Page 1

NEGATIVE SPACE FOR HARP

RAFAEL HERNANDEZ


ATTRIBUTION-NONCOMMERCIAL-NO DERIVATIVE WORKS 3.0 UNITED STATES

NEGATIVE SPACE FOR HARP YOU ARE FREE:

TO SHARE - To copy distribute, display, and perform the work. UNDER THE FOLLOWING CONDITIONS:

ATTRIBUTION - Any form of this work used in print, media, or performance must be attributed to Rafael Hernandez as composer of the work. NONCOMMERCIAL - You may not use this work for commercial purposes without receiving a proper commercial license from Rafael Hernandez. This includes, but is not limited to, publishing and/or recording the work to any type of media, real or virtual, such as a printed score, compact disc recording, or for-profit file download. NO DERIVATIVE WORKS - You may not alter, transform or build upon this work without consent from Rafael Hernandez. ALL PERFORMANCES OF THIS WORK MUST BE REPORTED TO BROADCAST MUSIC INCORPORATED (BMI). THIS IS THE MAIN SOURCE OF REVENUE FOR RAFAEL HERNANDEZ FROM THIS WORK AND IS WHAT MAKES THIS FLEXIBLE LICENSE POSSIBLE. THIS LICENSE NOTICE MUST ALWAYS BE INCLUDED WITH ALL COPIES OF THIS WORK


NEGATIVE SPACE FOR HARP

RAFAEL HERNANDEZ

MEDIA P.O. BOX 2372 CASTRO VALLEY, CA 94546 rafael@thenewstyle.org


THIS WORK WAS PREMIERED ON APRIL 25, 2004 AT INDIANA UNIVERSITY BY HEAVEN FAN, HARP A RECORDING OF THIS WORK IS AVAILABLE ONLINE AT HTTP://WWW.THENEWSTYLE.ORG

A

PACES COPYRIGHT ©2003 RAFAEL HERNANDEZ ALL RIGHTS RESERVED THIS WORK IS REGISTERED WITH BROADCAST MUSIC INCORPORATED (BMI) AND ALL PERFORMANCES SHOULD BE REPORTED TO THE COMPOSER OR BMI


NEGATIVE SPACE DURATION: 7’30”

NOTES In visual art, the term “negative space” describes the space around an object. Inspired by what the possibility of this could be in sound, I have sought to create a piece that would color and let stand out the negative space of music. NEGATIVE SPACE was written for and is dedicated to Heaven Fan for performance at the 2004 HAMMER AND NAIL concert at Indiana University. RAFAEL HERNANDEZ February 2004 Bloomington, Indiana

TECHNICAL NOTES

Harmonics are notated where stopped. Unless marked otherwise, P.D.L.T markings apply only to the staves they are assigned.

jm

Knock on soundboard using knuckles or open hand, respectively.

123

These noteheads indicate the area of soundboard knocks: towards the upper, middle, and lower portions of the soundboard,

respectively.

ABOUT THE PEDAL SLIDE/STRING BUZZ TECHNIQUE: The following diagram of pedal position is used to visually aid in the proper execution of the pedal slide/string buzz technique found throughout this piece. The black square indicates the pedal and the black notches indicate the half-pedal positions. To produce an effective string buzz, the pedal must be moved to a position that is slightly above or below the half-pedal position. This is indicated on the score with diagrams like so:

μ ¥ ¥

In this example the pedal is moved from the sharp-position to slightly above half-pedal sharp/natural and back. On the score, the pedal label is written next to the diagram. This technique is often employed after the string has been attacked and has been resonating for a while. Do not re-attack the string during or after the pedal slide.

DEDICATED TO HEAVEN FAN


a

TO HEAVEN FAN

NEGATIVE SPACE

P.O. BOX 2372 CASTRO VALLEY, CA 94546 RAFAEL@THENEWSTYLE.ORG

FOR HARP SOLO

Supple, fluid q = 52-60

bbcaddbd j œ

&4 4 &4 4

2

,? 3

œ. ≈ H Œ ß j

1

‰.

:œ .

Œ

RAFAEL HERNANDEZ (2004)

(FOR PHRASING ONLY, DO NOT DAMPEN SOUND)

a44 b

4 #˙. >b p œ l.v. sempre π f j œ j 4 Œ E ‰? 3 E 4 L 4 1 #œ. œ ß >œ œ KKK E e 3 > # >œ b œ >œ a3 2 b4 Œ Œ œ- b œbœ bœ 4 bœ bœ F f 5 3 2 3 ∑ b # ºº 4 4 œ # œ œ . b KKKKKKKKKK œ bœ bœ 3

∑ p

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5

4

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(qk)

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4 4 ˙

# ˙-

b ˙-

a44 b # b ºº KKKKKKKKKKKKKKK

1 INDETERMINATE HIGH-PITCHED CLUSTER

5 P.D.L.T

2 WITH NAILS

6 "XYLOPHONIC SOUNDS" - MUTE THE SPECIFIED NOTES WITH

3 WITH KNUCKLES, KNOCK ON SOUNDBOARD (HIGHER PORTION)

3

3 4 3 4

THE LEFT HAND, P.D.L.T., FOR THE DURATION OF THE MEASURE.

4 SCRAPE ALONG SPECIFIED WIRE STRING (WITH NAILS),

IN DIRECTION INDICATED AND RELEASE, IN TIME, P.D.L.T.

NEGATIVE SPACE COPYRIGHT ©2004

ALL RIGHTS RESERVED ALL PERFORMANCES LICENSED THROUGH BMI, INC.


NEGATIVE SPACE

2 12

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15

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?

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NEGATIVE SPACE

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4

full, rich

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9 MOVE PEDAL SLOWLY SO AS TO PRODUCE A GRADUAL STRING BUZZ;

4 4

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b wa

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j

j

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TIMING IS APPROXIMATE DUE TO THE UNPREDICTABLE NATURE OF THE EFFECT.

10 HALF-PEDAL

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∑ 3

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4 4

4 4


NEGATIVE SPACE

4 4 n˙ &4 F

34

&4 4

œ œ. H

3 4 #˙ f

q = 66-72

2 4

3 4 Œ

2 œ 4 œ

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3

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ORD.

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3

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(bccabbdC)

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,

3

3

ORD.

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2 4 ∑

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2 4

MOVING TO t

*LONG, TIED NOTES ARE MEANT TO VISUALLY EMPHASIZE THE MELODIC LINE

11 GRADUALLY MOVING FROM P.D.L.T. TO ORD. PLAYING POSITION; IN THIS CASE

THE P.D.L.T. POSITION OF THE R.H. WILL BE JUST ABOVE THE L.H. MUTED NOTES (WHICH ARE ALREADY P.D.L.T.)


NEGATIVE SPACE

47

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NEGATIVE SPACE

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6

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q = 86-92

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ORD.

G TO t

~~~~~~~~~~~~~~~~~~~~~

*APPROXIMATE RELATIONSHIP

b 3 œ^œ a 4

~~~~~~~~~~~~~~~~~~~~~~

&4 4 ˙˙

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~~~~~~~~~~~~~~~~~~~~

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68

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(bbcaddcd)

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65

b œbœ f

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3 œœ # # œ-œ a b 4


NEGATIVE SPACE

5

71

3 &4

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, b œa 2

# # œ>œ

b œ>œa

a b

≈ #œ bœ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ¸ f >œ œœ # # œ ‰ ‰ 2 #º &3 4 # b n ººº 4 3 # # œœa b Œ KKKKKKKKKKKKKKKKKKKKKKKKKKKK

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rhapsodic

b >œ >œ #œ # œ #œ œ œ

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6

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3 4

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2 4

# # œœ

2 œ œa b4

# # œœa b

¸

¸

3 4

^œ 3 4 3 4


NEGATIVE SPACE

8

5

90

5

b œœœ n # œœ

&

œ>œœ

œ>œœ

œœœ œ œ

œ>œœ œ>œœ

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2 4‰ Q

3

93

2 &4

# >œœ

q = 72-80

?2 4 Œ & # œf ?2 4 ˙ ˙ ƒ

>œœ >œœ 2 4

3 4 3 4 3 4

*PULL OFF L.H. PITCHES FROM 'XYLO' POSITION

˙˙˙ b˙

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œ

b ^œ a b œb

, Œ

3

# œ>œb a *ß 3 4 # ºººº œœœœ Œ > KKKKKKK

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# œœœœ .. . j ~~~~

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4

œœœ 3 4

q = 66-72

~~~~~~~~~~~~~~~~~~~~~~~

b œœœ

# ˙˙˙-3 ˙

˙˙˙˙

s h~ q t

~~~~~~~~~~~~~~~~~~~~~~

87

b ^œ œ b œ œ œœœ

# ˙˙b ˙˙

˙ ˙˙˙

~~~~~~~~~~~~~~~~~~~~~~~

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~~~~

3 &4

~~~~~~~~~~~~~~~~~~~~~~~

84

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b ˙˙˙˙

3

3

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MOVIN

G TO t

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j

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2 4 2 4

drammatic, veloce ad lib.

œ #œ œ #œ œ œ #œ œ œa œb

œ œ œ œ #œ œ œ œ

œ œ œ œ œ œ œ œ


NEGATIVE SPACE

95

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œ #œ œ œ

& & œ #œ œ œ

œ œ #œ

2 4 a œa b œb

97

3 &4

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p œ a2 œ œ œ b4

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b

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? œ œœ *WITHIN ARPEGGIOS, SNEAK IN LOW HARMONICS FREELY **DOWN-STEMMING IS MEANT TO VISUALLY EMPHASIZE 2ND VOICE 12 MOVE PEDAL SLOWLY SO AS TO PRODUCE A GRADUAL STRING BUZZ; IN THIS CASE, DO NOT MOVE PEDAL TO HALF-PEDAL POSITION

œœœœ

2 4

œ œœ

3 4

,a b

3 4

˙b . o 3 4 (Œ)

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2 4 #œ #œ œ #œ

3 4

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a34 b

±

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100

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NEGATIVE SPACE

10

f

102

#œ œ #œ

&

œ œ œ œ #œ œ œ œ

& #œ #œ œ #œ ? œ œœ 104

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3 4

a34 b

a24 b

‰ Q œœœ

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2 4

˙. ∑

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3 4

˙ ∑

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p #œ bœ #œ bœ

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a b

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3:2

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2 &4

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109

2 &4

ORD.

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&

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Œ #œ b b œœ π bœ œ œ œ

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2 4


NEGATIVE SPACE

110

3:2

bœ #œ bœ #œ

&

œ œœœ

11

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& #œ

bœ #œ bœ

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115

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a b

112

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μ

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μ

4 4


NEGATIVE SPACE

12

# b œ>œ ..

118

4 & 4 #w

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121

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3 4

≈ E #œ. f

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2 4

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œ j j œ œ 3

2 4

125

q = 52-60

2 4

p ? ŠmE Π3.

m

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# # œœ-

129

?2 4 œ ?2 # 4 œ-

G TO t

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&

2

μ

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f

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3

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13 ''AEOLIAN TREMOLO" - RAPIDLY RUB STRINGS BACK AND FORTH USING BOTH HANDS, FINGERS POINTED UP; BEGIN AT AN INDETERMINATE HIGH CLUSTER AND END AT AN INDETERMINATE LOW CLUSTER

(BOTH HANDS)

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NEGATIVE SPACE

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NEGATIVE SPACE

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NEGATIVE SPACE

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E ‰ 3 π 7'30" F E B R UA R Y 2 0 0 4 B L O O M I N GT O N , I N


www.rafaelhernandez.org

Negative Space  

For solo harp