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Invisible Worlds for flute & piano

Nicholas S. Omiccioli 2009


Invisible Worlds for flute & piano Special Notation & Fingering Diagram

&

short note duration

œ  

ad libitum chromatic pitches (as fast as possible)

&

                 

long note duration

˙  

repeat pitch

alternate pitches oscillando

œ                

œ œ              

number of notes unimportant

— \ \ J

highest note possible

improvvisando (use figure as a guide)

             

harmonic

# œo  

 

fermati

duration indicated in seconds

Bb

B

C A

Trill Bb G# ° damper pedal G ° II. sostenuto pedal F Trill D ° III. una corda pedal E ( °) continue holding pedal from previous page or system Trill D# D duration and cut-off indicated by line ° D# dotted line shows sonority held in sostenuto pedal, solid line shows duration and cut-off ° II.

C# C B

2

breve

quick breath less than1"

short pause 1-2'' max!

long pause 3-5" recommended

1 4

3

5 6 7 8 9 10

œ                

quarter tones

lunga

,

mmmm

ritardando

œ                

number of notes unimportant

number of notes unimportant

Pedal Markings

accelerando

Bœ less flat -ormore flat

Other Markings Any additional special notation is described in the score when it occurs

µœ less sharp -ormore sharp


Program Notes: Invisible Worlds is a dramatic work for flute and piano that was inspired by the eternal darkness of the deep ocean. More information is known about our moon than this arcane habitat. At just under a mile below the surface of the ocean, the only visible light is that produced by the creatures that reside within these waters. This region of the ocean is called the Bathypelagic Zone and sometimes referred to as the midnight or dark zone. At this depth, water pressure can reach levels close to 6,000 pounds per square inch making research difficult, if not, impossible. This zone only makes up the top third layer of the ocean. Venturing deeper toward the trenches promise no shortage of life and yield a vastly unexplored landscape...


Performance Notes: Measure lines have been removed in all but a few sections. A single verticle line is used to show when it is crucial that the parts align with one another. Pitch bends not indicated with fingerings should be produced through the embrouchure. It is recommended that the flute direct it's sound into the piano for the entire piece, however, due to the size of the score and number of pages, the player could attach a few pages, vertically stacked, to a piece of cardboard or play from a reduced score size. If this is not possible, the flute should play into the piano from the beginning through rehearsal A, rehearsal D to E, and lastly from rehearsal G till the end. The pedal markings should be closely observed. The composer wishes to produce an atmospheric-like background. The use of visual cues and interactions are crucial and encouraged Both players play from the score


Fingering Chart  

Fingering Chart

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