Page 1

render me for flute, bass clarinet, violin, cello and piano

2018 Joshua Hey


render me

for flute, bass clarinet, violin, cello and piano

Duration: c. 8 minutes

Notation: Flute: •

All multiphonics and fingerings are from “The Techniques of Flute Playing” by Levine and Mitropoulos-Bott. They are numbered here and in the parts for reference: nos. [92, 95, 212, 1115]. Quarter-tones are indicated. Arrows up or down modify pitches slightly (less than a quarter-tone) in that direction.

Bass Clarinet: •

All multiphonics and fingerings are from “The Bass Clarinet” by Sparnaay. They are numbered here and in the parts for reference: nos. [37, 40, 55, 60, 81, 82, 95]. Only the outer sounding tones are indicated. Quarter-tones are indicated. Arrows up or down modify pitches slightly (less than a quarter-tone) in that direction.

Piano: These notes should be prepared with Blu-Tack or a similar putty. Take a nickel-sized piece and roll into a ball. (It should be wide enough to cover all three strings of the note). Press the ball firmly onto the strings of each note. The putty should be placed on the strings between the dampers and tuning pegs near the base of the string. It may alter the pitch.

*** B0 should be prepared by placing a ball of putty on the 1st node which sounds the 11th harmonic (sounding pitch is given in the score). This ball will be touched firmly by the player and should provide a mix of fundamental and harmonics.


Square noteheads indicate that a note should be muted by the hand. Mute the string with moderate pressure (don’t choke the sound as much as is possible) near the base.

Most muting in this work can be done easily enough by hand. Because the tempo is slow and the strings are often adjacent, only a few of these notes need to be marked in advance. The suggested notes are:

NB: All pitches which have been prepared with Blu-Tack are notated as standard noteheads in the score. Only notes which call for the player to mute with the hand are notated as muted notes.

Accidentals are restated for each note in a measure.

Single, pedaled notes should be very resonant, despite the low dynamic level. Mutes should be placed accordingly to allow for this.

Strings: • s.t. – sul tasto •

e.s.p. – estremamente sul ponticello

jhey@sas.upenn.edu


render me q = 60 ∑

œ™ ˙™ ≈#œ ™ ˙ ™ J o pp

Flute

w w

œ œJ ‰ Œ Ó o

3

3

#œj ˙ ™

w

w

˙

#œ ˙ ™ o pp

w

w

˙

Œ

Bass Clarinet

4 4

œ ‰Œ œ o

1 4 4 4 ∑

Œ Ó

& 11th har. 1st node

Piano &

Bw

silently depress before beginning

like a distant gong

3

? # #¿¿ ##¿¿

j 6 œ

w >

∑ w ppp

pp p mp 8vb sost.

ped. con sord. (throughout)

b ~w

~w

Violin

o

Oœ ™™ J ≈Œ o

Ó

µ˜O˙ o

~w

p

~w

~w o

p

con sord. (throughout)

~w

~w

~w ∑

Cello

o

o p

Œ

#O˙ ™™ o

~w p

~w

O˙ ™™

Oœ J ‰ o


#w w w

9

° Fl. &

Ó

j 3b œ ˙ Œ ‰ œ ˙ o pp

∑ B. Cl.

¢&

3 4

#2 œ ™ œ w ≈ #œ ™ œ w J o pp

Ϫ Ϫ

‰Œ o

∑ o

∑ ˙™

w

j # œ ‰ n3 œ o

˙™

w

˙™

w

pp

o

4 4

3 4

œœœ JŒ Œ 3o

p

˙™

w

˙˙˙

5 4

4 4 ∑

& Pno.

>)™

3

? ∑

Œ ‰

˙

œ#œ ˙ ™

œ#6 6 ™ J

p

ppp

3 pp

)

Œ

66 6 J

6 3

pp

p

mp

ped. ped.

Vln.

° &

µ˜O˙

~w

## O˙

O˙™™

O˙™™

Oœ ##>Oœ O˙ ™™ R ≈‰ ææJ ææ o 3 ppp

O˙™™

Oœ Oœ J

∑ o

ppp p

∑ Vc.

¢&

#Oœ ™™ Oœ o

Oœ™™

~w

O˙™™

p ppp

2

~w ææ

Oœ Oœ Oœ ™™ ~w J J ææ ææ


16

° Fl. &

#2µw w o

w w

œ ˙™ ‰#œ ˙ ™ J o pp

o pp

˙ B. Cl.

¢& ˙

r œ ‰™ Œ œo

3

2n˙ ™ Œ 3b ˙o ™

w w

˙ ˙

Œ

o

p

pp

2 7 4 4 > bœ ˙ J

∑ &

œ

œ œbœ œ œ œ J J 3

4 4

> bw

˙

j ˙ œ Œ #œ ˙ o p

Ó™

˙ Ó

3

mp pp

p

Pno.

b6 3

? )

ppp

Vln.

~w

~ ° wæ &

o p

Vc.

ppp

~w ææ & ¢

## ~w ∑

O˙ ™™

o

o

p

ppp

3

~w

~w


23 ° w Fl. & w

œ œJ ‰ Œ Ó o

˙˙™™

Ó #2 µ˙˙ w w o pp

Ó o

2 bw w

(play top note first)

w

˙ Ó

B. Cl.

¢& w

˙ o pp

5 4 & Ó œÓ

b˙˙

Ó

3

˙˙ b˙˙

9 4

˙˙ bœœ ‰ Ó J

4 4

b>œ. Œ Ó

mp

ppp p

Pno.

? ∑

u.c.

firmly mute string for white noise (slow bow to norm speed)

~w Vln.

Y

Y

Y

° &

Y ææ

Y ææ

Y ææ

Y™

"ppp" ppp"

firmly mute string for white noise

Vc.

O˙ ™™

¿ Y

¢&

Y™

Y™ ∑

"mf" mf"

~w

Y™

(colored silence)

(slow bow to norm speed)

Y

Y ¿Y ææ ææ

Y ææ

Y ææ

Y™

Y™

Y™

Y™ ∑

3

"mf" mf" (colored silence)

"ppp" ppp"

4


31 sing (unison)

° Fl. &

œ™ ˙™ ≈#œ ™ ˙ ™ J o p

Ó ww

˙˙

pp

w B. Cl. ¢& w

˙ ˙

œj ‰ œ

w w

extremely airy

&™

r ‰™ Œ 7 o

7 b7 ™ &

pp

3 4

4 4

8va

>˙ b˙ ∑

œb œ œJ œ J

œbœ œ J

nœ ™ œ œ # œ œ œ # œ b œ œ œ™ œ œ b œ œ™ J J

& 3

3

3

pp Pno.

? ∑

hold both into m. 68

u.c. ped.

Vln.

° &

∑ Vc.

¢&

e.s.p.

s.t.

b˙ ™

œ

p

pp

e.s.p.

s.t.

e.s.p.

˙

˙ p

œ ppp

œ

p

pp

˙ ææ

œ™ ≈Œ ææJ o

p

e.s.p.

∑ ˙™

˙™ ææ

˙

˙ p

5

Ϫ ppp

p

ææj œ

æ ˙æ

æ œ™æ

‰ Ó o

› &


with motion 37

q = 72

° Fl. &

∑ B. Cl.

n3 ˙ ™ 3bpp˙ ™

¢&

so soft that some notes may be missed, the rustling of the hammers is the most important sound

n œ ™ œ œ #œ œ #œn œ œ™ › >œ œ #œj œ œ ™ b œ b œ #œ ‰ ™ R ≈ J #œ ‰ J ≈ J ‰ ™ #œ & R

5 4

œj

˙ ˙

j

œ œ œ #œj œ œ

œœ

nœ b œ #œ

bœ ™ 3

sub. 3 3

Pno.

p pppp

? ∑

Vln.

° &

Oœ Jo

O˙ ™™

Oœ ‰ Ó Jo

O O ‰ œ œ 3o

p

3

∑ Vc.

¢&

j bœO o

j Oœ ‰ Ó o

˙O ™™ p

6

‰#nœO œO o

œ n œ bœ


whistle tone

## ™

40

° Fl. &

#

3 J Œ

Œ

## ™

3

mp

r n3 œ ˙ ‰™ œ ˙ 3bpp

œ B. Cl.

¢& œ

› &

4 4

n œ n œ œ œ3j ‰ J #œJ bœ

bœ œ #œ Œ

œj™

˙™

≈ ˙™

œj

Ϫ

œ #œj

≈ bœ

j œ bœ œ œ ™ œ b œ J ‰

n3 œj ˙ ™ œ ˙™ 3bpp

nœ bœ œ

œ

3

‰™

3

œ

nœ ™ j #œ

#œ J 3

Pno.

‹ #œ > &

? ∑

Vln.

° &

~w

Oœ #Oœ J

O˙ ™™

Oœ O J œ

3

3

pp

Vc.

¢&

œO ##œO ™™

w~ pp

j3 œO œO ppp

7

˙O pp

˙O

#>˙O


43

#™ 3 3 J

° Fl. &

## ™

3 J

Œ

Π3

œj

˙

n œj™ ≈3 3b œ ™

‰ B. Cl.

#3 # J

3

¢& ˙

œ

3

3

w

r œ

œ

‰™ w

œ

œ

n˙ 3 3b ˙

sim.

› b œj œ ™b œ &

œ bœ

n œj

‰™

nœ nœ nœ œ œ œ #œ

bœbœ

œœ œ bœ bœ J

3

#œ#œj #œ œ #œj

#œ #œ#œ #œ #œ #œ

3

‰ sub.

Pno.

p

‹ &

Vln.

° &

bœ bœj

bœ >

Oœ #Oœ J

~w

O˙ ™™

pppp

œœœ œ

œ

Oœ Oœ O˙ J

3

œ

3

pp sim.

Vc.

¢&

˙O

##˙O

˙O ™™

ppp

pp

œO #œO ˙O ™™ 8

j Oœ ™™ ≈ o


#™

46

## ™

° Fl. &

#

Πp

˙™

œ ‰™

B. Cl.

¢& ˙™

œ

3 4

3

› b œj n œ ™™#œ n œ &

3

nœ œ œ nœ œ jœ j œ #œ #œ #œ

r n3 œ ˙ 3b œ ˙

œj™

˙™

≈ ˙™

Ϫ

4 4

3

n œ œ3 œ œ œ œ j œ j #œ#œ ™ #œ ≈œ ‰ #œ #œ Œ

œ œj œ œ œ œ œ œj bœ ‰ ™ bœ ‰ bœ

sub. 3

pppp p Pno. 3 3

‹ &

Vln.

° &

nœ #œ j bœ

O˙™™

nœ b>œ

∑ &

~w

Oœ #Oœ J

3

Vc.

¢&

j ‰ #œO ˙O o> pp

j3 œO ##œO ™™ œO œO

w~

ppp

9

˙O pp


## ™

49 ° 3J Œ Fl. &

#™ 3 J

3

3 ## ™ J Œ

#3 # J

3

Œ

3

3

n œj 3 B. Cl. ¢& ‰ 3b œ

˙™

˙

˙™

˙

3

œj

n œj™ ‰ ≈3 œ 3b œ ™

3

w

œ

w

œ

j

› bœ œ ‰ &

œ nœ # œ #œ nœ Œ

#œ œ #œ ™œj#œ#œn œ ≈ ‰

œ #œ ™

n˙ 3 3b ˙

œ™ bœ œ bœ™ œbœ ‰

nœ #œ

œ

r œ ‰™ œ

3

œ

3

3

sub. sub.

p

pppp p

pppp

Pno.

œ#œ œ

œ j #œ

&

Vln.

Oœ Oœ ~w J

#>˙O

#Oœ

Oœ J

3

Vc.

bœ ™

#>œ

° O˙ ™™ &

O ¢& ˙

bœ >

O˙ ™™

3

˙O

˙O ™™

##˙O

Oœ Oœ O˙ J 3

j Oœ ™™ ≈

œO #œO ˙O ™™ o

ppp

pp

10


53

Fl.

#™

3

° &

Œ

3# ΠJ

3 R ‰™ Œ

Ó

q = 60 ∑

3

~~~ j œ™ ≈Œ œ™ o

tr

r nœ ˙ ™ ‰™ 3 3b œ ˙ ™

w B. Cl.

¢& w

› 3œ &

œj

œ

˙ ˙

3

œ ≈#œJ ™ J

Œ

Ó

sub.

p

pppp

#œ # œ œ 3 j #œ JŒ j & # œ #>œ #œ 3 p ppp

~~~ tr

nœ ˙ ™ Œ 3 œ ˙™ 3bpp

˙™

˙

˙™ Ó

˙™

˙

˙™ o

5 4 ∑

‰ Pno.

œ & bœ

Vln.

Vc.

œ b œ b>œ 3

° O˙™™ &

j ‰ O #>œ ˙O ¢& o pp

œO

Oœ™™ ‰ Ó

˙O

r Oœ œO ‰ ™

∑ 11


59

° Fl. &

~~~~ nœ œ 3 œ œ 3bpp

n3 œj ˙ ™ ‰ œ ˙™ 3bsim.

tr

ΠB. Cl.

¢&

3 4

#œ ‰

œ

˙™

˙™ ˙

˙™

˙™ ˙ o

5 4

6 4

4 4

˙

œj

˙

‰ ˙

˙

œ o

5 4

9 4

œ ∑

Œ Ó

& # œ ™ #œ

# œ #œ 3

pp

ppp pp

pppp

Pno.

&

Vln.

Vc.

° &

¢& 12


66 sing (unison)

° Fl. &

Ó

‰ œœ™™ ww o p

~~~~~~~~~ n3 ˙

tr

(faster than before)

n3 w ™ B. Cl. ¢& 3b w ™

extremely airy

‰ j ≈Ó b7 ™ 7 b7 ™ 7 7 7 ™ o pppp pp

b˙ o3 ppp

6 10 4 4

2 4 6 4 4 4

4 4

∑ & #w™

Ó

Ó

n)

)

pppp

p

pp

Œ ‰ j 6

ppp Pno.

p

& (u.c.)

. . . .

(ped.)

. . . .

ped. _____________ (hold to end)

Vln.

° &

e.s.p.

s.t.

Œ ‰ bœ ˙ ™ J

œ

p

pp

e.s.p.

∑ Vc.

¢& 13

e.s.p.

˙

p

s.t.

Œ ‰ œj ˙™

œ

p

pp

˙

w ppp

pp

e.s.p.

˙

˙ p

w ppp

pp


#w w w

73

œ™ œ w ° j Fl. & œœ‰ Œ ≈#œ ™ œ w J o o p

∑ B. Cl.

˙ ˙

Ó o

#2 µw w o

w w

¢&

œœœ J‰

∑ o

pp

Œ

˙˙˙

2n˙ ™ 3b ˙o ™

pp

w w

˙ Œ Ó ˙ o

pp

5 4 & Œ

4 4

Ó

)™ >

5 4 ∑

4 3 4 4 ∑

b) ™

∑ )

p pp Pno.

mp

&

Vln.

° w &

w

˙™

œ ‰™ R p

Vc.

¢& w

w

w

j œ‰Ó

Ó

mp

14


slightly faster

q = 66 sing (unison) (to end) 82 breathe ad lib.

° Fl. & Œ

‰ œœ™™ o

ww

ww

ww

ww

&

j ≈≈ j 7™ b7 ™ &

p

extremely airy (to end)

∑ B. Cl.

Ó

¢& b7 ™ o

&

≈ j b7 ™ 7

p

4 4 & Œ

Œ #6 ™

∑ #6 ™ pp

? ∑

Ó

#>6 ™ p

Pno.

ppp

Œ

> ‰ b6J

3

Ó

‰ b6j Œ

Œ

Ó

Ó b)

6 mp

u.c.

e.s.p. e.s.p.

Vln.

° &

Ó

Œ

s.t.

˙™

‰ bœ w J o p

∑ ¢&

ppp

e.s.p.

s.t.

Vc.

e.s.p.

‰ œj ˙ o p

Œ ˙™ o

e.s.p.

˙™ p

15

œ ‰ J

Ó

Œ

pp

p

s.t.

j œ œ™ pp

e.s.p.

Ϫ

œ p

e.s.p.

‰ œ o p


87

° Fl. & ww

B. Cl.

ww

j ‰ 7

¢& &™

ww

ww

ww

Π&

b&

&

Œ

b& ™

&

& Pno.

? Ó

Ó

Œ

∑ b˙™

b) b6

8vb

ppp

s.t. s.t.

Vln.

° ˙ &

˙

e.s.p.

¢& ˙

˙ pp

e.s.p.

œ

œ p

e.s.p.

w

œ

˙ Œ

p

s.t.

e.s.p.

˙

œ b˙ ™

pp

Vc.

s.t.

pp

p

e.s.p.

‰ œ™ o p

s.t.

j œ ˙

Ϫ

pp

16

pp

e.s.p.

j œ œ p

p

e.s.p.

‰ ˙ o p

s.t.

œ

˙™ pp

Ó


92

° Fl. & ww

ww

˙˙ ™™

b˙˙

˙˙

œœbœœ

p

ww

œœ ˙˙™™

mp

ww

p

ΠB. Cl.

¢& & b&

7

&™

7 b& ™

&™

b&

&

ææ ¿

ææ ¿

ææ ¿

ææ ¿

randomly, continuously claw at tuning pins; should sound sparkling and granulated

ææj ææ ‰ ¿ X o

Œ ∑ /

&

ææ ¿

pp p inside the piano, pat the lowest sub-bass rumble. more felt than heard. 5-6 strings (as fast/even as possible) extremely soft to avoid a metallic shimmer

Pno. mute near base (but allow sustain)

? Π/

b6

ææ X o

ææ ¿

ææ ¿

inside the piano, pat the lowest 5-6 strings (as fast/even as possible)

ææ ¿

?

Ó /

ææ ¿ o

ææ ¿

p 8vb 8vb

pppp

e.s.p. s.t.

e.s.p.

s.t.

e.s.p.

s.t.

e.s.p.

s.t.

bw Vln.

° bw &

˙ bw

Vc.

œ

w Œ Ó

pp

e.s.p.

w

˙

p

e.s.p.

¢& œ ‰ bœJ ˙ p o p

pp

s.t.

œ œ™ J pp

e.s.p.

p

pp

p

e.s.p.

s.t.

e.s.p.

œ ™ œ œ ‰ b˙ ™ J J o p p

˙™

œ

pp

p

pp

e.s.p.

s.t.

p

e.s.p.

s.t.

‰ bœ ™

œ™ œ ˙ J

˙

œ ˙™

p

pp

p

pp

o 17


99

° Fl. & ww

B. Cl.

j œœ ‰ Œ o

˙˙

j ‰ 7 b7

¢& &

&

‰ Ó

7™ o

ææ / ¿

ææ ¿

ææ ¿

ææ ¿

ææ ¿

randomly, continuously claw at tuning pins; should sound sparkling and granulated

Pno.

ææ / ¿

ææ ¿

æ Xæ™

Œ

ææ ¿ o

ææ ¿

p

s.t.

e.s.p.

pp

s.t.

e.s.p.

s.t.

bœ œ ‰ J

˙™ Vln.

° & pp

w

˙

e.s.p.

Ϫ

w

œ J ‰

p sim.

s.t.

Vc.

e.s.p.

e.s.p.

œ

‰ œJ ˙ o p

¢& p

s.t.

œ œ™ J pp

e.s.p.

Ϫ

œ J p

e.s.p.

s.t.

e.s.p.

œ ‰ ˙™ J o p

˙™

œ

18

e.s.p.

™ ‰ œ

Ϫ

œ J

o pp

p

p

pp


104

° Fl. &

B. Cl.

¢&

slow rate of attacks with decresc.

ææ / ¿

ææ ¿

ææ ¿

ææ ¿ o

Pno.

slow rate of attacks with decresc.

ææ / ¿

Ó™

e.s.p.

s.t.

Ϫ

w Vln.

æj ¿ o

ææ ¿

° &

‰ o

Ó

e.s.p.

˙™ Vc.

œ J

¢&

‰ o

p

19

render me  

for flute, bass clarinet, violin, cello and piano

render me  

for flute, bass clarinet, violin, cello and piano

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