12345
Chords A and B in the strings should be divided as equally as possible between the given number of players. Litolff/Peters Nr. 11134
Copyright © 2007 by Henry Litolff’s Verlag
Module 3 * P. Vibraphone
H. Pf.
P.
mf
mp
1
f
Vibraphone
Piano
mf
f
f
ff
ff
mp
mf
pp
p
mp
mf
mp
mf
fff
H.
P.
mp
mf
P.
p
mp
f
p
p
p
*individual downbeats, not necessarily periodic
p
mp f
mp
mp mp
pp
p
mp
pp
pp
p
D#E§
3 4 5 mp
C#EbF#
BbCbEb
pp
mp
mf
p
p
P.
p
mf
mf
P.
fff
p
P.
mp
EbF#A§
H. Pf.
P.
f
mf
Pf.
fff
H.
2
Ens.
Pf.
f
mf
Harp
ff
P.
F§A#
H. Pf.
H.
mf
Marimba
mf
mf
H.
mp
ff
C#F#
P.
Xylophone
ff
ff
Piano
mp
Harp
P.
mf
Marimba
Ens.
mp
(§)
mf
p
f
p
pp pp
p
p
mp