Page 1

Transposing Score

Ophir Ilzetzki

Long Live the Gathering for free improvisers everywhere

All Players - The score is space notated and each bar represents exactly 5" - Players are advised to use a timer for tutti rehearsals and performance. Also, each 5" bar equals a 10/4 bar in q = 120. At times, the time signature is reinstated - this should indicate that some parts have complete 10/4 bars that should be treated traditionally. - The score presents 2 types of notes Pitched - always pronounced (even in soft dynamic). With stem- exact duration according to tempo; Without stem- approximate duration according to space notation. Small Triangular- short - haphazard - incidental sounds - played casually - always soft. When grouped- play as fast as possible - not precise - casually!! All triangular notes may include effects and techniques, but not exclusively. - Boxes indicate a free-form improvisation for a given duration - in style (i.e. techniques - scat - riffs - incidental sounds - erratic etc. - not blues scales etc.) - Always quasi solistic - pronounced - dense. Occasionally specific indications are written inside the box; still the above mentioned directions should always be maintained. Flute - Using dedicated mono amplification that should be at level with the ensemble both in volume and position. Bb Cornet or Trumpet - You are the soloist, act accordingly and always take the musical forefront. - The non-stemmed notes in your part are to be treated as stimulus for improvisation. They can be read literally, or as a motivic basis for a solo. Guitar - All cresc. & dim. are obtained using a volume pedal. When commencing from niente, pluck strings whilst vol. is off, and then start cresc. - 6th string should not be used except for when detuning using the tuning peg. The latter should be done in a rough and uneven manner and is represented in score by a square-shaped note that is sometimes attempted from an open string, sometimes from a fingered position (both pitched approximately). It is advised that player use opportune tacets to tune 6th string back to approximate starting position - this in order to avoid a completely loose string. - Unless indicated, all written sounds are "clean". Distortion should be used only when indicated and the resulting sound should be a warm - long sustaining fuzz, and not a crunch. - Bend Back indicates attempting a note starting from a bent position and gradually returning to the original fingered position represented by a note in brackets beforehand. - Triangular shaped notes in chords - using only intervals of 2nd, 7th (incl. maj/min) & 4th, 5th (incl. aug/dim). - Using dedicated mono amplification that should be at level with the ensemble both in volume and position. Voice - Dynamic hand-held mic. to dedicated mono amplification at level with ensemble both in volume and position. - Using throughout a quality reminiscent of free Jazz - Improvise any color or vocal technique on written notes, but avoid using coherent texts. Explore- alternate and vary! - X shaped notes represent a tongue click - Diamond shape notes represent a prolonged kiss sound. Piano - Triangular shaped notes in chords - using only intervals of 2nd, 7th (incl. maj/min) & 4th, 5th (incl. aug/dim). Tape & Seating - Tape using dedicated mono amplification that should be at 'backing' level to ensemble in volume, yet leveled in position. Tape also directed to subwoofer (not over-pronounced). - Seating should be arranged in any frontal manner so as to optimize clarity of individual voices. Copyright Š Anechoic


2

0"

free - reckless - swinging q = 120

Semi-acoustic Guitar

Voice

  

5" Fl.

Trp.

Gtr.

V.

 

 

 

mf molto vibrato e legato quasi glisando







 

 f

      



  



  

   

detune w. tuning peg

 

 f



 

    



f

  





 

    ff

 dist.     

  

   

ff



 

 

   

 

 

      



   

    





    

 

trp. & gtr. cue together

ord.

   



      

 

 

 

trp. & gtr. cue together

   



15"

 

      



 

 









 



10"

    





 





       

      

   

       

     

  

 

f

      

Pno.



f

   



Whinny - Up

Piano

simile

mp



Bb Trumpet

start tape & timer

Tape

Flute

            sempre 





     



        



     





    


Fl.

Trp.

Gtr.

V.



Trp.

Gtr.

    

t k t k t k t

 

 

     

45" 



 



 



   

  

   

    

  

  



 

p

mf

mf

 





  

 

  



  





pno: ad lib. extended jazz chords, not clusters!

ff

  

 

 



 

   

 

 

bend back

 

 

     

  

mp

   

R.H.

      

   

      



  

ff

   

 f



     

dist.  

 



 

 

     



   



mf

     

    

       



 

 

mf



      

       

slow

  

  

 





  

1:00

55"



f

 

   

  

  

   

   

 

   



               

 

  

    

 

50" 

f

     

 



35"

Gibberish in a mature woman's voice, as if you are lamenting your worries to a close friend

ord.

p

bend back

 



  

  

 

     

 mf

    

  

v: extremely open mouth 

mf

  

 

f





  

bend back

R.H.

              

 

    



  

 



 

  

dist.

 

mp



    

Rip - Up - Twice



 

solo:

mf





mp

       



 



  



     



Pno.

mf

V.

 

40" Fl.



Pno.



25" 30" 



20"

3





      


1:05

4

Fl.

   

mf

Trp.

Gtr.

V.

 solo:   

    

   

Trp.

Gtr.

V.

 

 

 

 

   

 



 

sim.

 



 





 

ord.

 



     ppp







repeating noise-orriented patterns mp sexy







f



 



 ff

L&RH simultaneously- using these notes inconsecutively, play very fast, rhythmically uneven legato passages



  

f

   









 



  ff

sim.

 

 

1:30 

ff         

G.P. 3"

      

 

   

   f

      

not flt.

 





shake

shake

      

 

f

 

    

tutti subito

  

   

      





  

  

  

  

   





 

mf

    



mp

    mp



 

1:25 



 



1:15

  

  

f

  

  



    

  

      

  

mf



  

ad-lib gibberish simile

  

Pno.

   

  

1:20 Fl.

 

simile

  

Pno.

1:10





pow!!

  





ff

   


1:35 

Fl.

Trp.

Gtr.

V.

  

 

  





 



 

 

   

Gtr.

V.

  

 

  

 





     

  

 



dist. 





sim.

mf

  

    

 



  

   

  

    

 

 

  

   

  



   

2:00 

mp

f

   

 

     





mf

 ff

  

      





 

    

fff







 

 cue: piano   



  





 





    



 

 

  

  

  

  



R.H.



crazy - dense - ff

p

  

subito - crazy - dense - ff

   

1:55

 

subito - solo - crazy - ff

 

exagrated vib.

 

subito - crazy - dense - ff

 

ad-lib gibberish simile

  

cue: gtr. bend

 

    

 

 

sim.

Piano - Not over dramatic!

  





     

Pno.

    



  

solo:

  

1:45

fl, trp, v - tutti

  



   



 



  

     

   





mf

Trp.

 

1:50 Fl.

1:40



  

 

 



  

Pno.





5

cue: piano

sim.

  

    

    

R.H. - loop given notes using the swinging pattern above it (including variable ties) in any order or combination (i.e. melody - harmony - chord) varying as much as possible. L.H. - allow right-hand to present its pattern several times, then enter using given notes consecutively - using any combination of the pattern 3xlong & 1xshort. Long = 1.5-4.5 R.H. patterns. Short = 1-2.5 R.H. patterns. Vary!

cue: piano

Piano-

 

subito! mf



3



  

3

 

  

3

 

   


End 6

2:10

2:05

2:20

2:15

2:25

ca. 3:27 Guitar - Piano - Trumpet @ ca. 3:27-

Tape

Fl.

Trp.

Gtr.

V.

   

Trill (to maj 2nd) any note, changing trill every 1"-4". Every 4"-5" rest for 2"-5". Minimal dynamic changes. Vary!

Guitar @ ca. 2:10Play any extended jazz chords using R.H. thumb or index finger to bang on strings lightly & obtain a thumping attack, yet clearly audible sustaining chord. Change chord every 1"-4" and always let ring & fade until next attack. Vary! On top of the above, insert written chord with each piano L.H. C#. - short & immediate - using ord. finger plucking. Do not necessarily let ring- Insert & go on!

ord.

chords - mf

tr - mp

ca. 3:27

 Trumpet @ ca. 2:25-

Voice @ ca. 2:15Loop these notes consecutively applying any vocal technique and using any combination of the pattern 3xshort & 2xlong. Short = 1"-2" - Long = 3"-6".



Gtr/Pno: start separately singing voice part - adhering to its rules in a comfortable register whilst continuing playing your instrument (no amplification, or added drama - just make sure the audience sees you singing - they should hear you only at the very end). Trp: wait for others to start, and play and/or slightly improvise voice theme.

Flute @ ca. 2:20-

Let tape end, and linger on last note (ca. 1"-2") No added drama!

Improvise in correspondingsolo: erratic style to tape. More noise/techniques - less melody. Leave room for silence.

ad-lib



   Voice/Gtr/Pno: Make sure to end piece on D#.

When trp. starts playing @ ca. 2:25 resume the above written, but add short and erratic inserts in the style of trp. - not very frequent (ca. every 7").

Vary - Enjoy.

mf

    





Pno.



Berlin, June 2010

Long Live the Gathering  
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