Page 1

Hollie Harding

by breath and bow for Via Nova Ensemble Flute, Bb Clarinet, Violin, Cello Transposing Score Duration: c. 8 minutes


Layout: Seated in semi circle – Flute, Violin, Cello, Clarinet Bathed in blue light General Instructions: If possible the piece should be played from memory. If music is required, it should be positioned so as to avoid interfering with the visual action taking place. All performances of this piece should be preceded by a participatory sound meditation for performers and audience that focuses on the breath such as “Teach Yourself to Fly” (Oliveros 1974). The graphical “breath” line in the score dictates the dramatic continuity, pace and timing of all other events – physical and sonic. All players should perform the “breath” line, which is the same for all parts, though players may take breaks from the breath line at certain points, if necessary. The flautist and clarinettist should play the marked exhalations through their instruments, except at the very start of the piece. The flautist should, where possible, use the given text to shape the unvoiced airflow. Where inhalation is indicated as through the mouth (on pages 6 and 7) the woodwind players should also inhale through their instruments.

The graphic notation of the breath line is proportional therefore longer, larger shapes represent longer breaths. Synchronisation of the parts should be established through visual cues, for example, each inhalation and exhalation can be thought of as a short or a long fermata that needs to be both initiated and concluded by a cue. In many places, these cues can be taken from the position, speed and direction of the string players bows - therefore the violinist will lead. In other places, the flute should lead. A suggestion of the lead performer for each section is indicated in the score by the word ‘lead’ appearing above the corresponding part; this player is responsible for initiating and ending events until a new player is allocated the ‘lead’ role. Inhalation is indicated thus: Exhalation, thus: A recorded example of the “breath” line is included with the score and can be used in rehearsal to give an idea of timing and delivery style. The recording is a guideline and performers should create their own interpretation of the breath line, live in the performance. Breathing at the start should be inhaled through nose, and exhaled through the mouth – this continues until changes are indicated. When a graphic is shaded it should be voiced, where clear - it should be an unvoiced air sound. The breath line also has tongue clicks (page 9) indicated thus: The dynamic markings in the piece do not exceed mezzo piano, as this is the loudest volume possible in the breath line. Sonic gestures should therefore not exceed the maximum volume of the breath line, in the flute this may mean that higher harmonics are left out.


Bowing: Bow positions for the string players are indicated on a separate “bow� stave. The bottom line of this stave indicates the bridge, the top indicates the nut. Arrows show movement of the bow between the bridge and the nut in co-ordination with down and up bows. This forward and backward motion should be pronounced, but fall within practical limits (i.e. the bow does not have to move precisely all the way from the nut to the bridge). Circle bows are indicated thus: The bow should move in a rotating motion from sul pont to extreme sul tasto. Speed indications are given where more than one rotation is expected. Where no arrow or symbol is given, the bow position is normal or ord. Clarinet Multi-phonics: Fingering for the multi-phonics is given on the right hand side of the page at each new instance of a multi-phonic. Fingerings for repeated multi-phonics are not reiterated. Flute Harmonics: Whilst some of the harmonics are notated in full, the player should not try to replicate them with accuracy, the intended effect is to move from the highest possible harmonic through to the low harmonics and finally to the fundamental (pages 4-6) and from the fundamental to the highest possible harmonic (pages 9-10), within the given time frame and volume. Accidentals above the notes apply to the notes directly beneath them and have been placed there for spacing reasons.


by breath and bow

3 x deep breaths, exhale through instrument no pitch

Breathing gradually synchronises

Hollie Harding

Long inhale

Sssssssssssssssssssssssssssssss ss

Flute

Transposed Score Breath gradually becomes audible, inhale: nose, exhale: mouth Breath Pitch Breath gradually becomes audible Breath Pitch Breath gradually becomes audible Breath Nut Bow Position Bridge Pitch Breath gradually becomes audible Breath Nut Bow Position Bridge Pitch

1

Breathy, little pitch

3 x deep breaths, exhale at reed, no pitch

Breathing gradually synchronises

Long inhale

Bb Clarinet

Breathy, little pitch

Breathing gradually synchronises

3 x deep breaths

Long inhale

Violin

col legno tratto

add hair

LEAD Breathing gradually synchronises

3 x deep breaths

Sssssssssssssssssssssssssssssss ss

Long inhale

Sssssssssssssssssssssssssssssss ss

Cello

col legno tratto

add hair


Flute Bb Clarinet Violin Cello

Breath Sssssssssssssssssssssssssshhhhuuuuu Mouthpiece ord roll mouthpiece towards you Pitch Breath Breathy, some pitch Pitch Sssssssssssssssssssssssssshhhhuuuuu Breath add hair Bow Position Pitch Breath Sssssssssssssssssssssssssshhhhuuuuu add hair Bow Position Pitch

2

Deliberate (like sniffing to mark a rest)

Sssssssssssssssssssssssssshhhhuuuuu ord. roll mouthpiece towards you

fully covered

Deliberate (like sniffing to mark a rest)

Breathy, add more pitch

Deliberate (like sniffing to mark a rest)

Sssssssssssssssssssssssssshhhhuuuuu

ord.

Deliberate (like sniffing to mark a rest)

Sssssssssssssssssssssssssshhhhuuuuu

haaaa

rapid

ord.

Gentle (relaxing)

haaaa

slow

rapid

slow

Gentle (relaxing)

haaaa

rapid

haaaa

slow

rapid

slow


Flute

attacca

Sssssssssssssssssssssssssshhhhuuuuu roll mouthpiece towards you

Bb Clarinet

Breath Pitch Breath Pitch LEAD Breath Bow Position Pitch Breath Bow Position Pitch

3

haaaa

Sssssssssssssssssssssssssshhhhuuuuu

Violin

rapid

slow

haaaa

rapid

slow

Sssssssssssssssssssssssssshhhhuuuuu

rapid

slow

Cello

rapid

slow


4 Inhale Mouth, Shocked

Flute Bb Clarinet Violin

Cello

Breath Pitch Shocked Breath Pitch Shocked Gentle (relaxing) Breath haaaa rapid Bow Position Pitch Shocked Gentle (relaxing) Breath haaaa rapid Bow Position Pitch

Shocked

Deliberate

Sssssssssssssssssssssssssshhhhuuuuu

roll mouthpiece towards you

Shocked

Shocked

Sssssssssssssssssssssssssshhhhuuuuu

slow

fast

Ssschuuu

Ssschuuu

very slow

repeat harmonic gliss.

Shocked

Sssssssssssssssssssssssssshhhhuuuuu

slow

fast

Ssschuuu

Ssschuuu

very slow

repeat harmonic gliss.


5 accel.

Flute

Bb Clarinet

Breath Pitch Breath Pitch Breath Bow Position Pitch Breath Bow Position Pitch

Violin

Ssschuuu u

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

Ssschuuu

sim.

Cello

sim.

Inhale / exhale: mouth

rit…


6

Inhale / exhale: mouth rit. LEAD

Flute

Bb Clarinet

Breath Pitch Breath Pitch Breath Bow Position Pitch Breath Bow Position Pitch

Violin

Schu

Schu

Schu

Schu

Schu

Schu

Schu

Schu

Schu

Schu

Cello


Flute Bb Clarinet Violin Cello

Breath Pitch Breath Pitch Breath Bow Position Pitch Breath Bow Position Pitch

7


Flute

Inhale: nose, exhale: mouth

Sssssssssssssssssssssssssssssss ss

Bb Clarinet

Breath Pitch Breath Pitch Breath Bow Position Pitch Breath Bow Position Pitch

8

LEAD

Violin

haaaa

haaaa

haaaa

haaaa

haaaa

haaaa

Cello

Sssssssssssssssssssssssssssssss ss

Sssssssssssssssssssssssssssssss ss


LEAD

Ssssschhuuuu

Ssssschhuuuu

Ssssschhuuuu

Flute

Breath Pitch Breath Pitch Breath Bow Position Pitch Breath Bow Position Pitch

9

Bb Clarinet

Ssssschhuuuu

Sssssssssssssssssssssssssss

Sssssssssssssssssssssssssss

col legno tratto, with some hair

Ssssschhuuuu

Violin

col legno battuto (ricochet bounce then sweep)

Ssssschhuuuu

tratto

battuto (sim.)

Ssssschhuuuu

tratto

battuto (sim.)

Sssssssssssssssssssssssssss

col legno tratto, with some hair

Sssssssssssssssssssssssssss

Ssssschhuuuu

Cello

col legno battuto (ricochet bounce then sweep)

Ssssschhuuuu

tratto

battuto (sim.)

Ssssschhuuuu

tratto

battuto (sim.)


Flute Bb Clarinet Violin Cello

Breath Pitch Breath Pitch Breath tratto Bow Position Pitch Breath tratto Bow Position Pitch

10

LEAD

Ssssschhuuuu

Sssssssssssssssssssssssssss

Sssssssssssssssssssssssssss

Sssssssssssssssssssssssssssssssss

LEAD

Ssssschhuuuu

battuto (sim.)

Sssssssssssssssssssssssssss

col legno tratto (with hair)

Ssssschhuuuu

Sssssssssssssssssssssssssss

battuto (sim.)

col legno tratto (with hair)

Sssssssssssssssssssssssssss

sim. less hair

Sssssssssssssssssssssssssss

sim. less hair

Sssssssssssssssssssssssssssssssss

sim. no hair

bow arm down

Sssssssssssssssssssssssssssssssss

sim. no hair

bow arm down


11

Inhale / exhale: mouth. Equal pacing (sleep breathing)

Gradually adopt individual pace, unsynchronised

Fade to silence, be still, instrument raised

Gradually adopt individual pace, unsynchronised

Fade to silence, be still, instrument raised

Flute

Breath Pitch Inhale / exhale: mouth. Equal pacing (sleep breathing) Breath Pitch Inhale / exhale: mouth. Equal pacing (sleep breathing) Breath Bow Position Pitch Inhale / exhale: mouth. Equal pacing (sleep breathing Breath Bow Position Pitch

Bb Clarinet

Fade to silence, be still, instrument raised

Gradually adopt individual pace, unsynchronised

Fade to silence, be still, instrument raised

Violin

Gradually adopt individual pace, unsynchronised

Cello

Profile for HollieHarding

by breath and bow (2017)  

Copyright, Hollie Harding 2017

by breath and bow (2017)  

Copyright, Hollie Harding 2017

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