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BROWN

Times

Five for Flute, Trombone, Harp, Violin and Violoncello

Score

EARLE BROWN Score Times Five

for Flute, Trombone, Harp, Violin and Violoncello

Brown

FIVE (1963)

Commissioned by Service de la Recherche de l’ORTF, Paris

Score

Instrumentation

Flute

Trombone

Harp

Violin

Violoncello

4 CHANNELS OF TAPE SOUND:

As of 2010 the Stereo A-Tape and Stereo B-Tape used at the creation of this work have been replaced with four digital sound files named A-left, A-right, B-left and B-right (included with an additional score for the sound engineer)

SyS tem requirementS :

PC or Apple computer

Four-channel audio interface

A program capable of playing four separate channels

Four loudspeakers (see Technical Preparations)

t he conductor need S

An arrow indicator with numbers 1-4 (provided with score) to show the musicians which page to perform from

A stop watch (not provided with score)

Duration: 15’17 ”

Preliminary Notes

Not being overly charmed by purely electronic sounds or by the environmental “concrete” sounds for which the French Radio Studio is best known, I took this commission as an opportunity to multiply and transform more or less “normal” instrumental and vocal sound sources. The title refers to this process of multiplying a given potential through superimposing and accelerating recorded material on tape, as well as to the fact that the work is produced (in concert) from five sound sources in the shape of an X at the front of the auditorium — four loudspeakers with a live group at the center point. The taped material is “choreographed” to move between and across this space as a kind of kinetic wall of sound.

I first composed material for an eleven-piece orchestra, recorded it and used it as a “reservoir” from which to combine, transform and form , manipulating it in the studio much as a sculptor molds and forms clay. Much of the material in the first and third sections I improvised myself, on piano, celeste, harp, bass, vibraphone, marimba, etc. (One of the virtues of “tape pieces” is that the composer himself can be in direct and personal contact with the sounds he wants, rather than having to send obscure graphic messages to instrumentalists.)

I have used many of the small “noisy” sounds that are nearly impossible to get by “scoring” them but have also drawn them graphically in the live score in order to try to provoke a delicate and spontaneous “cross talk” between the live and taped elements.

Structure and Content of the Work

There are five basic sections of the work and within each section the conductor is free to combine and juxtapose the written instrumental materials in spontaneous relation to the tape, varying the live textures, densities and tempi. The tape is an unchanging “ground” upon which the live material is superimposed — spontaneously and differently in each performance, yet maintaining the basic shape and character that I have designed.

The sound material on the tape is either instrumentally or vocally produced (with one exception) and usually modified only slightly in regard to speed (frequency), timbre, etc. There is the intention, which the conductor should keep in mind, to allow an ambiguity as to the origin of sound details to exist between the visible live group of instruments and the four channels of tape, within the total sound resulting from the combination — that is, from the listener’s point of view it will always sound orchestral but always rather “impossible” relative to the five instruments which he sees on stage.

The first section of the work is primarily a play of microtonal frequencies around F sharp, with some harp and doublebass figurations speeded up to approximately guitar and cello ranges, on the tape.

The second section is variations of density and frequency fields throughout the available instrumental range as “washes” of texture and color.

Earle

The third section is primarily “noisy” (inarticulate sounds) — very delicate, uncharacteristic instrumental sounds.

The fourth section, in the live material, is basically “musical” (articulate) in character and should be performed to the full effect of musical phrasing and sound.

The fifth section is rather energetic and percussive on the tape. The combination of live materials from sections 3 and 4 will juxtapose articulate and inarticulate sound material as possible commentary to the tape.

Directions for Performance

The conductor should become familiar with the character of each of the taped sections but not attempt to notate or memorize the tape continuity. A stopwatch should be used to coordinate the changes from section to section and to generally follow the density and activity suggestions attached to the conductor’s score. A placard with the numbers 1 to 4 and a movable arrow (provided with the material) indicate to the musicians which section is being conducted from.

In sections 1 and 2 of the instrumental material the conductor may make a general orchestral downbeat to which all the five instrumentalists will respond simultaneously, or he may cue one or more instruments individually depending upon the texture and timbre he wishes to add to the tape events at that moment. The conductor may interrupt the playing of the instrumental material at any moment with individual or collective cut-offs — on the next entrance cue the musician(s) will begin with the next note in the part. The materials in sections 1 and 2 are circular ( da capo ) and any amount may be used at any time in those sections.

In all sections: the conductor controls tempi and dynamics by the speed and size of his down-beat — as usual.

In sections 3 and 4 of the instrumental material the conductor may also use a general ensemble down-beat

or individual cues by pointing at each musician, but must also indicate with the left hand the specific event ( 1 to 5 ) which he wishes the musicians to perform on the down-beat; the pointing and the left-hand number are a preparation. With different events the down-beats may also be individual or collective, that is, in section 3 : violin event 1 cello event 2 and a single down-beat will produce those sounds simultaneously — or they can be introduced in any sequence or combination the conductor wishes by individual down-beats.

Preparations and down-beats must be very clear and precise and rehearsed until they can be given and executed as quickly as desired. The events in sections 3 and 4 are to be played only once on each cue from the conductor ( non da capo ) but the conductor can ask for them any number of times.

In all sections the conductor can produce staccato “chords” by a chopping motion of the open right hand, or sustained “chords” by a “hold” motion of both hands, at any time . (In sections 3 and 4 the left hand must prepare which event is desired in these cases.)

General Comments

It is imperative that a reliable set of ears listen to rehearsals and determine the proper volume settings of the tape material; the relationship between live instruments and taped sound must remain in the same acoustic “plane” (equally balanced) from an average seat in the audience.

Special care must be taken in setting the volume for the first section: the natural volume of the taped material in this section is right when sounding approximately pianissimo in the hall, or, just short of audible tape-hiss. This should serve as the correct level for the first two sections although minor adjustments may be necessary. I would suggest — subject to experiments in rehearsal — that the level be raised two to three decibels at the entrance of the wind sound at the beginning of the third section (entrance of the orchestral glissandi: at approximately eleven minutes), but, I repeat, the tape must never generally overpower the live group.

The conductor’s relationship to the tape — beyond the fact that he is in the right section at approximately the right time — is one of spontaneous reaction, collaboration,

commentary, conversation with the tape. The tape is, or nearly is, self-sufficient and the conductor should feel no anxiety about keeping the piece moving — it will move anyway. The tape functions as a kind of ground upon which the live material is activated and played with

The work lasts 15’17” and the tape need not be stopped during the course of performance.

Technical Preparations

1 STAGE DISTRIBUTION

The four loudspeakers are placed on stage: two of them between 8 and 12 feet above the stage [for sound files B-left and B-right], the other two at approximately stage level [for sound files A-left and A-right]. All four should be in the same vertical plane on opposite sides of the stage, far enough back to be clearly heard by the conductor.

The five instruments are to be in the center as the fifth sound source.

The volume produced by the loudspeakers must be carefully balanced so as to be no louder than the volume normally produced by the instruments in that particular acoustic situation. A wall of sound is the intention — a vertical plane facing the audience.

2 U SE OF THE TAPE

There is no stopping of the tape between the beginning and end of the work. There are five structural sections of taped material; the following timings are approximate and relative to the juxtaposition of the live material (see suggestions below):

Section 1 0” — 4’10”

Section 2 4’10” — 6’45”

Section 3 6’45” — 9’15"

Section 4 9’15” — 11’10”

Section 5 11’10” — 15’17”

There are four sections of written instrumental material, plus a fifth section which is the combination-possibilities of sections 3 and 4

Macro-Structure

A SUGGESTED TIME SCHEME

I would suggest the following relationships between the taped and instrumental material as a basic structure for the work: entrances, exits and general character of the live material:

Section 1

Start the stop-watch on the first sound from the tapes.

Instruments IN at 30” One at a time, thin texture OUT at 1’20”

Instruments IN at 2’08” Thin texture, increase density from 2’35” OUT at 3’00”

Instruments IN at 3’20” Very light texture OUT at 3’52”

Section 2

Instruments IN at 4’10” Very short ensemble figures, variations of dynamics and tempi OUT at 4’40”

Instruments IN at 5’30” All combinations active OUT at 6’40”

Section 3

Instruments IN at 6’45” Spontaneous choice in reaction to tape OUT at 8’10”

Instruments IN at 8’50” As above OUT at 9’15”

Section 4

Instruments IN at 9’30” As above OUT at 11’00”

Section 5

Combinations of written material of sections 3 and 4

Instruments IN at 11’20” OUT at 14’50” Tape will end at 15’17”

Notes for the Players

A LL INSTRUMENTS IN S ECTION 3

The graphic notations ( ) are a very generalized and approximate way of indicating “noncharacteristic” sounds and actions from the instruments and musicians. Observe very carefully the character and rhythms of the graphics, the verbal indication of

technique of articulations and the approximate frequencies covered by the rise and fall of the graph line. All sounds are basically delicate, rambling and microtonal.

T — Near the table

N — With the fingernail

T. P. — On the string, near the table, allowing the finger to slip off the string and strike the table, as a drum. Striking the table is a function of the single action, not an action in itself.

Key gliss. — Strike the string normally and immediately slide and bend the string with the tuning key.

Trombone

At the discretion of the conductor, to keep the trombone in the same volume plane as the other instruments, the cup mute may be used throughout the piece.

Earle Brown, 1963

Harp

five (1963)

[~4’10”]

Edition Peters 11146

[~6’45”]

[~9’15”]

[~11’10”]

Earle Brown was born in 1926 in Lunenburg, Massachusetts, and in spirit remained a New Englander throughout his life. A major force in contemporary music and a leading composer of the American avantgarde since the 1950s, he was associated with the experimental composers John Cage, Morton Feldman and Christian Wolff, who – together with Brown – came to be known as members of the New York School. Brown died in 2002 at his home in Rye, New York.

Earle Brown wurde 1926 in Lunenburg, Massachusetts, geboren und blieb im Geist ein Leben lang Neuengländer. Ab den 1950er Jahren war er eine treibende Kraft in der zeitgenössischen Musik und einer der führenden Komponisten der amerikanischen Avantgarde. Enge Verbindung unterhielt er zu den experimentellen Komponisten John Cage, Morton Feldman und Christian Wolff, mit denen gemeinsam er später der sogenannten New York School zugerechnet wurde. Brown starb 2002 in seinem Haus in Rye, New York.

Earle Brown