Page 1

Rei Munakata tteii (2020) for voice, trombone, 2 percussion players, guitar, and piano


Instrumentation

Voice

Voice with any register Meinl original spark shaker Megaphone Mp3 player with speaker

Trombone

Trombone Plunger mute Mp3 player with speaker

Percussion 1

Concert bass drum Floor tom Wooden box Silk paper Dish rack drainer Triangle beater Rasping stick Reco reco 2 Whisks Meinl headed spark shaker Jagged glass jar with spoon

Percussion 2

Floor tom Dish rack drainer Triangle beater Rasping Stick Meinl original spark shaker 2 Whisks Jagged glass jar with spoon Textured plastic sheet Metal stick Silk paper Mp3 player with speaker

Guitar

Acoustic guitar Meinl original spark shaker Rasping stick Plastic card Silk paper Mp3 player with speaker

Piano

Grand piano with 3 pedals Spring drum Plastic bucket Aluminium foil Plunger


Disposition

Rei MUNAKATA: tteii (2020)

Mic 4 (for pedals) Piano with

3 pedals

Voice

Plunger Mic 3

Percussion 1

Bass drum Mic 5

Floor tom

Trombone

Mic 7

Mic 6

Percussion 2

Wooden box

Guitar

Floor tom

Mic 2 Mic 8 Mic 1

Mic 1 - 8: Connected to main mixer. Output: Stereo speakers on stands

Table

Notestand

Contact mic

Mic

Textured plastic sheet Mp3 player+small speaker

Balance and amplification The technical rider above is only a suggestion. Adjust the details based on the acoustics of the concert venue and the project circumstances. The performance of tteii (2020) should focus on the sound of the vocals and instruments themselves. While some objects need amplification, the general sound should be kept ¨acoustic¨ as much as possible. The amplification should be as discreet as possible only to support the balance of the ensemble. Thus, the loud speakers should not be placed right in front of the audience to take too much attention. All levels and adjustment should be made to balance with the vocal performer. Naturally many of the objects have small range of dynamics, and they are the main focuses of the amplification. Local setups of audio files (not connected to the main mixer) and the off-stage trombone should blend together. They should be discreet and ¨hiding¨ under the spark shaker. If necessary, the amplification should also support the sense of resonance to create a ¨nice room¨.


Amplification priority Red = Obligatory Black = Secondary Mic - Floor tom (perc 1) (Mic 6) - Floor tom (perc 2) (Mic 2) Floor tom used as a resonance board of dish rack drainer and glass jar. The legs of the floor tom are scraped with metal whisks (both the percussive scraping noise and the resonance from the drum).

- Plunger and bucket with a little water (Mic 3)

The sound of plunger sucking up the water. Disgusting.

- Textured plastic sheet (Mic 1)

Scrape the texture with metal stick (ex metal straw).

- Piano pedal (Mic 4)

The noise of percussive action of piano pedals without keys activated.

- Bass drum (Mic 5)

Bass drum used as a resonance board of dish rack drainer. Tap very lightly with the fingers.

Contact Mic - Guitar (Mic 8) Amplification mainly necessary for the beginning part (hammer on technique) and the last part (rasping stick scraping).

- Small wooden box (Mic 7)

Used as a resonance board of dish rack drainer. (Optionally, we can put the wooden box on the floor tom instead).


Performance Notes General (Dots on a line preceding a notehead)

Repeat the indicated note indeterminately during the given duration (often marked with an arrow). As fast and many as possible but without loosing the clear articulation. Static and somewhat mechanical as if a damaged CD player keeps skipping back to the same place.

Whispering / Speaking / Singing All performers in tteii (2020) perform whispering / speaking / singing throughout the piece. In general, the vocal performer has the central role, and the vocalisation produced by the other performers (instrumentalists) should be subtle and discrete with less attention most of the time. Black note head (¨●¨) Cross note head (¨x¨)

With voice Without voice.

Off stage Trombone Bar 126 The trombone player is asked to leave the stage and walk to ¨off stage¨. Walk calmly as silently and discreetly as possible. Start playing ¨Off stage trombone¨ part after ca 15 seconds of arrival. To achieve the lontano effect, find a spot that gives an impression that the trombone sound comes from far away. It should sound like ppp - pp on the stage, blending the 4 mp3 audio files. The actual playing is f - ff. Bar 149 The remaining performers on the stage should wait for the Off-stage trombone to finish (¨fermata¨) before going on.

Ending The performers choose from two different versions of its ending. (bar 149 b). Ending version 1: The performers take the spark shakers and start walking around the stage (the order shown in the score). The vocal performer turns off the audio files one by one. When the piano finally stops playing, the other performers start walking towards the grand piano. The speed of the shaker stirring and the footsteps become slower and slower, and finally stop ca 2 m away from the piano - unreached and unfinished. Ending version 2: After the guitarist finishes the phrase, the vocalist, percussion 2 player, and the guitarist turn off the audio files when ¨it is time¨ (do not coordinate). Percussion 2 player also turns off for the trombonist. The pianist makes a diminuendo al niente. Listen to the choir of spark shaker and meditate. Finally, the sostenuto pedal suddenly snaps to conclude the piece.

Voice The voice part can be performed by any singer / voice artist. Change octaves when necessary to suit the performer’s voice. Meinl Original Spark Shaker

Megaphone

A shaker from Meinl made of perforated sheet. Stir the shaker in circular motion.

Large megaphone run on batteries.

Mp3 player with speaker (Audio File no. 1) Any mp3 file player (small mp3 player or smartphone) connected to a small speaker with mini jack cable to bluetooth. The speaker should be as small and low quality as possible. Upload Audio File no. 1 before the rehearsals and/or the performance. Place the setup near the performer. OBS!! The setup is only local and do not connect to the main mixer/sound system.

Note head Black note head (¨●¨) Square note head (¨ ⬜ ¨) Cross note head (¨x¨)

With voice With 1/2 air and 1/2 voice Without voice. But add a little voice depending on the dynamics and expression

Story telling without words As default, the vocal part generally focus on the sound timbre and quality of vocal techniques and pronunciation. The voice is treated as an instrument that blends with the rest of the ensemble. Bar 19a, 41, and 91: There are three sections in the piece in which the vocalist acts as a ¨story teller¨ without descriptive words. Avoid being theatrical, but give more expression and try to have direct contact with the audience as if you are telling a story.


Trombone Plunger mute Mp3 player with speaker (Audio File no. 4) Any mp3 file player (small mp3 player or smartphone) connected to a small speaker with mini jack cable to bluetooth. The speaker should be as small and low quality as possible. Upload Audio File no. 4 before the rehearsals and/or the performance. Place the setup near the performer. OBS!! The setup is only local and do not connect to the main mixer/sound system.

Note head Black note head (¨●¨) Square note head (¨ ⬜ ¨) Triangle note head (¨▷¨)

Normal playing with pitch Air noise when exhaling (¨ex¨) and whistle/air tone when inhaling (¨in¨) Tongue ram (¨HT¨)

Trombone extended techniques Tongue click Quickly move away from the trombone mouthpiece and make dirty tongue click noise without the instrument. The sound should be dirty and slightly watery with saliva (¨ts ts ts ts…¨) rather than a very clean tongue click (¨t t t t…¨). Plunger mute In this example, the changes must be discrete and not continuous/gradual. Change the sound timbre clearly but without effort.

In this example, move the mute quickly for each small glissandi notes and air noises. Always articulate the main note and the glissandi should be light and momental. The gesture should be highly explosive and unpredictable with irregular rhythm.

Gurgle Perform very forceful air noise while making a hollow bubbling sound with saliva (¨Dentist gurgling noise¨). The sound should be a mixture of intense air blowing and watery saliva noise, as dirty and complex as possible.

Mouthpiece Use only the mouthpiece. Blow air while shaking the mouthpiece back and forth (left and right) 1 cm away from the mouth. The articulation of the air blowing should synchronise the hand movement.

Bell / Slide Detach the mouthpiece away and use the remaining of the instrument.

Bar 126 The trombone player is asked to leave the stage and walk to ¨off stage¨. Walk calmly as silently and discreetly as possible. Start to play ¨Off stage trombone¨ part after ca 15 seconds of arrival. To achieve the lontano effect, find a spot that gives an impression that the sound of the trombone is from a very far away place. It should sound like ppp - pp on the stage, blending the 4 mp3 audio files, while the actual playing is f - ff. Create a continuous and organic phrasing. The ¨silence¨ does not indicate a ¨beginning¨ or ¨ending¨ of a phrase. There should be some tones there but are ¨hidden¨ or ¨not sounding¨. Keep the tempo and rhythm — not totally free.


Percussion 1 Concert bass drum Floor tom Wooden box Silk paper Dish rack drainer Triangle beater Rasping stick Reco reco 2 Whisks Meinl headed spark shaker Jagged glass jar with spoon

Concert bass drum Medium size concert bass drum placed horisontally on a stand. Floor tom 16 inch floor tom with a good resonance. The legs of the tom should have zigzag texture, both above and below the screw, in order to create crunchy scraping sound with the whisks (as shown in the photo).

Wooden box Small wooden box. Place upside down (bottom up) to be used as a resonance board for the dish rack drainer.

Paper (silk paper) Very thin white wrapping tissue paper often used to wrap items in a department store. It should be unused, new, and crispy that the paper is totally silent when waving gently, and rattles loudly when waving hard. Loosely hold the silk paper and wave in the air. Organic and curvy motion. The paper part is graphically notated with different thickness of wavy lines indicating the general waving speed and the amount of waving ¨effort¨. Experiment with different sizes and the material qualities: It should not be too clumsy when picking up. Approximately A5 size.

Drainer (Dish rack drainer) A Dish rack drainer made of flexible metal with a small paper tag (the product tag left hanging).

In the air Hold the top of the drainer with l.h., and scrape (¨arpeggio¨) the drainer bars with a triangle beater in the air. Wave the entire drainer and let ring. Let the paper tag sizzle. !

! In the air + Drop on resonance board After scraping the drainer with the triangle beater in the air (upper staff line), place the edge of the drainer on the indicated resonance board such as drum or wooden box (lower staff line). When dropping on a surface, a very determined and clear action is desired in order to transmit the resonance sharply and clearly. Let the paper tag sizzle.

!

On the floor tom Place the drainer on the floor tom skin, the curvy bars facing upwards. Scrape all the bars with rasping stick, placed perpendicular to the drainer bars as shown in the picture. Let the paper tag sizzle. Violent and noisy!

Reco reco


Wooden reco reco with teeth only partially carved (not the entire tube) as shown in the photo. Scrape

!

The upper staff line indicates the left side and the lower the right side. The jagged line indicates ¨with the teeth¨ (scrape the teeth) and the smooth line ¨without the teeth¨ (scrape the smooth surface of the tube).

! Hit

In this example, the upper line is for reco reco and the lower for the drainer. Repeatedly hit the reco reco with the stick as ¨default¨. Whenever necessary, quickly scrape the drainer with the same stick and immediately go back to reco reco. The action must be as fast as possible. !

Whisks 2 metal whisks with open end. The metal brushes should be flexible and they hit each other when shaken. Preferably at least 32 cm in length or longer. 2 whisks can be of 2 different models or brands in order to create colourful sound timbre. Ex. WMF Flexi Whisk Profi Plus 32 cm Whisk on the floor tom skin Place a whisk on the floor tom, and hit the whisk with a stick. Let the whisk ring and shake. Dynamics / Whisk position To achieve the indicated dynamics, change hitting position of the whisk. Note that the ¨dynamics¨ here is not necessary the loudness. The focus is to achieve variety of whisk shakings and sound qualities. Hit / Damp The black notehead = Normal hit. Make sure you do not hit the drum skin itself. Let the whisk shake. The damp sign = Unsuccessful hit. Damp (choke) the whisk against the drum with palm when there is time. If not, Lightly touch / press the whisk against the drum with the stick.

Whisks scraping the floor tom rim and legs

! !

Hold 2 whisks (one in each hand) and scrape the indicated positions of the floor tom (both hands perform the same action. When scraping the legs, choose 2 legs - 1 leg each whisk). Roll and twist the whisks to achieve a textured noise. Leg position is indicated with 3 line staff Upper line = Rim Middle line = Leg above the screw Lower line = Leg below the screw The whisk position is indicated with roman numerals as shown in the picture. It is especially important that Position III is right next to the holder where the metal brushes are the tightest.

Meinl headed spark shaker Head up

A shaker from Meinl made of perforated sheet on one side and goat skin on the other. ¨Head up¨: The goat skin facing upwards, and the grains do not touch the skin. ¨Head down¨: The goat skin facing downwards, and the grains roll on the skin.

Head down

Stir the shaker in circular motion.

Jagged glass jar on Floor tom Short and wide glass jar with jagged bottom used for crème brûlée, often sold in normal supermarket. Ex. La Crème Brûlée by brand Rians. Place the empty and cleaned glass jar on the bass drum skin upside down (the jagged bottom facing upwards). Slowly scrape the glass jar with the bottom (back) of the spoon along the jagged edge. Let the drum function as a resonant board.


Percussion 2 Floor tom Silk paper Dish rack drainer Triangle beater Rasping Stick 2 Whisks Meinl original spark shaker Jagged glass jar with spoon Textured plastic sheet Metal stick Mp3 player with speaker

Mp3 player with speaker (Audio File no. 3) Any mp3 file player (small mp3 player or smartphone) connected to a small speaker with mini jack cable to bluetooth. The speaker should be as small and low quality as possible. Upload Audio File no. 3 before the rehearsals and/or the performance. Place the setup near the performer. OBS!! The setup is only local and do not connect to the main mixer/sound system.

Floor tom 16 inch floor tom with a good resonance. The legs of the tom should have zigzag texture, both above and below the screw, in order to create interesting sound with the whisks (as shown in the photo).

Paper (silk paper) Very thin white wrapping tissue paper often used to wrap items in a department store. It should be unused, new, and crispy that the paper is totally silent when waving gently, and rattles loudly when waving hard. Loosely hold the silk paper and wave in the air. Organic and curvy motion. The paper part is graphically notated with different thickness of wavy lines indicating the general waving speed and the amount of waving ¨effort¨. Experiment with different sizes and the material qualities: It should not be too clumsy when picking up. Approximately A5 size.

Drainer (Dish rack drainer) A Dish rack drainer made of flexible metal with a small paper tag (the product tag left hanging).

In the air Hold the top of the drainer with l.h., and scrape (¨arpeggio¨) the drainer bars with a triangle beater in the air. Wave the entire drainer and let ring. Let the paper tag sizzle. !

! In the air + Drop on resonance board After scraping the drainer with the triangle beater in the air (upper staff line), place the edge of the drainer on the indicated resonance board such as drum or wooden box (lower staff line). When dropping on a surface, a very determined and clear action is desired in order to transmit the resonance sharply and clearly. Let the paper tag sizzle.

!

On the floor tom Place the drainer on the floor tom skin, the curvy bars facing upwards. Scrape all the bars with rasping stick, placed perpendicular to the drainer bars as shown in the picture. Let the paper tag sizzle. Violent and noisy!


Whisks 2 metal whisks with open end. The metal should be very flexible and the handle should be round (not flat). At least 32 cm in length or longer. 2 whisks can be of 2 different models or brands in order to create colourful sound timbre. Ex. WMF Flexi Whisk Profi Plus 32 cm Hold the handle of the whisk with one hand, and let the tip of the handle touch the floor tom skin. The whisk brushes should face upwards. !

Gather the whisk brushes silently with the other hand. Suddenly release the brushes and let them rattle.

Improvise different ways of releasing and touching the brushes in order to create variety of complex rattling noise. Be creative expressive.

!

If the whisk brushes do not make too much sound, title or twist the brushes a little right before releasing in order to create irregular rattling directions. Whisks scraping the floor tom rim and legs

! !

Hold 2 whisks (one in each hand) and scrape the indicated positions of the floor tom (both hands perform the same action. When scraping the legs, choose 2 legs - 1 leg each whisk). Roll and twist the whisks to achieve a textured noise. Leg position is indicated with 3 line staff Upper line = Rim Middle line = Leg above the screw Lower line = Leg below the screw The whisk position is indicated with roman numerals as shown in the picture. It is especially important that Position III is right next to the holder where the metal brushes are the hardest.

Meinl original spark shaker A shaker from Meinl made of perforated sheet. Stir the shaker in circular motion.

Jagged glass jar on Floor tom Short and wide glass jar with jagged bottom used for crème brûlée, often sold in normal supermarket. Ex. La Crème Brûlée by brand Rians. Place the empty and cleaned glass jar on the floor tom skin upside down (the jagged bottom facing upwards). Slowly scrape the glass jar with the bottom (back) of the spoon along the jagged edge. Let the floor tom function as a resonant board.

Textured plastic sheet with metal stick Plastic sheet Hard plastic sheet with textured surface in the size of A3 paper or similar. Find a plastic sheet that creates high friction noise when scraped with a metal stick. Ex. Plastic A3 folder sold in stationary store

Metal stick A metal stick with sharp edges. Ex. Metal straw


Guitar Acoustic guitar (The score is transposed) Mp3 player with speaker (Audio File no. 2) Any mp3 file player (small mp3 player or smartphone) connected to a small speaker with mini jack cable to bluetooth. The speaker should be as small and low quality as possible. Upload Audio File no. 2 before the rehearsals and/or the performance. Place the setup near the performer. OBS!! The setup is only local and do not connect to the main mixer/sound system.

Paper (silk paper) Very thin white wrapping tissue paper often used to wrap items in a department store. It should be unused, new, and crispy that the paper is totally silent when waving gently, and rattles loudly when waving hard. Loosely hold the silk paper and wave in the air. Organic and curvy motion. The paper part is graphically notated with different thickness of wavy lines indicating the general waving speed and the amount of waving ¨effort¨. Experiment with different sizes and the material qualities: It should not be too clumsy when picking up. Approximately A5 size.

A shaker from Meinl made of perforated sheet. Stir the shaker in circular motion.

Guitar extended techniques Hammer-on (+ Spark shaker) Hammer-on The triangle notehead indicates Hammer-on technique. Tap the indicated note percussively against the fingerboard with a finger. Expressive and dramatic. Use one or two fingers of the hand that is also holding the spark shaker (the other hand is holding the silk paper at this moment). Therefore, the spark shaker also rattles during the Hammer-on action. Make the transition to and from this technique as smooth and uninterrupted as possible.

! Tamburo

Damping noise Tamburo with right hand side like a kungfu chop. Always sul ponticello

Percussive damping of all strings with palm.

Body !

Body refers to the resonance body of the guitar Black notehead = Hit with fingers or palm. Let it resonate. Cross notehead = ¨Unsucessful hit¨. Quasi light dead stroke. Just ¨tourch¨ the surface of the body.

!

Plastic card Hard plastic card like a library card. Scrape the 3 lowest strings with the card very slowly with as much pressure as possible while damping the strings with the other hand. Move very slow so that it is granular, not a continuous scraping. Keep the tention until the very end of the phrase.

Guitar clef for string positions Right next to the bridge Above the sound hole Above the end of the fingerboard Above ca half of the strings (or where the neck ends)

!


Rasping stick The guitar should be placed on a table when performing the rasping stick for better stability and control.

Rasping stick: Wooden stick with carved teeth

!

Scrape all the strings with the carved teeth of the rasping stick. As default, the pressure should be as light as possible in order to hear some gentle rattling pitches and overtones. If you hear only the scraping noise, it is too much pressure! This is exempted when indicated ¨Over pressure¨ (more scraping noise in focus in this case). The speed of the stick movement is roughly suggested with the amount of ¨dots¨ over a straight line. The line indicates the movement of the stick and the dots indicate the actual sound ¨clicks¨. i.e. a line without dots means that you are moving the stick but too slow for the carved teeth to catch any string. All these details are relative and feel free to ad lib.

!

While the left hand damps all the strings as default, the performer is often asked to quickly release the strings (open strings) and damp again. Be decisive and clear with the physical gesture (accents!). In the example, only the first two times are indicated with a comma (release) and a damp sign (damp) beamed as grace notes (as fast as possible). Two last commas indicate exactly the same technique but with short cut notation.

!

Strings are released and damped at different times. ! Rasping stick played at the edge of the guitar body. Always light and gentle. Change the stick direction when needed. Keep changing the speed of the bowing - always gradual accel and rit with in one ¨bow¨.

Giggle / Cry Giggle like a child. Somewhat teasing but innocent. Discreet and almost unnoticeable. Somewhat mysterious and ghostly. Gradually the giggling escalates to a character of obsession and desperation, and leads to a hysteric cry. The cry should not be an obvious cry but is something almost like giggling. The mixture of emotion and confusion with a strong sense of force and uncomfort. There is certain element of absurdity but should be avoided to minimum. Do not theatrically act or literally cry with tears. Focus on the sound and the sense of mystery.

Piano Grand piano with 3 pedals. Note head Black note head (¨●¨) Normal playing with pitch. Diamond note head (¨♢¨) Press the keys silently without letting the hammer touch the strings. Pedal Sostenuto ¨middle¨ pedal

The sostenuto pedal gives important resonance to all actions (or non-action) and should be observed exactly.

¨Right¨ pedal All percussive use of the right pedal should be observed exactly (indicated with arrows and sfz nuances). Note that the pedal actions do not necessary support any activated keys/strings. The pedaling itself is the sound and gesture. Percussive release of the pedal. Do not lift the foot upwards, but quickly slide away to the side and let the pedal snap upwards. If the pedal is not carried through from the previous phrase, silently press the pedal to prepare this action.

Percussive pedaling down and up as fast as possible.

Bar 117 If the repeated pedal release actions are not suited, change to repeated pedaling down.

Percussive pedaling down. Hold the pedal until the line ends.


Key release The performer is often asked to press keys silently and keep the fingers until the release ¨con forza¨, notated with a comma and sfz. The action of finger releasing (comma) should be as rhythmical as possible. Violently and quickly remove the finger / hand from the key(s) upward. The tiny sound of the piano mechanics and the finger movement, enhanced by the visual movement of the hands, should be ¨audible¨.

Cluster (2 lines connecting 2 notes without diagonal fill in)

(2 lines connecting 2 notes with diagonal fill in)

White key cluster

Chromatic cluster

!

Small and quick series of glissandi

Series of small and quick glissandi from the given pitches on the keys. Always articulate the main note and the glissandi should be light and momental. The gesture should be highly explosive and unpredictable with irregular rhythm.

Bar 149 It is important that the 4 bar phrase is steady in tempo and strictly rhythmical. Gradually drop notes or pedal actions except the material in the dotted circles. Less and less action with continuous diminuendo. Notice that the sostenuto pedal is always activated.

Spring drum A thin spring drum that is possible to make wawa effect with palm. The first part: Try to keep the tremolo (shaking in ppp) as static as possible. As the result, any unsteadiness and disturbance occur due to the other actions such as piano playing and pedaling are considered acceptable as the colourisation of physicality of the piece. In any case, the spring drum should be kept as the background and the piano foreground (even almost silent actions). Prepare a soft blanket or pillow to put the spring drum on when it is not needed.

Plunger

! ! Plunger with thin and flexible bell. Crumple a piece of small aluminum foil, and place it at the bottom of a plastic bucket. Place a tiny bit of water. Squeeze the plunger up and down the water and the foil. Adjust the amount of water so that the plunger makes a very watery disguisting sucking noise without getting stuck.

The plunger part is graphically notated.


Profile for Rei Munakata

tteii (2020) for 6 musicians  

Instrumentation: voice, trb, 2perc, guit, pno Please ask the composer for the performance materials and information. www.reimunakata.net

tteii (2020) for 6 musicians  

Instrumentation: voice, trb, 2perc, guit, pno Please ask the composer for the performance materials and information. www.reimunakata.net

Advertisement

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded