Thoughts on inevitability by Jeremy Rosenstock

Jeremy Rosenstock

Thoughts on inevitability for ﬂute, harp, and percussion

Program Notes

In her book Duty-Free Art, artist Hito Stereyl writes of history “morph[ing] into a loop.” This metaphor has unique implications when analyzed in the context of contemporary classical music. Minimalist music was built on looping, as demonstrated through the additive and subtractive processes of Philip Glass or the phasing of Steve Reich. In new music, the loop has taken hold far beyond minimalism, as its inﬂuence found its way into music as disparate as the postmodern dissonance of Wet Ink Ensemble, the radical Just Intonation of Marc Sabat's Plainsound Music, and the “post-genre” work of New Amsterdam Records. In many cases, the point of the loop is not to leave, but to accept (or even embrace) its endlessness. In opposition to this relationship to inevitability, Stereyl agitates for an escape from “history-as-repetition.” She asks that we consider the loop from the point of view of the “gamer.” In her words: “A gamer is not a reenactor. She doesn’t derive pleasure from having to play the same level over and over again or endlessly reenacting historical models… In gaming (most games at least), there is an exit for each level, each repeated sequence, each loop." It is this reconsideration of the loop that I integrate into Thoughts on inevitability. The loop shifts from a static space to a source of ﬂux. Repetition becomes less an end undo itself but rather a means of practicing subversion and transgression. Through this change, we may exit the loop and reach a state of "play," in which we are free to envision a future beyond our endless present. This piece was composed for the Gabriela Lena Frank Creative Academy of Music and workshopped by Nathalie Joachim, Ray Furuta, Charles Overton, Jennifer Ellis, and Haruka Fujii in Boonville, California.

Flute Key

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

Breathing sounds. The text underneath the noteheads indicates whether to breathe in or out. Breathing may occur outside of embouchure.

Flu er tongue. All ﬂu er tongue is canceled out by "ord." instructions.

Harmonic; the diamond notehead is the fundamental and the above note is the sounding overtone.

Flute Performance Notes All accidentals are borrowed from Helmhol -Ellis JI Pitch Notation, as designed by Marc Sabat and Wolfgang Von Schweini . All cent values are in deviation from equal temperament. Tuning should occur in relation to the A of the harp. Certain microtonal ﬁngerings may not exactly replicate the cent deviations indicated by the Helmhol -Ellis accidentals. In these cases, the ﬂutist may be forced to use other means to achieve the correct intonation.

Harp Tuning

Harp Key

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

"Gong" eﬀect; strike strings with palm.

Scrape string with ﬁngernail.

Harp Performance Notes All accidentals are borrowed from Helmhol -Ellis JI Pitch Notation, as designed by Marc Sabat and Wolfgang Von Schweini . All cent values are in deviation from equal temperament. A "sounding" staﬀ is included throughout to indicate pitches created through the use of harmonics. For harmonics on wire strings, place the thumb on the node while plucking with index ﬁnger.

Percussion Key

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

Any action involving circular motion. The duration of the note indicates a full circular motion.

Up and down bows. All bowings should involve the use of a bass bow on woodblocks.

Percussion Performance Notes Two stones are required for this piece. One should be relatively flat and fit in the palm of the performer's hand. The other stone should be small enough to be held between the thumb and index finger; this stone should be used to strike the flat stone. Any action involving stones and woodblocks should also be completed using the flat stone. To create "high" sounds with the stones, the performer should strike or rub the flat stone (laid on the open palm of the performer's hand) with the smaller stone. To create "low" sounds, the performer should tightly clench the flat stone while striking or rubbing it. All "middle" sounds occur between these two states. By oscillating between high and low stone positions, the performer can create a sound similar to that of a high-pass filter with a shifting central frequency. A flat wooden surface is necessary for the stone dropping that occurs in the last measure of the piece.

Thoughts on inevitability Jeremy Rosenstock

q = 60 Flute

2 &2

U ∑

U u˙

#˙

-14

r ≈ ‰ œ

U Ó

U u˙

#˙

beating, ﬂickering

Harp (sounding)

Harp (wri en)

2 & 2 #˙

{

U #˙o

œo ≈ ‰ R Oœ ≈ ‰ R

(sim.)

U Ó

Uo #˙

œo ≈ ‰ Œ UÓ R

#O˙

UO ˙

Oœ ≈ ‰ Œ UÓ R

? 2 #O˙ 2

Percussion

U u#˙˙

#˙

-14, +2

varying*

?2 Ó 2

2 /2

U u#˙˙

UO ˙

p MMMOMNMM

q = 60

U ∑

*fermatas should be of slightly diﬀerent lengths, sensitive to the nature of decay

U ∑

accel.

r & œ ≈ ‰ Œ

U Ó

U ∑

6 6 2 3 2 nœ 4œ œ nœ 4œ œ nœ 4œ œ nœ 4œ œ 2

F +47

& #˙

U u#˙˙

u˙

U <#˙

? Ó

Uo #˙

o #˙

U Ó

? #O˙

UO ˙

U #Ȯ

{

-31

<#˙

U n˙

nbUO˙

#Ȯ

U Ó

2 2

2O ≈ ‰ 2 œR

2 2

3 2

∑

accel.

U ∑

bowed, breathing ≥ 2 ™ 2˙ o

≤ œ

3 2

q = 60

più mosso

breathing, exasparated

3 &2 Y

¿ Y

OUT

¿ Y

¿ 22 #˙

U u˙

3 2 œr ≈ ‰ Œ #˙

U u˙

u˙

U <#w -31

?3 2

più mosso

{

3 2 #˙

∑

2 2

U ∑

3 2Ó

∑

2 2

U ∑

3 2 #O˙

U u#ww

≥ 3 /2˙

≤ œ ˙

più mosso 3

œ ˙

U 2 -≥ œ 2 w

œo ≈ ‰ Œ R

U ~w

Oœ ≈ ‰ Œ #O˙ R

conceal bow changes

3 U™ 2w p

Uo #˙

U #wo

A q = 60

#˙

U u#˙˙

U w™

UO ˙

9 13

& œr ≈ ‰ Œ #˙

U u˙

U <#˙

2 2 u˙

& u˙

U <#w

o ? #˙

U ∑

2 2

? Ó

U ~ #w

2 r≈ ‰ Œ 2 œO

/ ˙

U w

2U 2w

{

2 2

U ∑

3 2 <#˙

U 4w

3 2

#˙

3 2 ∑ U Ó

3 2 Ó

3 U 2 w™

#O˙

2 r≈‰ Œ 2œ

U Ó

3 2

U u#˙˙

2 2 u˙

U < #˙

3 2

Uo #˙

o 2 #˙ 2

U Ó

3 2

UO ˙

2Ó 2

U #Ȯ

3 2

2U 2w

3 2

10 17

U u˙

3 &2 Ó

#˙

3 & 2 < #˙

U nw

?3 Ó 2

U nb~w

? 3 Ȯ 2#

U ∑

2 2

U w œ

2U 2w

{

U <#˙

2 2 u˙

<#˙

U 4˙

4˙

2 2

2O ≈ ‰ 2 œR

U Ó

U ∑

MMLOMNMM

3 /2 ˙ Ó

U n˙

U w

accel.

q = 60

& uœ nœ 4œ œ nœ 4œ œ nœ 4œ œ nœ 4œ G# -49

exasperated (sim.)

™™ Y IN

™™ UY

3 4

OUT

∑

{

∑

play 3x

™™

∑

Gong; do not mute

. ‰

f MMMOMNMM

accel.

/ w Œ

play 3x

œ mf

q = 60

≥ ™™ ˙ Ó

≤ ˙

™™

™™ U . ‰ “‘

U≥ ™™ w

play 3x

U ∑

3 4

accel.

q = 60

6 3 34 & 4 œ nœ uœ 4œ nœ œ 4œ nœ œ

œ nœ 4œ

5 8 ™™ ¿ IN

¿™ OUT

?3 4

∑

{

?3 4

play 3x

™™

play 3x

∑

5 8 ™™

∑

5 ™™ heartbeat-esque 8 . ™ ¡ >œ

∑

™™

q = 60 rit.

accel.

3 / 4 ˙™

rit.

≤ ˙

5 8

≥ ™™ œ f

≤ œ™

play 3x

™™ o

B q = 90

play 3x

& ™™

U ∑

™™ 23

∑

U ∑

freely

4 2 uœ ™ nœ ™

3 2

play 3x

? ™™

stark ™™ 23 ˙

∑

{

U w

w 4U G# -49

4 2

Uo w

o 4 r≈ ‰Œ 2 œ

˙o

U ∑

4 2 . ‰ “‘

∑

3 2

∑

3 2

? ™™ . ¡

™ >œ

™™ 23 ™ .™ ‰

atmospheric

B q = 90

heartbeatesque

/ ™™

œ f

play 3x

œ™

™™ 23

U ∑

4 2

3 2

14 31

3 &2

{

3 2

3 &2

?3 2

3 /2

4 2

∑

˙o ˙

n4 ww

o w

∑

rub stone on woodblock

w o

3 2

4 2

4 r ≈ ‰ 2

∑

3 2

∑

3 2

swipe LH downward; use RH to mute remaining strings

4> ≈ ‰ 2R

o 42˙ f

-o ˙

3 2

15 34

3 &2

∑

w 4ﬂz.

4 2

∑

ord.

6 8

4w mf

3 &2

{

?3 2

3 /2

∑

4 2

6 8

WW mf

scrape string with ﬁngernail; start slow, accelerate to "jet" slide (at "accel.")

∑

4 2

# “‘

accel.

6 8

4 2

∑

o ˙

slide stone across woodblocks

6 8

C 38 h. = 50

6 & 8 nœ ™

‰ 4œ

™™nœj

‰ 4œ

™™

?6 8

{

j & ™™ ™™ œ

™™

∑

™™ ™™nœj

™™

∑

o ™™ œJ

play 3x

‰ 4œ

Œ™

™™ ™™nœj

‰ 4œ

™™

™™ ™™ œj

Œ™

™™

o ™™ œJ

Œ™

™™

™™ ™™ ‰

Œ™

™™

‰

play 3x

™™

?6 8

™™

∑

™™ ™™

∑

C h. = 50

6 .j /8 œ

‰

™™ .j œ

‰

™™ ™™ .j œ

play 3x

‰

™™ ™™ .j œ

™™

17 42

j & nœ

ﬂz.

‰

4œ

j nœ

‰

4œ

j nœ

‰

4œ

j nœ

ord.

‰

j & œ

Œ™

? œJo

Œ™

∑

? ‰

Œ™

∑

.j / œ

Œ™

∑

{

4œ

D echoed by harp* (sim.)

j & ™™nœ

Harp (sounding)

Harp (wri en)

{

™™

? ™™

D / ™™

‰ 4œ

j nœ

radiant, ascending, echoing/slightly behind ﬂute* (sim.)

< ˙™ -31

‰

< ˙™

-29

∑

™™ ™™

‰

<m ˙ ™

™™ ™™

∑

Ȯ ™™

™™ ™™

*harp should echo ﬂute, entering shortly after ﬂute note connected with dashed line

4œ

j nœ Œ

‰

™™

Ȯ ™™

∑

4œ

™™

< ˙™

-45

™ ˙O ™

Ȯ ™™

™™ ™™nœj

4œ

∑

™™

19 50

j & ™™nœ

{

™™

? ™™

/ ™™

‰

<˙ ™

4œ

j nœ Œ

‰

,b˙™

™™

∑

™™

4œ

j nœ

‰

<˙ ™

A +38

Ȯ ™™

∑

™™ nœj Œ

™™

<m ˙ ™

˙O ™™

4œ

bO ™ ˙™

˙O ™™

∑

4œ

j & nœ

{

‰

,b˙™

4œ

with percussion

j nœ

‰

<˙ ™

bO ™ ˙™

™™nœj

™™

˙O ™™

‰

j œ

< ˙™

Ȯ ™™

™ ˙O ™

‰

™™ œ

™™

E striking ﬂat stone with smaller stone; with ﬂute

∑

™™ œ

5:3q

œ ™ ™

œ 5:3q

21 58

j & œ

‰

j œ

‰

j œ

‰

j œ

abrupt

U™ Œ

Œ™

abrupt; let ring

{

<m ˙ ™

< ˙™

Ȯ ™™

/ œ 5:3q

< ˙™

Ȯ ™™

œ 5:3q

U ∑

Ȯ ™™

‰

œ 5:3q

abrupt

U ∑

22 63

j & ™™ œ

{

™™

? ™™

‰

j œ

<˙ ™

‰

™™ ™™

<m ˙ ™

/ ™™ œ 5:3q

‰

j œ

,b˙™

5:3q

‰

œ 5:3q

™™

˙O ™™

œ ™ ™ ™ ™œ

<˙ ™

™™ ™™ b O ™ ˙™

Ȯ ™™

˙O ™™

™™ ™™ œj

œ ™ ™

œ 5:3q

F j & ™™ 4œ

‰

j 4œ

‰

j 4œ

™™

< ˙™

,b˙™

< ˙™

? ™™

O™ ˙™

bO ™ ˙™

O™ ˙™

{

F / ™™ œ

œ 5:3q

‰

j 4œ

-27

œ 5:3q

‰

™™

,b˙™

™™

bO ™ ˙™

™™

œ ™ ™

œ 5:3q

24 71

j œ &

{

‰

<œ J

‰

-31

j œ

‰

<œ J

< ˙™

,b˙™

O™ ˙™

bO ™ ˙™

5:3q

/ œ ˙™ o

5:3q

cresc. applies only to kick drum

œ ˙™

‰

5:3q

œ ˙™

j & œ

‰

<œ J

‰

j œ

‰

più mosso

<œ J

‰

œ p

{

< ˙™

,b˙™

O™ ˙™

bO ™ ˙™

5:3q

/ œ ˙™

5:3q

œ ˙™

5:3q

œ ˙™

G 79

j 4œ

più mosso

{

‰

<œ J

‰

j 4œ

‰

<œ J

< ˙™

O™ ˙™

‰

G più mosso 5:3q

5:3q

œ ˙™ mp

œ ˙™

5:3q

œ ˙™

& < œJ

{

‰

,b œ J

‰

A +38

<œ J

‰

,b œ J

< ˙™

O™ ˙™

5:3q

/ œ ˙™

œ ˙™

5:3q

‰

ﬂz.

œ ˙™

j & 4œ

{

‰

<œ J

‰

j 4œ

‰

<œ J

< ˙™

O™ ˙™

5:3q

/ œ ˙™

œ ˙™

5:3q

‰

œ ˙™

& < œJ

‰

œ ,b œ J

‰

œ <œ J

‰

,b œ J

‰

U < ˙™

2 2

{

< ˙™

O™ ˙™

< ˙™

<U˙ ™

2 2

O™ ˙™

U O™ ˙™

2 2

5:3q

œ / ˙™

< ˙™

5:3q

œ ˙™

5:3q

œ ˙™

U ˙™

2 2

H 96

q = 90

2 &2

œ R ≈ ‰ Œ

U Ó

<U˙

ord.

œ R ≈ ‰ Œ

U Ó

U <˙

o r ≈ ‰ Œ œ

U Ó

2 & 2

{

<U˙

˙ +2

2 &2

Uo ˙

o œ ≈ ‰ Œ R

U Ó

?2 2

O˙

U ∑

O˙

U Ó

U ∑

H q = 90

2 /2

stone on woodblock

U ∑

Uo ˙ o

31 100

& œR ≈ ‰ Œ

∑

U ∑

∑

U ∑

∑

U ∑

>o ˙

U ∑

& 4w

{

& w mf

? wo

strike, then slide

>o / ˙

>o ˙

32 105

U ∑

U n˙

4˙

interrupted by percussion

∑

& <˙

<U˙

o & ˙

Uo ˙

{

, b˙

U ˙

U ∑

≈ ≈ ‰

U Ó

∑

Oœ ≈ ‰ R

U Ó

∑

U ∑

˙o

UO ˙

U ∑

strike ﬂat stone with smaller stone (as before)

œ mf

U Ó

interrupting ﬂute

q = 90

q = 60 109

U ∑

∑

œ O

w uﬂz.

U ∑

∑

{

o œ

œo

#wo

Ó p

o œ

U ∑

∑

Oœ

∑

I q = 60

U Ó

q = 90

rubbing stones, furiously; cresc. only applies to kick drum

wo œ o

wo œ f

34 113

interrupted by percussion

U ∑

interrupted by percussion

U ∑

∑

{

strike soundboard with ﬁngertips; let ring

> R

U ∑

∑

interrupting ﬂute/harp single hits (again)

œ / œ mf

drop stones from short distance on wooden surface; allow for wobbling

œ œ mp

U Ó

œ œ p