Laurence Osborn
Absorber
for Solo Piano db. MIDI Keyboard
© Laurence Osborn 2019
Absorber Instrumentation (1 Player): Piano db. MIDI Keyboard Duration: 12 minutes Commissioned by Zubin Kanga with funds from the RVW Trust. World première given by Zubin Kanga at Nonclassical, The Victoria, Dalston, East London, 22nd May 2019. Repeat performance given by Zubin Kanga at Kings Place, London, November 29th, 2019.
© Laurence Osborn 2019
Performance Directions: MIDI Keyboard and Staves: Where the MIDI Keyboard is played exclusively with the left hand, the MIDI keyboard stave appears below the piano stave. When the MIDI keyboard is played with the right hand, or both, the MIDI keyboard stave appears above the piano stave. The letters (R) and (L) are used beside the stave to indicate which hand/s the player should be using. When the player needs to alternate between instruments within a single system, both (R) and (L) are given for both instruments. When the player needs to alternate rapidly between instruments, the movement of the hands is shown using dashed arrows like this:
Piano
10
Pno.
Keyboard Patches: Absorber uses the MIDI keyboard for Movements 1, 2 and 3. Movement 4 is for solo piano. Movement 1 uses a distorted ‘MIDI Choir’ patch, Movement 2 uses a Rhodes Electric Piano patch, and Movement 3 uses a Bright Piano patch that sounds the corresponding majortriad foreach key.
Notation - Mvmt 1: Due to the attack of the MIDI choir sound, as a given chord is built up, each newly introduced pitch will stand out in relation to the preceding held pitches. The player should be able to bring out a melody within the homophonic texture. noteheads are reserved for newly introduced within a particular Pno. Therefore, pitches chord, and smaller noteheads large Piano are used for the preceding held pitches - for example: 17
27 10
0
7
œ7
ùœ
7
7
37
The following be with the patch: melody should audible from the above when played
27 Pno. 47 ° z Pno. 37 Pno. Notation - Mvmt 3: x on quasi played the xMIDI keyboard for this movement sounds a major triad, separate staves are given for 54 Because each notequasi œ œ œ œ œ œ47the œ œMIDI œ G Ó keyboard œ œplayed’ œ œ œ and œ œ ‘as heard’. Ó ∑ ∑ ∑ G , œ ‘as Pno.Pno. R Pedalling: 54 ‰ is given, apart ĺĺĺPno. All pedalling from the passages marked ad lib. The following indicates that the sustain pedal should not be used: – œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¿ J ° z ° Pno.
Pno.
5
3
∑
4
17
Pno.Pno.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑ ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
© Laurence Osborn 2019
∑
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Programme Note: Absorber is about outdated, ugly sounds. and the ways in which memories, both nostalgic and traumatic, enable them to acquire new associations and meanings. Listeners of my generation were surrounded by these sounds during childhood and adolescence. In spite of their crudeness, there is something haunting and beautiful about them. Movement 1, ‘Homerton Hospital 050989’, uses a synthesised choir sound similar to the ones found in 1980s pop music, and surrounds it with a clunking ground bass and flurries of birdsong in the piano; Movement 2, ‘Solos’, is a solo for Rhodes Electric Piano which goes badly wrong; Movement 3, ‘Threes’, is a manic scherzo built entirely from parallel major triads, and uses the bright, synthesised piano chords heard in 1990s house music. Movement 4 ‘Gordon Hospital 101018’, sits apart from the other three movements, in that it is for piano only. Contents 1. 2. 3. 4.
Homerton Hospital 050989, p. 1 Solos, p. 5 Threes, p. 14 Gordon Hospital 101018, p. 32
© Laurence Osborn 2019
Absorber Laurence Osborn
for Zubin Kanga
1. Homerton Hospital 050989
Distant q = 76
Piano (R.H.)
p
pp
Distant q = 76
MIDI Choir
Keyboard (L.H.)
l.v.
Kbd. (L)
p
mf
4
Pno. (R)
5
p
5
mf
mf
5
pp
5
p
5
5
p
5
8
Pno. (R)
p
Kbd. (L)
5
p
mf
11
Pno. (R)
Kbd. (L)
p
Copyright © Laurence Osborn 2019
p
pp
5
5
mf
mf
mf
F#
p
2
l.v.
14
Pno. (R)
Kbd. (L)
5
p
5
5
mf
p
5
mf
pp
p
mf
17
Pno. (R)
Kbd. (L)
Kbd. (L)
5
l.v.
f
mf
Eb 5
5
p
(p)
p
f
mf
5 p
mf
l.v.
p
23
Pno. (R)
l.v.
20
Pno. (R)
p
p
p
5
Kbd. (L)
pp
(p)
mf
(p)
mf
f
mf
3
l.v.
26
Pno. (R)
Kbd. (L)
Pno. (R)
Kbd. (L)
pp
5
5
p
5
mf
p
Kbd. (L)
p
mf
Kbd. (L)
pp
5
pp
p
l.v.
35
Pno. (R)
5
(p)
32
Pno. (R)
p
mf
5
5
mf
5
5
p
29
p
5
p
5 mf
p
pp
p
5
mf
4
38
Pno. (R)
F#
p
mf
Kbd. (L)
p
l.v.
42
Pno. (R)
Kbd. (L)
Kbd. (L)
45
Pno. (R)
5
mf
f
pp
5
mf
Eb
f
p
mf
5
mf
5
5
l.v.
(f)
5
f
p
mf
5
5
5
p
f
5
5
49
Pno. (R)
Kbd. (L)
F§
l.v.
5
p
5
mf
p
p
pp
p
pp
53
Pno. (R)
p
Kbd. (L)
Kbd. (L)
p
(pp)
Kbd. (L)
f
p
5
3
pp
(p)
5
f
(p)
5
5
l.v.
59
Pno. (R)
pp
56
Pno. (R)
pp
mf
3
3
(p)
pp
6
2. Solos Laid back, but not slow q = 88
Rhodes Electric Piano
(R) Pno. (L)
3
f
3
3 fff ff 3
3
3 Kbd. (R)
solo!
f mf
5
3
3
(l.v.)
Kbd. (R)
1
(l.v.)
3
mf
mf
ff
as if the solo has gotten stuck
3 5 5 5 5 mf mf f f
5 Kbd. (R)
ff
5 5 5
7 Kbd. (R)
ff
3
f
7
mf 9
Kbd. (R)
Pno. (L)
5 5 p
Pno. (L)
11
Kbd. (R)
mf
mf ff
3
mf swampy
3
3
mf
5
6
f
5
mf
6
f mf
3
p
p
p mf
3
pp 3
3
5 5 5 ff mf f mf f
13
Kbd. (R)
mf
f
l.v.
Pno. (L)
3
p
2+3 3 3 3 mf ff
15 Kbd. (R)
mf
17
Kbd. (R)
Pno. (L)
ffmf
f
3 p f 3
3
mf
8
5 3 3 mf 19
Kbd. (R)
mf
Pno. (L)
f
3
p
3
3
3
(R)
mf f
p
f
f
(R)
3
p
mf
pp
(mf)
3
3 3 3 3
22
Kbd. (R)
p
Pno. (L)
24
Kbd. (R)
f
Pno. (L)
f
p
mf
3
(mf)
3
p f
3
Pno. (L)
26
Kbd. (R)
5
p
ff
mf
3
3
3
3
pp
5
mf
5
mf
pedal
gradually less
p 3
3
3
mf
3 p
5
mf
6
mfp
pp
3
3
9
28
Kbd. (R)
5
Pno. (L)
5
mf p
3
pp
30
Kbd. (R)
(R) Pno. (L)
5
(R) Pno. (L)
(R) Pno. (L)
6
3
6
mf
5
5
5
6 6
6
6
6
f
3
mf
3
3
ff
6
6
p
gradually less pedal mf
6 5 ad lib. but not too much
6
6
Eb
3 p
3
f
p
3
3
mf
mf
f
33
Kbd. (R)
p 3
6
31
Kbd. (R)
5
f
5
5
f
3
6
mf p
3
p
3 3
3
f
3
p
3
3
mf
10
3 3 3 35
Kbd. (R)
(R) Pno. (L)
3
mf 3
(R) Pno. (L)
3
Kbd. (R)
3 ff
Pno. (L)
3
Pno. (L)
3
mf
3
3
6
mf
f
3
p
3
mf
ff
3
(mf)
3
3 mf
3
ff
6
3 f
f 3
mf
3 3
3
mf
f
f
mf
f
3
(L)
41
Kbd. (R)
mf
3 39
3
f
mf
p
mf
3
3 3 3
f
mf
3
37
Kbd. (R)
3 3
(f)
3
(R)
3
3
3
f
3
p
11
Kbd. (R)
6
Pno. (L)
mf
ff
3
mf
47
Kbd. (R)
f
Pno. (L)
3
3
f
(R) Pno. (L)
3 3 mf ff
3
3
3
3
3
f
3+3
3
3
2+2+3
ff
mf
mf
mf
3
2+3
at each chord change
50
Kbd. (R)
p
(mf)
3
3
mf
at each chord change
3
3
mf
p
3
3
ff
44
(R)
ff
54
(L)
(R) Pno. (L)
p
Kbd. (L)
(R) Pno. (L)
(R) Pno. (L)
mf
3
mf
(R)
3
3
p
(L)
3
3
3
f
3
at each chord change 3
3
(f)
3
p
mf
f
(L)
f
f
3
p
3
(R)
at each chord change
3
mf
3
p
l.v.
3
(L)
60
Kbd. (R)
C§
57
(R)
3
(R)
(L) 3
3
Kbd.
(R)
12
p
3
3
mf
3
13
63
Pno. (L)
f
f
(L)
(R) Pno. (L)
mf
3
Kbd. (R)
(R) Pno. (L)
p
mf
3
3
3
3
at each chord change 3
3+2
mf
mf
(mf)
3
3 at each chord change p
f
p
p
3
3 3
6
69
3
mf
3
p
ff
p
(R)
Kbd.
66
(R)
(R)
(R)
2+3
mf
Kbd. (R)
3
p
14
73
(R) Pno. (L)
f
ff
3
3
p
14
Pno. (L)
Pno.
p
1/4
2+2+3
mf
ff
mf
1/2
(L)
12
(R)
(R)
1/2
9
(L)
Pno.
7
(R)
(L)
mf
Pno.
5
(R)
(L)
ff
Pno.
(R)
Metronomically in time q = 56
1
3. Threes
pp
(L)
Pno.
(R)
17
1/4
(L)
p
Pno.
(R)
15
15
19
Pno. (L)
(R)
20
(R) Pno. (L)
p
21
(R) Pno. (L)
mf
(l.v.)
16
Cheeky q. = 56 <q = q.> 23
Pno. (R)
Pno. (L)
Kbd. (L)
Pno. (L)
f
3
3
f
f
f
mf
3
mf
mf
mf
3
3
3+2+2 3
f
fmf
6
mf
f
3
fmf
3
p
Kbd. (L)
33
(R)
f
28
(R)
Bright Piano (Major Triads) As heard
Kbd. (L)
(ff)
ff
17
38
(R) Pno. (L)
(p)
Kbd. (L)
3
3
Pno. (L)
Kbd. (L)
Pno. (L)
3
Pno. (L)
3
3
3
3
2+3+2
mf
p
f
3
3
p
f
4:3
3
3
p
3
3 3 p
(mf)
f
4:3
3
3
3
mf
3
mf
(p)
50
(R)
3
3
3
mf
mf
47
(R)
3
3
(mf)
42
(R)
3
p
3
3
mf
6
18
52
Kbd. (As Heard)
(R) Kbd. (L)
(R) Pno. (L)
(R) Kbd. (L)
(R) Pno. (L)
4:3 mf
p
p
mf
f
mf
ff
mf
(R) Kbd. (L)
(R) Pno. (L)
p
mf
ff
4:3
4:3
ff
mf
f
4:3
62
Kbd. (As Heard)
2+2+3
4:3
f
57
Kbd. (As Heard)
ff
4:3
p
f
4:3 mf
p
66
Kbd. (As Heard)
(R) Kbd. (L)
(R) Pno. (L)
19
f
(R) Kbd. (L)
(R) Pno. (L)
Pno. (L)
mf
3
6
pp
3
3
3
3
3
3
3
3
3
3 ff
mf
3
3
4:3
3
5:3
3
p
6 6
3
5:3
mf
4:3
p
mf
4:3
5:3
Kbd. (L)
74
(R)
5:3
mf
70
Kbd. (As Heard)
ff
78
(R) Pno. (L)
Kbd. (L)
Pno. (L)
3
p
(R) Pno. (L)
3
mf
3
3
f
f
3
2+3
Kbd. (L)
3
mf
3 3
89
Kbd. (L)
3 3
mf
84
(R)
3+2
20
f
ff
ff
fff
f
f
21
93
(R) Pno. (L)
Kbd. (R)
(R) Pno. (L)
(R) Pno. (L)
2+3
p
3+2
mf
f
ff
3+2+2
ff
3+3
5:3
3
mf
ff
pp
mf
f
mf
f
3+3
Kbd. (L)
mf
102
3
3
Kbd. (L)
3
3
98
Kbd. (As Heard)
3
Kbd. (L)
3
f
f
22
(R) Pno. (L)
2+3+2
107
Kbd. (L)
2+3+2
mf
3 3 3 3 (mf)
ad lib.
(R) Kbd. (L)
(R) Pno. (L)
6
6
6
6
p
3
3
3
3
111
Kbd. (As Heard)
3
3
3
ff
6
6
23
114
Kbd. (As Heard)
(R) Kbd. (L)
(R) Pno. (L)
3
3
Pno. (L)
mf
Kbd. (R)
(R) Pno. (L)
3
3
3
3
3
3
ad lib.
ff
6
3
mf
6
3
ffmf
3
3
3
3
3
3
3
3
3
3
3
pp
mf
3
6
3
sub. p
3
3
mf
3
121
Kbd. (As Heard)
3
118
(R)
3
3
3
3
3
3
3
f
(mf)
3
3
24
125
Kbd. (As Heard)
Kbd. (R)
(R) Pno. (L)
pp
Kbd. (R)
(R) Pno. (L)
3
Pno. (L)
137
(R) Pno. (L)
f
6
mf
3
3
3
3
3
4:3
(ff)
3
3
3
3
3
4:3
3
ff
6
3
3
6
6
pp
3
3 4:3 3 3 3 4:3 ad lib. 3
ff
mf
3
3
3
6
mf
133
(R)
3
3
mf 3
3
3
ff
3
129
Kbd. (As Heard)
3
pp
140
Kbd. (As Heard)
Kbd. (R)
(R) Pno. (L)
25
ff
Kbd. (R)
(R) Pno. (L)
Kbd. (R)
3
3
note gliss. white
3
3
3
3
3
3
white note gliss. (w/ thumb)
(ff)
3
3
3
(R) fff
ffff
pp
mf
p
mf
Pno. (L)
3
153
Kbd. (As Heard)
ff
147
Kbd. (As Heard)
mf
26
Kbd. (As Heard)
Kbd. (R)
(R) Pno. (L)
157
Kbd. (R)
(R) Pno. (L)
Kbd. (R)
(R) Pno. (L)
p
p
ff
p
pp
ff
ffff
p
165
Kbd. (As Heard)
ff
mf
ff
161
Kbd. (As Heard)
ffmf
ff
mf
ff
ff
mf
3
mf
3
3
3
3
3
3
ff
(mf)
3
3
3
168
Kbd. (As Heard)
(R) Kbd. (L)
(R) Pno. (L)
Kbd. (R)
(R) Pno. (L)
Kbd. (As Heard)
Kbd. (R)
(R) Pno. (L)
3
3
3
3
p
3
fff
ffff
mf
3
f
f
3
3
3
3
mf
3
3
176
3
3
ff
3
172
Kbd. (As Heard)
3 3
27
p
(l.v.)
(l.v.)
28
179
Kbd. (As Heard)
Kbd. (R)
Pno. (L)
Pno. (L)
mf
Kbd. (R)
Pno. (L)
mf
f
3
6
6
6
6
6
3
f
ff
6
ff
(f)
185
Kbd. (As Heard)
mf
p
Kbd. (R)
mf
182
Kbd. (As Heard)
mf
3
3
3 3
mf
4:3 ff
3
p
ff
29
189
Kbd. (As Heard)
Kbd. (R)
(R) Pno. (L)
Kbd. (R)
(R) Pno. (L)
(R) Kbd. (L)
(R) Pno. (L)
mf
3
6
f
4:3
ff
f
fff
3
f
(f)
f
f
3
3
fff
(mf)
4:3
mf
4:3
fff
3
f
(mf)
3
4:3
fff
3
ff
ff
3
3
mf
196
Kbd. (As Heard)
3
192
Kbd. (As Heard)
30
201
Kbd. (As Heard)
(R) Kbd. (L)
(R) Pno. (L)
Kbd. (R)
(R) Pno.
Pno. (L)
fff
fff
3 3 3
3
3
4:3
fff
3
6
6
6
6
3
3
6
4:3
3
4:3
6
fff
(fff)
f
3
4:3
(fff)
210
Kbd. (R)
4:3
(L)
Kbd. (As Heard)
f
207
Kbd. (As Heard)
3
3
31
212
Kbd. (As Heard)
Kbd. (R)
Pno. (L)
Kbd. (R)
Pno. (L)
Kbd. (R)
Pno. (L)
6
215
Kbd. (As Heard)
6
214
Kbd. (As Heard)
mf
6
6
6
3
3
6
mf
6
6
3
6
p
6
6
6
6
6
6
6
6
6
6
6
6
6
p
3
3
32
1
(R) Pno. (L)
4. Gordon Hospital 101018
Absent q = 60
Pno. (L)
12
(R) Pno. (L)
Pno. (L)
mf
p
p
p
mf
pp
mf
mf
mf
f
p
p
ppp
f
p
18
(R)
p
6
(R)
mf
B§
p (mf)
mf
mf
(l.v.)
f
p
33
(R) Pno. (L)
Pno. (L)
3
f
Pno. (L)
(R) Pno. (L)
pp
p
3
Pno. (L)
p
poco rall.
3
mf
p
pp
mf
mf
pp
44
(R)
p
3
mf
p
mf
39
mf
pp
34
(R)
mf
mf p
29
(R)
24
p