I See Shapes in Storm-Filled Skies
Gibson Mahnke
I See Shap es in Storm-Filled Skies
for 12 Musicians
Gibson Mahnke (b.2004)
Instrumentation
Flute
Clarinet (Dbl. Bass Clarinet)
Trumpet in C
Trombone
Percussion 1
Crotales (set as well as two individual crotales pitched C6 and E6), Snare Drum, Marimba
Percussion 2
Sizzle Cymbal, Suspended Cymbal, Vibraphone (prepared with aluminum foil on D5, E5, B5, and C6), Tam-Tam, Bass Drum, Tom-Toms (set of 4), Triangle, Temple Blocks (set of 4)
Piano
Violin 1
Violin 2
Viola
Cello
Double Bass
Duration: 9’
Version I: 5 March 2025
Cover Photo: “Monochrome Photo of Clouds” - Eberhard Grossgasteiger
Program Notes
I see shapes in storm-flled skies . . . do you?
Performance Notes
Gibson
Mahnke
5 March 2025
General
1. Box Notation:
a. * (Single Asterisk) - Repeat cell over specifed duration.
b. ** (Double Asterisk) - Repeat cell over specifed duration, choosing notes ad. lib. from given pitches.
c. *** (Triple Asterisk) - Repeat cell without pausing, choosing notes ad. lib. from given pitches. The resultant efect should be frantic and random pops of sound.
d Percussion Cells - The cells in the percussion parts operate in a similar manner to the double and triple asterisk cells It should be noted that a single note should be played before pausing, not a collection of pitches However, multiple notes may be played within the fnal cell, as the goal is to create cacophony out of the bowed texture
Woodwinds/Brass
1 air semi-pitched air ord tone
2 Slap into Sustain (Clarinet) - Use slap tongue to attack the sustain The result should be a pop of sound initiating the sustain. This technique is always performed “fp” or “fp” and is notated with a “+” above the note.
Percussion
1 Prepared Vibraphone (Percussion 2) - Aluminum foil should be attached/wrapped around the keys sounding D5, E5, B5, and C6. This foil should be removed following m. 42 and remain of for the rest of the work.
2. Zap Efect - Strike the crotale before pressing it into either the head or snares of a snare drum (whatever produces the best efect for the given equipment).
Strings
1. Molto Sul Tasto, Molto Flautando - The opening to the piece calls for a technique notated as “molto sul tasto, molto fautando”. When playing further and further over the fngerboard, there becomes a point where the sound hollows out and the timbre of the instrument drastically changes. Do your best to maintain the bow placement and speed to consistently work within this timbre in the portions of this movement marked “molto sul tasto, molto fautando”.
For more information, see: http://www shakennotstuttered com/benedetto
2 Bow Placement Changes - Some of the most important aspects of this piece are the timbral diferences created when moving bow placement while playing Special attention should be given to this aspect of the music. A key for bow placements can be seen below:
m.s.t. - Molto Sul Tasto
s.t. - Sul Tasto ord. - Ordinary
s.p. - Sul Ponticello
m.s.p. - Molto Sul Ponticello
3 Bow Vibrato in Tempo (Viola) - Alternate between strings to create a vibrato like texture
For more information on bow vibrato, see: http://www.shakennotstuttered.com/leilehua-lanzilotti
flautando fastunmeasuredtremolo
flautando fastunmeasuredtremolo
flautando fast,unmeasuredtremolo
(Crotae-ZapEffectStrikecrotaethenpress intoheadorsnaresofsnaredrum)
(Crotales-bowedorstruck) orderadib
(Crotales-bowedorstruck) orderadlib
vibpedalshouldbehelddownuntilthesoundfullyclearsfollowingm41 orientcymbalssothattheycanbeplayedwithoutliftingthevibpedal
(Crotaes-bowedorstruck) orderadlib
(Vibraphone,SizzleCymbal SusCymbal-bowed) orderadlib
etsounddissipatebefore clearingpedalthenremove auminumfoil
letsounddissipate beforeclearingpedal