Eternity
Falls from My Feet for Percussion Ensemble
Instrumentation
Timpani (4 drums)
Percussion 1: Three Triangles (Small, Medium, and Large)
Percussion 2: Finger Cymbals, Sizzle Cymbal, and Small Tam-Tam; triangle beater, snare drum stick, bow, one yarn mallet, and tam-tam beater
Percussion 3: Three Suspended Cymbals (Small, Medium, and Large) and Large Tam-Tam; triangle beater, wire brush, two yarn mallets, snare drum stick, bow, and tam-tam beater
Performance Notes
The Timpani part is notated on a four-line staff, rather than the traditional five-line staff. Each line represents one of the four drums (the lowest line for the lowest drum, etc.). The lines of the staff do not represent actual pitch. Though the timpani will be tuned at the beginning, actual pitches do not matter after the initial tuning. Diagonal lines following a rhythmic value, with or without an arrowhead, indicate that a gliss should be played on the indicated drum.
Program Notes
Eternity Falls from My Feet is the fifth part of a seven movement work for orchestra entitled To Bind the Sweet Influences. In addition to movements for the full orchestra, there are stand-alone movements that feature each section of the orchestra individually. This movement for percussion is inspired by William Blake’s poem “Auguries of Innocence”.
To see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.
- William Blake’s “Auguries of Innocence”
Composer Contact Information
Jessica Rudman
774-239-5878
jessica_rudman@yahoo.com
Eternity Falls from My Feet
Contemplative, q = 60
* The drums will be tuned to these pitches from the previous movement. The timpani part is notated on four lines (one for each drum) as these pitches will gradually be detuned. Exact pitch in not important in this movement (indeed, as each drum is detuned, the player should avoid tuning to exact pitches).
c. 2006 by Jessica Rudman
÷ ÷ ÷ ÷ 4 4 4 4 4 4 4 4 Timpani Sm. Triangle Percussion 1: Med. Triangle Lg. Triangle Finger Cymbals Percussion 2: Sizzle Cymbal Sm. Tam-Tam Sm. Sus. Cymbal Percussion 3: Med. Sus. Cymbal Lg. Sus. Cymbal Lg. Tam-Tam
Eb, Bb, D, Eb * scrape ∑ ∑ w always let vibrate p Ó ‰ . œ p always let vibrate l always let vibrate ∑ Ó Ó ˙ p 3 w ∑ ∑ Ó Œ Œ œ 3 w Œ ‰ œ ˙ ∑ Ó Œ ˙ 3 w Œ ⋲ . œ ˙ ∑ ˙ w 3 . ˙ œ œ Ó ‰ œ scrape œ ÷ ÷ ÷ ÷ Timp. Perc. 1 Perc. 2 Perc. 3 6 œ p œ Œ ‰ œ æ π ∑ . ˙ œ Ó ˙ g on bell P . ˙ æ œ ‰ œ ˙ œ π 3 ˙ J œ . œ œ . ˙ œ p ˙ œ π ∑ ˙ ˙ w p œj œ œj æ ˙ æ Ó ‰ . œ P œ . œ J œ ˙ Œ l œ scrape π Ó œ P œ œ œ œ œ œ jœ p œ œ . ˙ ∑ œ p . ˙ ∑ J œ . œ ˙ Ó Œ ‰ œ : p
Jessica Rudman (b. 1982)
÷ ÷ ÷ ÷ Timp. Perc. 1 Perc. 2 Perc. 3 12 ∑ œ π œ œ œ œ 3 ∑ w ; g Ó Œ œ π ˙ ˙ w π Œ ‰ œ π . œ J œ ˙ æ œ œ œ . ˙ ∑ . œ œj ˙ Œ œ p . œ æ J œ æ œ œ œ ‰ . œ 3 ∑ ∑ uu æ œ P œ œ ˙ œ œ Ó œ P œ ˙ æ π œ p Œ 17 Œ œ æ œ æ ˙ æ 3 ˙ ˙ ∑ ˙ æ ˙ æ ÷ ÷ ÷ ÷ Timp. Perc. 1 Perc. 2 Perc. 3 œ F œ Ó œ œ ˙ œ œ œ F œ Ó œ P œ Ó œ œ ˙ . œ J œ ˙ ∑ w æ p ˙ œ P œ ∑ ∑ œ n Œ Ó 21 Œ ˙ æ œ œ œ . œ P jœ œ œ w p ∑ œ ˙ œ jœ . œ . œ jœ Ó . œ : ∑ œj œ œj æ ˙ æ œ . œ jœ æ œ æ ˙ Ó Ó . œ P ÷ ÷ ÷ ÷ Timp. Perc. 1 Perc. 2 Perc. 3 œ F poco accel. œ œ œ œ F Œ Ó ∑ œj œ J œ æ ˙ æ œ œ œ œ œ œ œ P œ œ œ œ œ 3 3 œ P ; œ œ œ œ œ œ œ . ˙ . ˙ poco rit. scrape œ f œ œ œ œ œ œ œ œ œ œ œ œ œ 3 w l F ˙ F ˙ ˙ 3 . œ œj P ˙ . ˙ æ F œ æ P w d P Ó . œ P g on bell 2 V
÷ ÷ ÷ ÷ Timp. Perc. 1 Perc. 2 Perc. 3 a tempo ∑ . ˙ æ œ æ p ∑ J œ . œ . œ œj ∑ œ n Œ Ó ∑ œ . œ J œ œ 30 ‰ œ p ˙ æ œ ∑ Ó ˙ p w p œ œ Œ œ ∑ Ó ‰ l . œ ∑ œ æ J œ æ ˙ æ ∑ œ œ scrape . œ J œ Ó ˙ æ p uu d œ P œ Ó ∑ ˙ ˙ P œ P œ Ó ÷ ÷ ÷ ÷ Timp. Perc. 1 Perc. 2 Perc. 3 ˙ æ ˙ æ ˙ æ 3 Œ œ æ p œ æ œ æ ∑ ‰ œ ; ˙ œ œ œ F œ Ó œ P Œ Ó Ó ˙ P u ˙ J œ . œ 36 œ P œ œ œ œ 3 Ó . œ p jœ ∑ ˙ Ó . ˙ œ p œ Œ Ó Œ ‰ d œ p ˙ ∑ œ Œ . œ æ π œj æ ∑ ∑ Œ l . ˙ scrape π . ˙ æ Œ n w π ‰ . œ : π ˙ ∑ ÷ ÷ ÷ ÷ Timp. Perc. 1 Perc. 2 Perc. 3 40 œ p œ J œ œ ∑ ∑ ‰ œ : p . ˙ ˙ æ P œ æ œ œ ∑ ‰ l . œ scrape P ˙ ∑ rit. al fine . ˙ æ œ ∑ ∑ Œ . ˙ : ‰ œ p . ˙ ∑ Ó ˙ p d w ( do not dampen) ( do not dampen) Œ . ˙ π ∑ w Ó Œ œ π d w æ , ∑ ∑ w w ∏ ∑ ∑ ∑ 3 V