Jeremy Rosenstock
cairns, book four: cairn eight (piano sonata?) for solo piano
2
cairn eight for solo piano Performance Notes Pedaling The sustain pedal should be held down for the entirety of the first movement (as indicated in the score). All other pedal markings and instructions should be followed within the second movement. Fermatas and Breath Marks Each long fermata should be held until the sound has (almost) completely died. Whole note fermatas should be equal to or slightly longer than one whole note in duration, and short fermatas should be duration less than a whole note. Octave Transpositions Almost all octave transpositions within the score will be indicated by the clefs (usually) at the beginnings of systems. Take care to observe any of these changes, as they are used throughout the work. Accidentals Sharps and flats apply to all repeated notes immediately following the sharpened/flattened pitch. Some repeated sharps and flats may be notationally reiterated within the score for the sake of clarity. Notation (for the first movement) Crossed noteheads signify percussive actions such as striking the soundboard, knocking the top of the piano case, or the strumming of the strings. Triangular noteheads indicate breathing; upward-facing triangles indicate breathing in, while down-ward facing triangles indicate breathing out. Take care to note that any singing is notated with traditional noteheads. Note that another key/set of performance notes is used for the second movement; nevertheless, the piano diagram below also applies to that movement.
{
&
{
cairn eight: i √ w-
q = 40 a study in absolute consonance(s)
√ w
√ w
o
f sempre; never forced
? √ w °
√ w-
√ w
≈ √ & ≈¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ Ó
8
3
√ w
b√ w
√ w
√
√ bw
√ bw
w
√ w √ w
knocking top of piano case
b√ w
√ w
√ w
√ bw
√ w
≈ #œ Ó™
≈ nœ Ó™
#√ w™
#√ w
n√ w
√ w
? √ #w ™
√ #w
√ nw
&
{
Jeremy Rosenstock
14
& ?
“” ≈ > #w “” ≈ w >
≈™ Ó
#œ ≈ Ó™
sung on " ah" into piano
#œ o
sempre
≈™ #œ Ó
4
U ∑
≈™ œ & Ó
{
#œ ≈ Ó™
≈™ #œ Ó
≈™ nœ Ó
&
‹ U bw & ? bU w
{
U > ‹ nw & U > n ? w
U Ó™
œ
bœ
U w
bU w
U w
U w e = 30
35
start tremolo while pitches are still audible
knock top of case
>¿ / J ¿ o
39
U Ó™
around C2 (again)
/
œ œ
#√ w
√ w
√ bw ¿ rit. ¿ ¿ o f
√ w
o
‹ bU w &
≈
≈ ≈ Œ ¿ ¿ ¿ ¿ Œ ¿ o f o o descend to A0
¿ ¿
o
U bw √ > bw
n√ w
n√ w
¿
¿ rit. ¿≈ ‰ ¿
b√ w
ricochet knuckles between fallboard and piano case in tremolo; tremolo should occur around C2 (with respect to the keyboard); assume accel. with cresc. and rit. with decresc. unless otherwise noted
¿
played on keys (like beginning)
rit.
accel.
¿ o
&
≈ nœ #œ o
≈™ #œ Ó
U Ó™
sung (as before)
bœ o
o
√ > bw
√ w
f descend from C2 to A0
¿ ¿ U ¿≈ ‰ >¿
rit.
ff ascend to C8 during crescendo; only slow down tremolo once ascension is complete
U
slam fallboard against piano case!
5
strum strings between CB I and II (f.t.); final pitch indeterminate
? ‹
{
q = 30
¿
ppp
44
? ‹
≈
ss. gl i
Ó
e = 48
¿
ss. gl i
≈
-j √ 1 - 1 - 1 - 1 - 1 - 1 - 1 o f
IN
OUT
breathe into piano (with exasparation) following pattern above
¿
gl
. i ss
U
√ >Y f
strike circular opening in soundboard
*