Page 1

The Spiral for eight musical voices duration: c. 9 minutes

Frank Nawrot 2015 Š Copyright 2015 by Frank C.S. Nawrot - Nawrot-Watson Music, ASCAP


PERFORMANCE NOTES: There are four sections marked with rehearsal letters (A, B, C, D) Notes should be played at octave in which they are written. Score is in concert pitch. Numbers enclosed in squares indicate amount of times to repeat the music to the right of numbers. Tempo should not fluctuate much. Expressivity is welcome as long as it does not alter rhythms or the baseline tempo. Generally, all voices should be of equal volume at all times. This piece can be performed by either 4 players capable of playing 2 voices at once or any combination of instruments of monophonic or polyphonic instruments. 8 musicians are not needed if, for example, an ensemble consists of 4 monophonic instruments and 2 polyphonic instruments. If 4 players are performing the piece (keyboard percussion, other keyboard instruments) each player will simply choose a set of two staves. Although, when possible, feel free to experiment with moving voices around between players; this goes for when there are more than 4 players are involved as well. String and wind players will find the piece relatively easy, but doubling voices may be ideal with those instruments to allow for stagger breathing/bowing. If 8 players of wind or string instruments do perform this work, it is perfectly okay to take short rests to breathe or relieve tension in one's hand. PROGRAM NOTES: This piece demonstrates a technique inspired the composer Julius Eastman. Many of his works for open-instrumentation are what he called examples of "organic music." In broad terms, this technique does not allow for development of musical motives, but rather, it demands development of musical structures. I am drawn to this technique because of the clarity that emerges. Listeners with any amount of musical training can fix their ears on one or more musical motives throughout the piece and hear the motive's beginning, end, and the various interactions between the motives.


Score

      A

Voice 1 Voice 2

Voice 3 Voice 4

Voice 5 Voice 6

Voice 7 Voice 8

3

  

 

10

voice 1

The Spiral

Frank Nawrot





10     2 voice 6                                      

     

voice 2

3

2

     

9       

   

 = 85

 



 

 

    8

  





 

voice 3

 



8    9                                     

    

 

© Copyright 2015 by Frank C.S. Nawrot




4

The Spiral

5

7       



 

   6



 



                       voice 4

5

voice 5         7                                        

6

    

7

 

   5   

 

   



4         5                       



4



 



                     7

     

voice 8

  

 

 


5

The Spiral

9

   3   

  2



                       9

   3   

     

11

 

11

 

  



B

  

 

 

 

voice 6









voice 7





8

voice 4

8

  



   1

  

1

2




6

The Spiral

   7 voice 1    

13

         7   

13

   

            6

  

    6

voice 6



      

  voice 7                       voice 8

4    5                       

15

     

voice 2

     

15

5

  



4                   voice 5

  

 



                  


7

The Spiral

2    3                       

17

     

 

2        3                       

  

17

    

19



 

1

 



  

 1

19

  

  

   

 

2



 











2










8

The Spiral

   2  

    

C

 

                  6

4

voice 2

        



        



      



voice 4

   2      

      

6

4

21

voice 6

                                 voice 8

   8   

24

    

   8  

24

  

 

  

  

3 3 3 3 3 3 3   3                           voice 8


9

The Spiral

   2   

25

 

 

voice 2

       2   

 

 

 

voice 5

25

3 3 3 3 3 3 3   3                         

26

voice 6

   26

 

 

 

 

 

 

  

                          3

3

3

3

3

3

3

3


10

The Spiral

   4   

27

 





 

     

   4   

 

 

 

voice 3

27

voice 4

 

3 3 3 3 3 3 3   3                         

28

   

 







 

 

 

 

28

 



  

                          3

3

3

3

3

3

3

3


11

The Spiral

6       

 

voice 1

29

 

  

3

voice 2

     

voice 3

 

 

 

 

 

 

 

 

 

voice 4

   6   

voice 5

29

3 3 3 3 3 3 3   3                           voice 6

30

  

     30

 

 

 

 

 

 

 

 

 

 

 

 

 

  

3

 



  

                         3

3

3

3

3

3

3

3


12

The Spiral

   4   

 

31

     

voice 3

voice 4

   4  

voice 6

      

voice 7

voice 8

32

 

voice 5

31

   



   

 

 

 

 

 

 

   

 

 

 

                      3

3

  

3

 

      32

3

3

3

 

 

 

 

 

 

  3

 

3

 

3



 

 

                       3

3

3

3

3

3

3


13

The Spiral

3       

     

  

 

 

34



 

   

   3   

   3   

      

   3   

   3   

33

34

 

33

   3   

   3   

    

 

       3 3 3 3             

 

 

  3

  3

          voice 5       3 3 3 3 3                

   


14

The Spiral

voice 1

D

   10   

   

    

 

      8

voice 6

 3

         

 

 

    voice 3        6   

   

    

    

37

8

voice 4

   10   

   6  

35

37

3

 3

 



 



  4

   

 3

 

   

   

 

  

4

voice 8



  

 


15

The Spiral

   

39

3

         3  

39

     

   2  

41

 

 

   2  

2

   

 

 



  





2

 

41

let ring/fade gradually

 

   

     

3

1





 

  1





The Spiral  
The Spiral  
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