the stone and the membrane

Jeremy Rosenstock

the stone and the membrane for seastones and bongos

2

the stone and the membrane, for seastones and bongos

Program Notes This work is part of an investigation into the use of natural objects in acoustic music. In this series, it is the first in which natural objects interact with Classical instruments, as the membrane of the drum is used as an interface for the stone.

The opening of the work plays on traditional percussion practices in new music, albeit using rocks instead of mallets to strike the drums. After, stones are dragged, allowed to wobble, and rubbed against each other on the membrane so as to explore the full harmonic range of the bongos. Through changing the location of the stones on the instrument, differing frequencies are amplified, creating an acoustic "resonant filter" where the rhythms of the stones are imprinted with the harmonies of the drum.

Thanks to Michael Pisaro, Tim Feeney, and the CalArts Percussion Workshop for their aid during the process of composition. This piece is dedicated to Eric Lennartson.

3

the stone and the membrane, for seastones and bongos Key Flat: Any stone that fits easily in one hand and has a flat surface.

Short Wobble: Any stone that fits easily in one hand and, upon triggering, can wobble on the Middle-Edge for about 4". All "wobbling" in the score (excluding the free wobbling of the SW that occurs intermittently throughout the piece as well as the FL-triggered wobblings in mm. 54 and 57) should be triggered using one or two fingers to elevate part of the stone, followed by a quick release. Excepting mm. 48, no wobbling should be interrupted.

Long Wobble: Any stone that fits easily in one hand and, upon triggering, can wobble in the Center for about 6" and on the Bearing Edge for about 8".

Place stone on drum or on top of another stone.

Remove stone from drum or from on top of another stone.

Drum positions, thinking of the circular membrane as analogous to an analog clock (with the "1 2" farthest from the performer and "6" closest). Any reference to "clockwise" and "counterclockwise" refers to this analogy.

Short and regular fermatas (from top to bottom). Short fermatas are about 1 -2" longer than the duration of the (below) notated object and regular fermatas are at least 2" longer than the duration of the notated object.

Any ongoing action. Actions continue until next negating action or described/notated end of action.

Performance Notes The large and small bongos should be tuned a minor third apart. In addition, the large bongo should be placed left/center and the small bongo should be placed right/center in front of the performer.

Bongos with metal Rims must be used for performance. In addition, the Rim must be lower than the Bearing Edge.

Starting at mm. 59, the rests in the small bongo part are used to show the general durations of each boxed sound; light rubato may be employed from mm. 56-69.

A microphone should be placed in front of the bongos for performance. The performer may want to wear headphones during the performance so as to hear the full spectrum of the drums/stones. In addition, the bongos should be diffused throughout the performance space in stereo.

For reference, a "scratch recording" has been included with the score, so as to provide an idea of the sound and techniques required for the piece.

4

the stone and the membrane, for seastones and bongos Notation Diagram

Bongo Diagram

5

the stone and the membrane, for seastones and bongos Stone Examples

6

the stone and the membrane Jeremy Rosenstock

Small Bongo

°

q = 40

2 4 ™™

/ w SW

7

°

¢/

11

°

/

16

° 4 /4

≥j ‰ œ

Œ

≤

≤ j ‰ Œ œ

≥ j‰ Œ œ

>≥j ‰ œ

Œ

>≤ œ Œ Ó f

Œ

™™

∑

j œ

≥ œ J

∑

≤j ≈ œ

∑

‰

™™

Œ

Œ

≤ j œ

∑

≈ ∑

≈ Œ

4 4

put down FL

p

f

∑

repeat 4-5x

≤

across repeats: gradually/inconsistently push grace note closer to synchronized with eighth note; cresc. across repeats

∑

∑

LW

∑

sim.

≤ ≥ j ‰ Œ ™™ j ‰ Œ œ œ

™™ j œ

Œ

q = 60 drag counterclockwise in semicircle; start at "1 2" and end at "6"

≥ 4 w ¢/ 4

≥ Œ œ

p

™™ ≥j ‰ œ

∑

mf

¢/

2 ™™ ≥j ‰ Œ 4 œ

piú mosso

Œ

≤ j ‰ œ

‰

p

‰

≥j œ ‰

∑

apply pressure before releasing

LW

≤j ™ ® / œ ≈ Œ

≤j ¢/ œ

™™

∑

FL

before start of performance, place SW at "1 0," allow to wobble freely thoughout piece (when not in use) Large Bongo

∑

3

‰

≈ ∑

Œ

4 4

p

3 4

same as before, but clockwise

∑

≥ 3 ˙™ 4 p

5 4

counterclockwise, starting from "1 2"; keep going

∑

≤ 5 >œ ∑ 4 f

3 4 ∑ ≥ 3 ˙™ 4 p

∑ sim.

˙™

fp

∑ ˙™

7

23

°

sim.

™™ >œ

∑

/

∑

SW

™™ œ

4 4

™™ ˙ ™

4 4

o

mf trigger wobbling with finger

™™ ˙ ™

™ ¢/ ˙

˙™

during accel.: transition from counterclockwise to vertical motion

27

° 4 /4

2 4œ

∑ always vertical (between "1 2" and "6")

∑

p

°

œ

∑

counterclockwise

-------- 2 4 ˙ ¢/ 4 œ œ œ œ œ œ œ œ 4

32

accel.

fp

>--- œ œœœœ

-œ

> œœœœ

mf

fp

f

fp

during crescendo: gradually stretch beyond center to include entire diameter of Large Bongo

/ œ

™™

∑

™™ 44

∑

cresc./accel. across repeats

¢/ œ

3

œ

j œ

3

j œ

œ

3

j œ œ

3

j ™™ -œ œ -œ œ -œ œ -œ œ ™™ 4 œ 4 3

35

° 4 /4

q = 60

rit.

2 4

∑ across diameter of membrane, vertically

4 >œ / ¢ 4 ff

>œ

>œ

>œ

2 4

3

≈ ∑ ≈ ∑

3

3

∑

U ∑

4 4

Œ

U ∑

4 4

sim.

>ϲ

8

39

° 4œ /4

∑

œ

mf

4 / ¢ 4

∑

∑

∑

42

°

∑

/

œ

∑

≥ ¢/ œ

∑

LW

mf 45

°

/ œ

Ó ¢/ 48

° 4œ /2

Ó œ

≈ Ó

œ ≈ ∑

4 2 4 2

accel. push LW to Bearing Edge ("1 2") over 6x repeats

4 ¢/ 2 œ 49

°

q = 60

/ œ

4 4

∑

4 2

œ / ¢

4 4

∑

4 2

9

51

° 4œ /2

Ú pick up FL in RH

mp

Ú

4œ / ¢ 2

mp

53

°

accel.

rit.

Ú

/ rub LW with FL in smooth, circular motion

>œ≥ ¢/

œ

-œ

œ

-œ

-œ

œ

œ

LW/FL

54

°

mf

Ú

/

4 4

∑

4 2

4 4

∑

4 2

4 4

≈ ∑

4 2

4 4

≈ ∑

4 2

trigger wobbling by lifting FL

¢/

ϲ LW

56

° 4 /2 >œ≥ 4 ¢/ 2

accel.

-œ

œ

œ

Ú -œ

-œ

œ

œ

57

°

Ú

/

≤ œ ¢/ 59

° 4Ó /2

accel.

∑™

accel. circular rubbing while maintaining q = 60

>œ≥ œ -œ œ -œ œ -œ œ 4 ¢/ 2

3 2Ó

∑

slide LW to center; sempre un poco rit. for glissandi gliss.

3 2

- œœœœ

f

10

61

°

/ ™™ Ó

∑

™ ¢/ ™ œ œ œ œ

sempre gliss. towards "6" gliss.

œ œ œ œ

62

°

/

¢/

Ó œ œ œ œ

gliss.

63

° 7 Ó™ /4 - 7 ¢ / 4 œœœœ

gliss.

∑

™™ 47

œ œ œ œ

™™ 47

∑

3 2 ™™ Ó

-œœœœ -

3 - 2 ™™ œœœœ

65

°

/ Ó

- ¢/ œœœœ

gliss.

/ Ó

-œœœœ ¢/

gliss.

gliss.

∑

™™ 44 ™™ Ó

-œ œ -œ œ

™™ 44 ™™ -œ œ -œ œ

67

°

∑

Ó

™™ 23 Ó

-œœœœ -

™™ 23 -œœœœ

Ó gliss.

∑ gliss.

- œœœœ

-œœœœ -

-œ œ -œ œ

11

69

°

≈ ∑

/

accel.

q = 60 rub stones together in smooth, circular motion for 6" rub stones, using closed hands for 6"

∑

¿ ¿

suddenly pull FL and LW off Bearing Edge

¢/

∑

4 2

∑

- ¿ ¿ ¿ ¿

4 2

LW/FL

≈ ∑

p

pp

∑

∑

4 2

∑

drag FL from "1 2" to "6" clockwise, LW counterclockwise; after, strike LW/FL together between drums

accel.

73

° 4 /2 4 / 2

4 ¢/ 2

Ú

w≥

>≤¿ J Œ™

FL

Ú

Ú

fp

w≥

Ú

LW

fp

drop LW to left of drums on floor, FL to right

ff

>≤¿ J Œ™ ff

U Ú

Ó ¿

¿

LW

FL

mf

Ó

U ∑

Ó

U Ú