Ian Mikyska
Conferences eight pages for ensemble
Performance Instructions There are three instrumental sections in this piece: voices (2), marked V, melody instruments (4), marked M, and percussion instruments (2), marked P. The bars pertaining to voices are distinguished by having words, those for the melody instruments by having clefs with octave markings (explained below), and those for the percussion by being on one line only. If there is no cue given for the beginning of a bar (cueing is explained below), you may begin playing it at any point. In general, you should aim to leave enough space and not play too much.
Each time you turn a page, let it fall lightly onto the floor. Once the first person has turned a page, this begins the process of moving on to the next page. Do not feel rushed to move on to the next page. The next page can only be turned once everyone has turned to be on the same page. You need not have played all the material on your page before moving on to the next. The octave clefs in the M parts refer to potential transpositions: – an octave symbol both above and below the clef means that it can be transposed by an octave in either direction, or be played at the written pitch – an octave symbol only above the clef means that the note can be played an octave higher or at the written pitch – an octave symbol both above and below the clef with arrows leading in both directions means that any pitch may be chosen Indications of time (4”, 2”, etc.) show the number of seconds that sound or silence is to last. The merge indication in the voices - “(merge)” - means that the two singers should relay this tone, one fading out as the other fades in, and blending their sound as much as possible to give the impression of one continuous sound. The slurred melodies in the melody instruments should consists of tones that are as long as possible whilst still remaining a melody. They should be approximately the same length. Breathing is free.
Non-sustaining instruments playing the melody part should only articulate each new note in the melodies, but should play tremolo or similar on the single long notes.
Any percussion instruments may be used, but the sound should stay pretty much the same throughout. The mp passages can be articulated with the longer (crotchet) notes resonating and the shorter (quaver) notes muted. Cueing If no cue is indicated, you may begin that bar at any point. There are five types of cues in this piece: 1. Cue in, above the line: come in as soon as the indicated instrument finishes playing.
2. Cue in, before the line: come in as soon as the indicated instrument begins playing.
3. Cue out, above the line: stop playing as soon as the indicated instrument begins playing.
4. Cue out, after the line: stop playing as soon as the indicated instrument stops playing.
5. Synchronised cues: as in a normal musical cue, coordinate with eye contact and a slight up-beat and nod. Sometimes, cueing will necessitate that you hold a note for or rhythm for a long time, or that you wait for a long time. This is okay. Synchronised Cues From page 6 onwards, the melody instruments get the indication '3 players' and '2 players' (along with other instructions). This means that only that amount of players play that note. The cues are always precise, so the players must negotiate – musically, not through eye contact or other means – who will play the note. If too many start, someone must drop out. If not enough start, someone must come in.
Page 1
→ V
→ V
q. = 60
.. œ œ œ œ .. P
÷
w w & wwwww w 8 P 8
& œ œ w
be - fore
w w & wwwww w 8 P 8
8
&
→ M
U
10"-15"
w π
→ V
→ M
÷
q. = 60
q=x
.. œ œ œ .. ∏
&
œœw
a - fter
÷ .. œ œ œ . P
~7" 1x
→& œ œ œ w ~2"
a
-
fter
..
→ M
Page 2 w & wwww www 8 P
→ V
8
w & wwwwww 8 P 8
8
1x
→ V
q. = 60
÷ .. œ œ œ œ .. P
&
→ M
&
U
>12"
w π
→ V/P
œ w
du-ring
&
&
U
œœœw
be - fore
÷ .. œ œ œ . P
& w
(ore)
..
w)
(
→
(merge)
œœw
du - ring
→ M/P
q=x
.. œ œ œ .. →÷ ∏ M
~10" 1x
V
1x
&
œ œ œ œ œw a
-
fter
→& œ œ œ œ œ w ~1"
a
-
fter
Page 3 q. = 60
÷ .. œ œ œ œ .. P &
œ œ œœœœ œ w
en
-
sui - ing
→& œ œ œ œ œ œ œ œ -
q=x
1x
w w ww & w w w 8 P 8
&
œ œ œœœ œ œ œ œ w
the
-
&
n
œœœœœœœw
la
-
ter
8
&
1x
U
~10"
w π
→& 8
M
U
~5"
w
cen - tly
÷ .. œ œ œ .. ∏
→ P
V
w
~1"
re
→
→
→
>10"
V
V
8
1x
&
U
U
~5"
~5"
w
w
wwwww w w & w 8 P 8
8
U >10"
& w
→ M
q. = 60
÷ .. œ œ œ œ .. P
→
V
→ V/P
& wwwwwww 8 P 8
Page 4 q. = 60
>10"M/V ÷ .. œ œ œ œ .. P
→ →& œ œ œ œ œ œ œ œ œ œ œ œ œ w P
→ P
w & w w w w 8 P 8
q=x
1x/ea
U
~8"
8
&
w
U
&
du
-
&
w
.. œ œ P
P
œ ..
P
→
>10"
œ
M/V
P
1x
ring
œ œ œ œ œ œ œ œ œœ w
now
8
→& Pw w
→
w
œ œœœ œœœ œ œ œ
M/V
w
P
q. = 60
&
→
now
8
>10"
8
÷ .. œ œ œ .. ∏
>10"
1x
1x
→& œœœœœœœœœœœœw
↑8 q = x
& .. œ œ œ ..
now
→
8
& w 8 P
8
↓
w w w q=x
1x
~6"
÷ .. œ œ œ .. ∏
>10"
Page 5
U
~8"
8
→& œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œw P
q=x
→ ÷ ..∏œ œ M/V
œ ..
>10" 1x
. ÷ .œ œ P
q. = 60
→
&
w & w ww 8 P
..
P
P
→& 8
→& Pw w w 8
U
w π
8
U
œ ..
↓
1x
→& P
1x
→& πw →
P
.. œ œ →& ∏
~15"
8
~10"
8
8
q=x
↑8
~5"
œ
œ œ# œ œœœœœœœ œ œœœœœœœw now
1x
now
V/P
V/P
& w π
U w
~5" 1x/ea
now
P q. = 60
÷ .. œ . P
~7" œ œ ..
→ P
8
q=x
& .. œ œ œ .. 8 ∏
~5" 1x
1x
Page 6
→ P
↑8
q=x
& .. œ œ 8 ↓ ∏
œ
..
~5"
π U
&
π U
w
w
now (merge) ~20"
now
q. = 60
3x . œ œ œ œ .. 1x ÷ . œ P
U
↑8 ~15"
→& πY (P)
(0")
8
↓
3 players, any pitch, find unison
q=x
÷ .. œ œ ∏
œ
..
>20"
Page 7
→ P
q=x
↑8
& .. œ œ 8 ↓ ∏
œ
..
~5"
π & Y U
now
synchronised any pitch find unison
π & Y U
(merge)
→ P
now
q. = 60
1x
÷ .. œ P
œœœ
œ
œ
5x œ ..
U ~15"
→& πw (P)
(2")
2 players
q=x
÷ .. œ œ ∏
œ
..
~7"
Page 8
π U ~12" & Y synchronised any pitch find unison
now
π~12" U & Y now
q. = 60
1x
8x ÷ .. œ œ œ œ œ œ œ .. π
↑8
U ~15"
→ & πw (P)
(5")
8
↓
2 players any pitch find unison
U
w ∏
~7"
1 player
q=x
.. œ →÷ ∏ (M) (0")
œ
œ
..
~4"