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W RING

For Pierrot Ensemble Piano Score

By Kyle Rieger www.riegermusic.com ©201 9


Program Notes Music and movement have been bound together seemingly since their inception. There is no dance without some kind of rhythm or beat, people in every concert audience are at risk of tapping their toe or bobbing their head to compositions that explore groove, and musicianship itself has its own kinesthetic capacity and requirements. The musicians that seem to most worry about movement as it relates to music, however, are the conductors. Slight variations in their choreography and/or improvised gestures can result in drastic changes in the way an ensemble performs a note, a phrase, or a piece. The bread-and-butter reference for conductors with regard to movement and how to classify it has to be the the Eight Laban Efforts. Rudolf Laban (1 878-1 958) was a movement theorist, a choreographer, and a dancer who said that all of human movement could be boiled down to the component parts of direction (either direct or indirect), weight (heavy or light), speed (quick or sustained), and flow (bound or free). These components, when combined, create the eight efforts: Wring, Press, Flick, Dab, Glide, Float, Punch, and Slash. As a motion, wringing is indirect, heavy, sustained, and bound. Conductors tend to use the motion in slower excerpts at moments that are more harmonically crunchy than the surrounding material, but this is by no means a set rule. In fewer words, to wring means to twist something forcefully. When somebody wrings something, they seek to use the motion to force something out of the the object they are wringing, like water out of a cloth or life out of a chicken. W RING aims to have the musicians convert this kinesthetic action into a musical one without the aid of a conductor. Notes are to be twisted with such force that they undergo sonic change. Wide vibrato (up to a half step in either direction) and glissandi are the principal methods for this, but the harmonic series is to be wrung out of singular pitches by the piano, flute, and strings, with each instrument taking a different approach to this action. Further, rhythm is wrung out of harmonics in a more gentle way through use of the Seagull Effect (pioneered by George Crumb), and different overtones and textures are to be wrung out of notes through the use of ponticello bowing and growling in the clarinet.

Duration: Approx. 6' Instrumentation: Flute/Alto Flute Bb Clarinet Violin Cello Piano (open lid) Special Equiptment: Large Metal Coin


W RING

For Pierrot Ensemble

°&Slowly; Very Freely and without Pulse ∑

Alto Flute Bb Clarinet

Violin

Cello

¢&

{

°& ¢

AFl

Cl

Vln

?

w

mp

pp

¢&

Pno

¢?

{

& ?

Slowly; Very Freely and without Pulse

Pluck string with the pads of the thumb and index finger, making the roundest sound possible. Keep pedal down, and hold a large metal coin (ex: U SD quarter) to where it barely touches against the string, creating a harsh buzzing sound. At will, remove the coin and mute the string with the pad of a finger. Let all other strings vibrate. Do not lift foot off pedal until vibrations stop.

_

normale

w

w

p

f

Vc

ponticello

w

f

°& °&

∑ Increasingly widening vibrato

Rebow at will (smoothly)

?

3

&

Piano

By Kyle Rieger

Increasingly widening vibrato Rebow at will (smoothly)

∑ ∑

w

pp

ponticello

w

w

p

∑ ∑

w

mp

∑ ∑

f

∑ sim.

_ ©201 9

∑ ∑


2

°& 8

AFl

w

w

pp

Cl

Vln

Vc

Pno

¢& °& ¢?

{

bw

w

Cl

Vln

Vc

Pno

°& ¢

{

& ?

œ bœ nœ. nœ œ 3

w™

mp

f

bw ™ æ

pp

p

∑ ∑

sim.

b_ ™

_

A

Ϫ

w

œ

bœ nœ œ œ œ œ œ œ bœ œ œ œ œ bœ œ bœ #w ff

normale

f

<b> w

p

ææ w

ææ w

Tremolo (rapid)

∑ <b>w ææ

ponticello

f

œ J

Increase tremolo speed

?

œ ‰ J

Tremolo (slow and warbeling)

w

normale

?

¢&

w

12

AFl

f

œ

growl

p

pp

j œ

Increasingly widening vibrato

Slowly introduce growl

&

°&

w

gli ss.

f

∑ ∑

b œœ ‰ æ

˙˙ æ

A

b_

bw w ææ

gli ss. gli ss.

∑ ∑

Kyle Rieger


3

°& 15

AFl

Cl

Vln

Vc

Pno

¢& °& ¢?

{

Cl

Vln

Vc

Pno

œ

œ

œ

œ #œ #œ

œ

œ

œ

œ

?

°& ¢&

œ

œ

œ

j œ

œ

Œ

nœ p

ææ ˙™

ææ œ

gliss.

fp

bb˙˙ ™™ æ æ

œœ æ æ

gli ss. gli ss.

fp

∑ _

nœ nœ #œ n œ # œ œ n œ # œ n œ # œ n œ # œ n œ œ n œ # œ œ œ n œ # œ œ œ œ bœ œ œ j j ‰ œ œ œ œ œ # œ œ #œ nœ œ #œ nœ #œ nœ #œ œ bœ œ bœ bœ nœ ff

˙™™™

°&

ææ #˙ ™™™

¢?

˙˙ ™™™™™™ ææ

{

œ

ff

&

16

AFl

gliss.

r œ

gliss.

r œ bbœœ R

gliss. gliss.

&

?

∑ Kyle Rieger

nœ #œ nœ


4

°& 17

AFl

Cl

Vln

Vc

¢& °&

{ ¢

?

&

Pno

?

# œj

> n œ. J

To Fl.

Œ

Ó

Ú

j œ. >

Œ

Ó

Ú

j œ. >

Œ

Ó

Ú

>. bbœœ J

Œ

Ó

Ú

fff

fff

fff

Play notes with keyboard and buzz strings with coin as before. Do not mute. Take as much time as needed. 3

Y

Y

fff

°& 19

AFl

Cl

Vln

Vc

¢& °& ¢

Y

bY

∑ Evenly slowing tremolo gliss.

bw æ

bw æ

ppp

bY

Y

w

gliss.

pp

no cresc.

w æ

gliss.

#w w æ

∑ gliss.

gliss.

w w æ

gliss.

gliss.

Harmonic gliss ad lib, Sul C Extreme ponticello

B

{

&

Pno

Ú

fff

?

o œo œo œo o œo oœ b œ œ œo œ o œo œo œo œ o

pp

(Release peadal)

Kyle Rieger


5

°& B 24

Fl

Cl

Vln

Vc

¢&

w

°& ¢B

{

normale

°&

Fl

Cl

Vln

Vc

Pno

¢& °& ¢?

{

w

mf

B

27

w

mp

?

ponticello

w

&

Pno

f

With finger pads and coin again

_ Flute

˙

˙

mp

˙™

Œ

f

˙™

w mp

Œ

f

w

normale

gliss.

mp

b˙ ™

Œ

f

˙

œ ™™™

œ RÔ

p

˙™

Œ

mp

˙™

w p

Œ

mp

nw

gliss.

p

b˙ ™

Œ

mp

˙

˙ pp

w f

w

˙

pp

gl iss.

gliss.

˙

gli ss.

f

nw

gliss.

pp

b˙ f

&

?

Kyle Rieger


6

°&

C

œ™û

33

Fl

Cl

Vln

Vc

Pno

ff

ff

¢?

Cl

Vln

Vc

Pno

˙

pp

gliss.

gliss.

gliss.

gliss.

˙

Œ

pp

œ ™û

bœ œ >

bbw w

ù˙

gliss. gliss.

sim.

n Ϟ

gliss.

pp

?

˙˙ ™ ™

gliss. gliss.

&

ff

ff

_

ff

¢& °&

{

ù˙

ù˙

pp

ff

bbw w

°&

¢

˙

As heavy as possible Extreme ponticello

36

Fl

ù˙

C

ff

pp

œ ™û

œ™û

w

pp

n œ ™û

°&

{

ff

¢&

ù˙

?

& ?

˙ ff

ùn ˙

gliss.

gliss.

gliss.

>-œ

>-œ

b>˙

U >˙

˙

>œ-

>œ-

U >˙

˙

b>-œ

>œ-

U #>˙

b ˙˙

>œœ >-

>œœ >-

> b ˙˙ >

U > b˙ ˙ > u

ff

˙

gli ss.

gli ss.

∑ ∑ ∑

ff

˙

gliss.

∑ ∑

∑ b_

Ó Ó

Kyle Rieger

U Ó U Ó

bwfff

∑ ∑


7

°& 40

Fl

Cl

Vln

Vc

Pno

¢& °&

Cl

Vln

Vc

Pno

w

{

˙

˙

mp

<b>w

normale mf

?

∑ _

mf

D

> #œ

> nœ

Imitative of string instrument " seagull effect" in m. 49

gl iss.

gl iss.

n>œ

œ

gl iss.

mf

°&

w

Ó

mp

b>œ J

> nœ

Imitative of string instrument " seagull effect" in m. 49

¢&

gl iss.

mf

œ

gliss.

w

Ó

mp sul tasto

?

{

˙

&

¢

pp

43

Fl

Ó

¢?

°&

w

˙

bw

œœ

sul tasto

˙

Ó

mp

D

& ?

∑ Kyle Rieger

œœ


8

°& 45

Fl

Cl

Vln

Vc

Pno

¢& °& ¢

{

?

Cl

Vln

Vc

n>œ

°& ¢& °& ¢

?

{

?

n>œ

œ

f

w

Ó

mp

b>œ J

sim.

n>œ

œ

gli ss.

f

w

Ó

mp normale

bw p

˙˙

normale

˙

˙

bœœ

˙

#>œ n œ n>œ b œ n>œ

œ #œ

f

E

w™

mp

b>œ b œ n>œ ‰ J

œ

f

gl iss.

w

gl iss.

mp

nw

ponticello

bw w

ponticello

˙

œ J

Œ

Ó

Ó

œ J

Œ

Ó

Ó

b~ bw

gl i s s gl i ss. .

bw w ™™

w

f

w w

˙˙

gli ss.

b œœ J

Seagull Effect

Œ

&

f

∑ ∑

bœœ

Ó

p

?

&

Pno

&

47

Fl

#>œ

sim.

∑ Activate pedal here

Kyle Rieger

E

∑ ∑


°& 50

Fl

Cl

Vln

Vc

Pno

¢& °& ¢&

{

& ?

°& 53

Fl

#>œ n œ n>œ b œ n>œ œ #œ f

Ó

b ˙˙

bb˙˙

˙˙

b˙˙ ™™

ff

f

b~ bw

{

& ?

˙˙ ™™

p

Œ

b Oœ

pp

Ó

Ó

f

> bœ bœ f

n>œ

œ

bO ™ b˙ ™

Ó

b~™

#œ pp

n>œ

œ

gl iss.

œ pp

“” bO ™ b˙ ™

Seagull Effect

Œ

Ó

pp

n>œ b œ

Œ

b Oœ

b~ #>œ

gl i gl i sss. s.

gl i ss gli ss..

j b OœJ

pp

gl i s s gl i ss..

j b OœJ

pp

f

bO ™ b˙ ™

b O ™™ b ˙ ™™

gl i s s gl i ss. .

j b OœJ

bO ™ bœ ™

gl i ss.

pp

f

gl i s gl i ss. s.

j b OœJ

pp

f

bO ™ bœ ™

gl i ss gl. i ss.

O™ œ™

j b OœJ

Kyle Rieger

O œ

j Oœ J

. i ss gl

Pno

¢&

f

>œ b œ n>œ œ

sim.

f

Vc

p

9

gl i ss.

. i ss gl

°&

f

. i ss gl

Vln

¢&

gliss. gliss.

Ó

Ó

˙

mp

b ˙˙

> > #>œ n œ n>œ b œ n>œ œ # œ n œ n œ b œ n>œ œ b>œ b œ n>œ œ ‰ J

f

f

Cl

Ó

mp

b>œ b œ n>œ œ ‰ J

b˙˙

˙

gl i ss.

j œOJ

&


10

°& 56

Fl

Cl

Vln

Vc

¢& °& ¢&

{

&

Pno

“” œb œb œ œ œ œ œ œ œ b œ œ œ œ nœ œ #œ œ bœ œ #œ œ œ œ œ

pp

& ‰

b œb œ œ œ œ œ œ

Œ

œ œ œ œ œ œœ œ œ b œ œ œ œ œ œœ

œ nœ œ Œ ‰

bœ œ#œ #œnœ œ œ œ

°& 57

Fl

Cl

Vln

Vc

¢& °& ¢&

{

&

Pno

b œ bœ

œ ™™

#œ #œ nœ bœ œ &

œ

œ

œ #œ #œ nœ ™ Kyle Rieger

Œ

Ó

Œ

Ó

?


11

°& 58

Fl

Cl

Vln

Vc

Cl

Vln

Vc

Pno

molto rit.

As Before

°& ¢&

{

°&

bœ œnœbœnœ b w

Overblow; gliss through harmonic series

F œo

f

œo b œo œo œo œo o o o œ œ o œ œo œo œ

œ

f

°&

{

ff

bœbœ nœbœ œ œbœnœbœbœ nœ

¢&

¢

œbœbœœœœ œ œ b œ b œ œ b œ n œ bœnœ nœ

?

60

Fl

As Before

¢&

&

Pno

molto rit.

f Harmonic gliss ad lib, Sul C Extreme ponticello

B

o œo o o œo oœ b œ œ œ œo œo œ o œo œ œo œ o

f

F & ?

∑ n_

∑ ∑ Kyle Rieger

∑ _

∑ ∑


12

°& 64

Fl

Cl

Vln

Vc

Pno

¢& °&

Cl

Vln

Vc

Pno

gliss.

ponticello

w æ

gliss.

w

w

gliss.

Evenly slowing tremolo gliss.

#w æ

{

?

?

¢& °& ¢

?

{

G

œ™û fff

œ™û

fff

n œ ™û fff

fff

gliss.

gliss.

˙™™™ æ

gl iss.

ù˙

ù˙

ù˙

œ™û

w fff

˙

gli ss.

˙

gliss.

ù˙ n œû

gliss.

fff

˙

gli ss.

œ ™û

gliss.

fff

gliss. gliss.

˙˙ ™ ™

w w

? w w “‘

w w

bœ œ >

ù˙

gliss. gliss.

∑ _

gliss.

gliss.

gli ss.

gliss.

ff

˙ ff

bbw w

Kyle Rieger

gliss.

ff

?

˙

Œ

r bœ

gl iss.

G ? w bw

fff

w

As heavy as possible Extreme ponticello

bbw w

w æ

gliss.

#w æ

gliss.

Evenly slowing tremolo Sul G

&

°&

gliss.

nw æ

¢B

68

Fl

growl

#w

w

˙˙

˙˙

∑ ∑

gliss.

&


°& 72

Fl

Cl

Vln

Vc

¢& °& ¢?

{

œ™û

fff

œ™û

fff

œ ™û

fff

bbw w

Fl

Cl

Vln

Vc

Pno

ù˙

ù˙

?

°& ¢& °& ¢

?

{

˙ b˙ ˙ ˙ “‘

>œ-

˙

>œ-

>œ-

˙

b ˙˙

b>-œ >œœ >-

>œ>œœ >-

b>˙ >˙ >˙

> b ˙˙ >

> b˙ ˙ >

gliss.

gliss.

˙

gliss.

gli ss.

nnnœœœ ™™™™™™ & n œœœ œœœ nœœœœ bœœœœœ nb œœ b œœ œ molto rit.

œœœ œœœ bœœœ

œ ™™ œ ™™

˙

gl iss.

gl iss.

w

fff

With as much bow pressure as you can muster gliss.

n w>

ffff

fff

# w>

With as much bow pressure as you can muster

gliss.

w

w

w

fff

ffff

? bw bw w

∑ Kyle Rieger

œœ œ

w

fff

bw

bœ œ >

w

& bbw w w ww fff

˙

>˙ #>˙

gliss.

fff

ff

>-œ

˙

fff

fff

gliss.

˙˙ ™ ™

? Ó

74

˙ fff

gliss. gliss.

œbœb œ œ œ œ œ œbœ b œ œ b œ n œ nœbœ & bœnœ

Pno

ù˙

13

molto rit.

∑ _

∑ ∑

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