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Ji Heng Lee

aḍḍā !"# for soprano and flute

2018


Preface aḍḍā is a Sanskrit word (!"#) which broadly refers to a ‘meeting place’. The Hindi etymology of the word means ‘perching place for birds’, whereas in Bengali, the word is also often associated with a common social activity of long, informal intellectual conversations among a group of people. In Bengali culture, aḍḍā could thus either refer to the meeting place (as a noun), or the act of having a thoughtful discussion (as a verb).

Imaginatively, this piece embodies an aḍḍā. It is a meeting place for texts of different languages (English, Latin, Italian, Greek, Bengali) by various authors (T. S. Eliot, Socrates, Rocco Emanuele Pagliara, Rabindranath Tagore). Poetically, the Eliot sets up a framework (a ‘decayed house’) for dialogues to develop amongst the other texts, which ‘speak’ in turn as the piece is performed. From a listener’s point of view, however, the two performers could seem to be lost in thoughts, wondering and wandering from one text to the next, which manifests what the texts are collectively about, and what an aḍḍā is all about! In an abstract metaphysical sense, then, the very performance of this piece is itself an aḍḍā — the performers become the ‘meeting place’ (or locale) within which the texts (and their poetic substance) are temporally being realised, and connections made among them.

This piece is written for the Diaphonia Edizioni • Associazione Musicale “Bellini” of Messina • Minelli-Dacey Duo ‘Flute-like-Voice’ Call for Scores. It has been selected for two performances (one in Messina, another in London) later this year by Sara Minelli and Sarah Dacey, and will also be published under Diaphonia Edizioni.

Duration: ca. 10’

Texts (excerpts I have selected and used) … Here I am, an old man in a dry month,

Being read to by a boy, waiting for rain …

… My house is a decayed house, …

… Signs are taken for wonders. “We would see a sign”

… After such knowledge, what forgiveness? …

… And an old man driven by the Trades

To a sleepy corner.

Tenants of the house,

Thoughts of a dry brain in a dry season. from Gerontion by T. S. Eliot.

Public domain.

“Ipse se nihil scire id unum sciat”

“I know one thing, that I know nothing”

“Διά τὸ θαυμάζειν ἡ σοφία”

Diá tó thavmázein i sophiá

“Wisdom begins in wonder”

Socrates

My thoughts, you find yourself wandering again

Il mio pensier, vagando, ti ritrova from Ancora, song by Paolo Tosti, text by Rocco Emanuele Pagliara.

Public Domain.

$%&' () #*+, -#.#. !/0 1#23# !-#, $4 51#*6

Pürnol charnday maiyai ahgee babarnar amara parthar bollay

In the full moon night my thoughts are lost

573 /89: $#*,, $#/; <#,#, 7# .   7# .  7#. (*6=

Zhianah sheenhu parree parkhee tahrah zhia-zhia zhia-zhia zhia-zhia joelay

just like the birds across the sea, they fly, fly, fly away

from ‘Nature - No. 6’ of Gitabitan by Rabindranath Tagore. Public Domain.

I am grateful to my friends Nicola Siagri and Soham Ghosh for their assistance with the translation of the Italian and Bengali texts, as well as Marco Leung for proof-reading the ‘flautistic’ aspects of my score.

This score is best printed in B4 size. If necessary it may be printed in A3, although provisions would have to be made for it to fit properly on music stands.



Remarks on the notation General

As the music is mostly free from regular metrical implications, time signatures have been omitted. Dotted bar lines have been indicated to facilitate score-reading and counting and to mark points of coordination, although the bars do not all have equal number of beats.

The boxed texts provided in the score are comments on the character of the particular section of music, as well as

suggestions or instructions on performative (theatrical) aspects, whereas

[execution]

s. v.

the square-bracketed texts specify how the material is to be executed, e.g. spoken, whispered, etc.

senza vibrato (cancelled by ‘norm.’)

Voice

Sprechgesang — in between singing and speaking, gliding between pitches indicated; pitches are approximate

sing (normal)

speak

whisper

Measured speech notation —

the three lines roughly represent the rising/falling inflections of speech

smorzato / smorz. — slightly stressed articulation of sustained tone (controlling air pressure using diaphragm)

Flute

tongue ram, with mouthpiece covered (minor 7th down)

air note (only air, no pitch, but still fingering the note)

breath tone (very airy, but pitch still discernible) — use fingering needed to produce the pitch indicated; blow across the mouthpiece

keyclicks, without covering mouthpiece (no pitch)

whistle tone fundamental

flz. flutter-tongue

normal

more airy

very airy

arrow (

) denotes gradual change

normal playing angle

slightly turned inwards

vocal articulation of phonemes —

s as in ‘sciat’

t as in ‘ti’

r as in ‘ritrova’

va as in ‘ritrova’

(execute each articulation as a ‘loud whisper’, i.e. percussive attack on the consonants + exhalation)

N.b. Before the performance, prepare the alto flute mouthpiece (detached from body) and ensure it is within reach, ready for b. 38.


for Sarah Dacey & Sara Minelli

aḍḍā আ

for soprano & flute

(unmeasured)

Ji Heng LEE

q = 66 – 76 Well-articulated throughout Begin by whispering / speaking in turns, then gradually align the words

(2018) [whisper]

f

mf

p p [speak]

Soprano

° ¢

j ‚

j ‚

j ‚

‰ j

‰ ≈ r

Œ

I

I

I

I am

I am

I am

I am I am

I am I am

Here

I

(

Gradually bring instr. closer to lips [whisper] (away from instr.)

° Flute ¢

j ‚

am,

Here I am,

an old man

in a

q = 72 - 80 ) Repeat until the sign, independently of soprano part; material need not be completed

Instr. on lips

[speak]

j ‚

& í ™™

j ‚

I

I

I am

I am

I am

Œ

Œ

Œ

-. -. pp

(C flute)

I p

‰ -

I am I am I am I am

Œ

™™î

Œ

-. -.

leggiero

sempre

mf

4 (

gemendo

)

p

p 3 3

Sop.

° ¢

j

3

3

j Œ

‰ ≈ r

Œ

‰ j

Œ

Œ

-

Œ

-

dry

month,

be -ing

read to

by a boy,

wait -ing

for rain.

house - (ss)

My

a de - cayed house - (ss).

is

(air note)

Fl.

° ¢&

Œ

Ó O™

O™ o sf

sf

o

êf

h

h

o

o q

9

h

p

Sop.

° ¢

h.

Œ

Ó

Ó

‰ j

Œ

™ ss

house - (ss)

My

flz.

Fl.

∑ ‰ ≈ r

° ¢& O

Ó o

(breath tone) flz.

æ ‚ Oæ o êmf

Œ

de - cayed house - (ss)

æ Oæ™

æ œ ˙æ o êf

Πo

æ ˙æ ™

‰ Œ -. -. o pp

‰ Œ

Œ

‰ Œ

-. -.

-. -.

[whisper]

‘p’ ‘ mf ’

‘f ’

14

‘ mf ’

Sop.

° ¢

> ‚ ‚ O™

∑ ‚ ‚ O™ 'cayed house - (ss)

Œ

> ‚

Œ

house - (ss)

Œ

‚ Œ

‚ ‚

house - (ss)

ss

3

flz.

Fl.

° Ó ¢&

æ œ ˙æ o ê >fz

Œ

œ

‰ Œ

-. -.

Œ

‰ Œ

-. -.

Œ

‰ Œ œ. œ.

-. -.

pp p

‰ ‰ œ. œ.

Œ

œ. œ.

-. -.

œ. œ. œ.

pp

sub.

mf

f f

o

A qz= Sprechgesang, i.e. in between singing and speaking; pitches are approximate [speak] smorz.

‘p’

p

‘f ’

18

f œ. bœ. ‰ Œ ç ç

mf

ip - se

ip

svegliato

‘p’

Sop.

° ¢

> ‰ ‚j Œ .

‚ ss

j ‚. ‰

se

se

‰ -

.

.

se

j ‰

Œ

&

.

ip - se

.

ip - se

se

p pp

-œ ç

œ œ. ‰ ç ç se

-

ç bœç œ œ™ ç ip

-

gliss.

œ ç

œ. ‰ œ. ‰ Jç Jç

se

se

(normal note)

> ‰ ‰ œ. œ. œ. œ ˙ sfpp 3

Fl.

° Ó ¢&

flz.

ææj œ. ê >fz

æ ˙æ

f

‰ Œ

Ó

Œ

>. . . . . ‰ œ. œœ œœœ ‰ Ó 3

3

o mf

o f

p mf

f p

mf

22 Sop.

° bœ œ >œ. Œ ¢& ç ç ç ni

-

Œ

Œ ˙ç

O™ ss

hil

-

sci

ύ -

re

p . ç <n>œç œ bœ. ≈ œ Œ œ™ ç ç ç ip se se -

(norm.)

js. v. œ

œ. ‰ ‰ j Jç œ. ç

œ ç

sci

-

re

id

N

( skiː )

Fl.

° Ó ¢&

‰ œ. œ. p

‰ œ. œ.

‰ j ‚ O > sf

.. Œ ‰ ≈ œ œ<n>œ. ‰ ‚ J o pp 3

.. . . . ≈ œ œ œ. œ œ ‰ œJ Œ œj œ

N

s. v.

Ó

Œ

œ

µ˙

3

o mf

pp

f


2

o f

p

f

28 sf mf

Sop.

° ¢& ˙ç u

ç bœç Œ œ™ .

ss

num

-

‰ ˙ç <n> œjç . sci - at

O™ -

Œ ‰

œ. Œ Jç

Ip - se

œ. ‰ ‰ œ œ™ œ Jç Jç ç ç

œ ç

Ó

se

sci

re

-

id

u - num

( emphasise 't' )

N

( skiː )

Ó

> ≈ œç <n>œ ™ R ç

N flz.

Fl.

° ¢&

. .> ‰ Œ ≈ œ œ œ.

‰ O o

‚‚‚‚ ‚‚ >s. .t s. .t s. .t

‚. ‚. s t o

ê sf

3

Ó ‚. ‚. ‚. s s s

3

µœ æ

‰ j‰ j Œ Œ œ ‚. ‚. p s s o

p f

[whisper] [speak] [whisper]

‘f ’

p ‘ sf ’

p

flexible timing

‘f ’

34 3

j ‚‚ Œ

> j ‰ ‚ ‚ ‚j ‰ ‚ ‚ ™

Ó

Œ

ni - hil

ni - hil

ni

hil

-

N

|

|

Œ

Ó

no -thing Put instr. down, take the mouthpiece detached from Alto flute & look into it (as if looking through a telescope).

N

Sop.

° œ ™ œ œ™ç Ó ¢& ç ç œç . sci at -

3

keyclicks (without air) flexible timing |

Fl.

° <µ>œ ¢& ææ ææ

> œ. œ. œ. œ. ‰ œ. œ. ‰ ¿ ¿ ¿ ¿ ≈ ¿ ‰ ¿ ‰ ‰ ¿ J J ¿ ¿ o ‘ ff ’ pp

ffp

> ¿ ¿ ‰ ¿J ‰ >¿ j ‰ ¿ ‰ Œ J ¿ ¿ ‘ ff ’ J >¿ ‘ pp ’ ‘ pp ’

Œ

|

Œ ‰ ¿J

[whisper] [speak]

B ° Ó Sop. ¢

‘f ’

o r ‰ ≈‚ ‚ Œ

Ó

> O

ni - hil

p

mf

j ‰ Ó

O

skiː

O

ss

Ip - se

‰ j‰ .

.

. .

sier

sier

Ip -pen

se

-

Gradually move mouthpiece off lips

[whisper]

Fl.

p

>j ‰

Whisper / speak into mouthpiece, with hands cupped around lips

° ¢

êf

o

39

j‰

Œ

Without mouthpiece now; put mouthpiece down & take instr.

[speak]

> > ‚ ‚™ Œ ‰ ‚ ‚ ‚ ‚™ Œ no -thing

> r Œ

> ‰ ‚j O ss o êf

‰ ≈ ™

I know no -thing

Ip - se f

‘ sf ’

Ip - se

j‰

Ó

j‰

‰ -

O™ . . ss

o

sier mf

-

o

.

Ip -pen

pen f

-

sier p

[sing]

o

o ˙™

44 sfpp

ff

f

Sop.

° ¢

j - ‰ > O

∑ Œ

œ. ‰ J

&

ss

pen -sier

f

mm

mio

-

sounding B4 (fingered B3) (keyclicks) [whisper] (D trill key)

5 3 (away from instr.)

> nœ œ œ œ œ. ‰ ¿ ¿ ¿ ¿ ≈ ¿ ‰ ‰ ≈ ‚ ¿ ¿ va o ‘ ff ’ fz

on C flute

Fl.

° ¢

µœ. ‰ Œ J

¿ ¿ ¿ & > ¿ ¿ ¿ ‰ J ‰ j ‰ ‰ ¿J Œ ¿ ¿ ¿ o ‘ ff ’

pp

6

f

‘ sf ’

f

pp

Glide smoothly from one note to the next sub.

, p

mf

pp

teneramente

48 Sop.

° Œ ¢&

j œ

œ™ œ œ

il

mi

-

œ. ‰ J

œ

o

mi

j œ

œ œ. Œ #œ

œ #œ

o

-

œ œ.

mi

œ #œ -

o;

-

p f œ. ‰ œç ç ‰ œ œ œ ™ Jç . œ .

œ

pen

œ

œ (

)

sier

-

va

-

gan -do

mm

-

œœ œœ œœ ( i.e.

) 6

Fl.

° ‚ ¢& - ‚. Œ

Ó

œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ. ‰ Œ J o o pp

Ó

6

gan - do

6

Ó

6

sub.

f mf mf

o j ‰ ‰ œp. œ Jç

53 pp

Sop.

° œ ¢& - mio

Fl.

° ¢&

œ

œ ç

œ

(

)

pen -sier va

-

j‰Ó œ. ç

Œ

gan - do,

j‰ j <n> œ. ç œ. ç ti

ri

j œ

‰ ‰ jŒ œ. ç -

tro;

> œ

ti

j nœ

Œ µœ œ-

# œ. œ.

‰ j‰ j jŒ # œ. <#>œ nœ.

j œ

œ œ. >

œ

œ

œ

ri

-

µœ œ

tro

-

µœ

sub.

p mf ff mfp

f

pp

f

va;

œ. ‰ Œ J o

va


3

C sf

semplice

sf

58 f p (

Sop.

)

° ‰ pj ‰ Œ ¢& œç œjç .

œ œ. >œ. ‰ Œ Jç

œ <n>œ. Œ

œ œ #œ. ‰

va

va

van

3

va

van

> jç ‰ ˙ ™ œ.

œ œ œ.

j Œ œ. ç

3

do

van

do

van brillante

overblow flz.

Fl.

° ¢&

œj

b >œ. >. bœ ‰ Œ ææJ ‰ Œ ææJ sf

Œ

>. j œ

>. ‰ œJ Œ

Ó

> œœ

sfz

#>œ œ # œ œœ .œ œ n œ # œ œ#œ œ œ J ‰ nœ œ ff sfz

sf 7 5

62

sf f pp

Sop.

° œ ‰ ‰ #>œ ¢& J J

˙ Œ #œ

Ó œ™

j‰ j œ. œ.

nœ œ

Fl.

wan

won

( wɒn )

( wʌn )

der

won

For each of these chromatic passages from bb. 65–72, the individual notes do not have to be clearly distinguished; their intended effect is a blur 'flurry' of pitch inflection

> œ. n œj œ n œ ° R≈‰ ‰ œ œ#œœœœ#œœ œ ™ ¢&

> n œ . . œ ™ œ œ œœœnœ#œœœ nœœ#œ œ ‰ Œ ‰ ‰‰ j ‰ j‰ œ# œ n œ œ. œ. œ. j # œ- œbœœ œ n œ. œ. œ. j œ. j œ. # œ œbœœ œ. 7

3 6 7

7

ff mf p velato

sf p

66

sf p

Sop.

° Œ ¢&

mf

j‰ # œ.

p

Œ

Œ

j Œ œ- œ™# œ.

œ™ - # œ.

won

won -der

won

-

Ó j œ

der

> j‰ Œ # œ.

won

(

)

q

q

e 12 6

Fl.

° ¢& # œ œbœ œœ œ œ œ ‰ œj # œj ‰ ‰ œj Œ ‰ œj Œ . . . . (

p

‰ ‰ œbœ œ# œ œ. œ. j œ œœ œ

6

Œ

(untongued)

)

Œ

œ. œ. œ. œ. œ. œ. œ. œœœœœ . . . .. o sf

(untongued)

n œ. . µ œ. . . # œ. p

70 f

Sop.

° Œ ¢&

p

œ™ œ J won

-

der

-

œ -

j #œ

œ #œ

won

(

Fl.

#œ J

-

j <#>œ

œ œ ‰

der

-

j #œ

œ. J

Œ

œ

won

won

-

)

° nœ#œ œ œbœ œ#œ œ#œ œ œ œ œ nœ ≈ ‰ #œ œ œ œ œ ≈ ‰ œ œ œ œ œbœ œ#œ œ œ œ nœ œ œ ≈ ‰ ¢ & # œ œ bœ œ

≈ œj œ. œ. ≈

#œ œ œ nœ œ#œ ≈ Œ

Œ

7 7 (norm.) (

p p

mf

sempre )

p

7

f

D Smile while singing, if possible, looking as though on the verge of breaking into giggles!

ê ffz œ‰ J

f

73 Sop.

° œ™ ¢&

j

(

mf

ridente

mf |

| wavering gliss.

j œ

Œ œ™ œ œ œ œ ˙ J

der

-

Fl.

œ œœ

#œ œ

f [voiced inhalation]

p

Signs are tak - en for

won

˙

œ. ‰ J

Œ

Œ

ders.

-

j j j j œ œ œ œ #œ. ‰ œ

#œ ™ Signs

are tak -en

for

won

œ -

won

-

)

° ≈ bœj j Œ . . ≈ œ #œ. œ. ≈ ‰ œœ ¢& nœ. œœ ..

j #œ œ . .

˙™

#œ œ œ

œ- œ œj œ œ

˙™

o

> sfzp

f

Now break into giggles, as candidly as possible

sf mf p

78 [giggle] [giggle]

p |

Sop.

° ¢& #œ

j #œ. ‰

Œ

|

|

Œ

Œ

Œ

Œ j #œ

ders.

j œ. ‰

|

Œ

Œ

Œ

#œ œ

We

ff œ. ‰ >œj #œ J

would

o Œ

p

#œ œ

œ

œœ

see

œ™ #œj n˙

˙

a

nn.

sye

( sʌɪ )

Fl.

° ¢&

∑ ˙ o

æ ˙æ™

∑ o

mf


E 4 Now in a mood of admiration and marvel

f

84 p

f œ œ. ‰ œ. œ œ. ‰ Œ J capriccioso

Sop.

° pj ‰ Œ j ‰ œ œ ˙ ¢& œ. œ. œ™ zein

zein

j

#œ œ thau

-

œœ #œ œ

Œ #œ œ

nn

zei

( ziːn )

j œ

Œ

œ

zein

-

Diá

tó thau - má

( ziː )

zein

-

œ. œ#œ Œ .

so - phiá

so - phiá

( tɒ )

flz.

Fl.

° ¢&

Ó

> Œ #æœ æ

Ó

œ

œ œ. ‰ œ. œ œ. ‰ œ. ‰ œ. œ œ. ‰ #œj J J .

p mf

capriccioso

sfz

sf

Sop.

89 . ™œ >œ. œ. ° œ ™ # œ œ ™ œ J ¢& #œ. . o

Fl.

p

‰ Œ

Œ

‰ œ œœ J

so - phia;

Diá

thau - má

-

zein

Diá

tó thau - má

b œ. >œ n œ b œ . ™ . b œ ° œnœ#œnœnœ œ. œ. œ. œ. Œ ‰ j j j Œ . ™œ#œ. nœ. ™nœbœ. ™bœœ ™œ b œ ™ œ & n œ #œ œ œ œj œ ‰ ‰ œ ™ œ ¢ œ. . æ ææ æ . . . . . p o mf f

p

j #œ. ™ œ œ™ . œ#œ. ™œbœ. ™ œ œ

œ ‰ œj#œj œ œ œ œj œ ™ J

œ œ™

- zein

so o

flz.

. bœ #œ. ™œ œ™

æ j jj j œ>æ œ. ‰ #œ œ. ‰ ‰ œ. Œ sfp

ff

f

> . ™ œ b œ. . œ ™ n œ J œ ™#œ œ

93 Sop.

> ° bœJ. ¢& so

Œ

Ó

o brillante

Fl.

>œ > nœ œ œ . . ™ œ # œ œ n œ # œ œ. ™ œ œ œ <#> œ œ œ œ œ œ œ œ n œ . # œ ™ # œ # œ œ n œ œ . œ œ™ . # œ n œ n œ . œ#œ ™ œ#œ ™ ° bœ. ™nœ œ™ .™ nœ. œ œ œ œ # œ n œ ™ # œ & # œ n œ œ # œ n œ ™ ¢ . . 3

3 6

f f

mf

3

sf

sf p

Interrupting the flautist [speak]

sf

96

> Sop.

° ¢&

Ó

Œ

‰ Af

. œ b œ œ # œn œ œ œn œ # œ œ œ œ œ œ œ œ œ œ œ œ œn œ b œ œ # œn œ œn œ b œ œ # œn œ œ œ œ œ œ œ œ Fl.

° ¢&

œbœ

œ.

≈ 6

6

6

mf

6

6

f

Af - ter

œœ

œ.

≈‰

Af - ter

œœ

œ.

œœ

œ.

6

mf f

F [whisper] ca. 5s [speak] (

f

)

|

|

q = 58 – 63 Slower; more contemplatively

‘ f ’

98

‚j ‰ ™

3

Sop.

° ¢

U ™Ó

Œ

j ‚‰‚ .

Af -ter such know - ledge;

‚™ Ó

such know - ledge;

U ∑

Œ

what what for -give - ness?

œ.

œbœ

ca. 5s |

Fl.

° ‰ ¢&

≈Œ

Ó

Œ

|

U ∑

j œ

˙ Œ p

(

f

j œ

˙

œ œ Œ o

dolce

â ä

)

104 Sop.

° ¢

∑ &

Restrike this note if necessary, but aim for a smooth transition from voice to instr.

into the instr. (normal playing)

° œ. ‰ œ. ‰ Œ & J J

œ. œj#œ ≈ œ . .

œ. ‰ œ. œ. ‰ ‰ œ. œ. J

Œ

Œ

<n>œ œ. œ.

<n>˙

r t pp

Fl.

r

t

t r

t r

t

t va va p

va va

[sing]

voice (outside of instr., unless otherwise specified)

¢&

œ. ‰ œ. œ. ‰ œ œ ≈ J . . ti p

ti ri dolce

tro -va

#œ œ œ œ œ ™ #œ œ ti

ri

tro - va

œ

j‰ #œ œ œ œ #œ œ ti

a

ti p

a

Œ

œ


5

G f

110 Sop.

[falsetto] sempre

[normal]

° p ¢& ˙

Ó

j‰ Œ œ

˙™

rah

‰ Œ ‰

rah

o Œ

Œ Œ

œ. œ.

œ. œ.

˙

tah rah

tah rah

zhia

> œ #œ œ œ ‰

p

Œ œ œ zhia

zhia

zhia

( ʒdɪˈa )

[whisper into instr.] [normal] (unvoiced)

into the instr.

° & œ œj ‰ o

j ‰ ‰ j ‰ j Œ j‰ ‚. ‚. ‚. ‚. O

Ó

tah pp

Fl.

rah

tah

Œ

Œ

j‰ ‰ j ‚. œ ˙

≈ Œ Ó œ. œ. œ. o

>

rah zhia zhia

sempre simultaneously ( ʒdɪˈa ) (sing into the flute)

(

Œ

Ó

Œ

Œ

voice

¢&

œ

tah pp

j œ œ #œ

)

zhia ( pp )

From here, it is not necessary to be strictly in sync with flautist; instead, play in a manner as if freely improvised, expressively, 'floatingly', and softly

p

p flottant et librement

117 Sop.

° œ #œ ‰ œ œ ‰ œ ‰ œ œ #œ ¢& zhia

ah

ah

œ #œ ‰ œ #œ ‰ œ #œ ‰ œ œ œ œ #œ œ ‰ œ #œ ‰ œ œ ‰ ‰ <#>œ œ ‰

œ œ Œ

zhia

ah

ah

ah

zhia

ah

ah

ah

ah

From here, it is not necessary to be strictly in sync with soprano; tempo and pulse are still to be maintained, but breaths may be taken at caesura signs with some flexibility of time

#˙ whistle tones

˙

˙

,

(precise; 'inside' the instr. )

Fl.

° ¢&

#œ œ ‰ µœ œ ‰

‰ œ J

ìì ‰

Ó

+

into the instr. (normal playing)

p pp

sempre, lontano

f p

121 Sop.

° ‰ -œ œ Œ ¢&

. j j . œ#œ. ‰ ‰ œ œ œ #œ ‰ œ œ ‰ œ œ. ≈ ‰ œ œ ≈ J

œ #œ ‰ œ

zhia

ah

joe

lay

-

joe - lay

zhia

ah

ah

ah

œœ

œ. ≈

ah

œœ

œ. ≈ ‰

ah

œœ

œ. ≈ ‰ œ. ≈ ‰ œj #œ ≈ Œ .

zhia

ah

œ

ah

ah

#˙ ˙

˙ Fl.

, ˙

° ˙ ¢& +

˙

˙

H 125 (

Sop.

p

)

° œ ¢& #œ œ pür

j nœ. ‰

nol

charn

‰#œj œ. r ≈ œ

day

mai

‰ #œj œ. ≈ ‰ œ œ. ≈#œ œ œ ‰ #œ #œ ‰ œ nœ ‰ œ œ ≈ œ <#>œ ™ œ R .

œ≈‰ R

yai

ah gee

ah gee

ba- bar -nar

nar

nar

ah

a - ma - ra

whistle tones (imprecise movement between harmonics; 'outside' the instr. )

œ #˙

œ #œ

œ

, œ Fl.

° ¢&

œ

,

, #+

+ ( pp )

f

sub. brillante

sf

129 (

Sop.

p

)

° j #œ œ ≈ ≈ & # œ # œ ¢ . . par - thar

bol

, Fl.

° ¢& #+

r œ. ≈ ‰ #œ œ ‰ œ œ œ œ œ -

lay

zhia

zhia

nah

r #œ. ≈ ‰ #œ

sheen - hu

par

,

#œ -

ree

>. œ. ≈ ‰ œ ≈ ≈ œ œr ≈ ‰ #œ ‰ ‰ œR ≈ œ #œ ‰ R œ . . park

-

hee

tah - rah

zhia

ah

,

zhia


I 6 [speak] (

f

)

mf ( pp )

pp

133 p

Sop.

° #œ œ ‰ ‰ œ Œ œ œ ‰ #œ ¢& zhia

zhia

Œ œ #œ ‰ Ó

zhia

#œ œ ‰ Œ Ó

zhia

œ œ. ‰ Ó ç ç

œ ç

zhia

joe

œ™ ç

lay

-

œ#œ. Ó ç ç

oh

old

,

,

an old

an

Carry on the pattern over the fundamental 'E', with each successive caesura getting even longer

Continue this pattern of 'whistle tone - caesura - whistle tone - caesura', with each successive caesura getting slightly longer, but the duration of the whistle tone remaining constant

Fl.

™ ‰≈r

Œ

,

,

° ¢& #+

+ ( pp )

139

j Sop.

j

° ¢

j ‰

Ó

3

‰ Œ

‰ ‰

Œ

Œ

™ ™ old

Fl.

‰ ‰

man

dri -ven

by the Trades to a slee - py cor - ner.

Ten - ants of

the house,

Thoughts

of a dry brain

in a

dry sea- son;

° ¢&

ìì

tacet 6s

ppp

144 Sop.

° ‚ Œ Œ ¢ ‚ dry brain

j

j ‰ Œ ‰ jŒ

dry

brain

‰ Œ Œ j‰ Œ dry

brain

j j j ‚ ‰ Œ Œ ‰ j ‚ ‰ Œ Œ Œ j‰ Œ ‚ ‰ Œ Œ dry

brain dry

brain

dry

U Œ Œ Œ ‰ j rain.

Gently and softly, getting almost inaudible tacet 6s

, Fl.

° ¢&

,

,

+ pp

morendo

ppp

U

Profile for Ji Heng Lee

aḍḍā আড্ডা (2018)  

For soprano and flute

aḍḍā আড্ডা (2018)  

For soprano and flute

Profile for jihenglee
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