Emily Howard_Leviathan_EP73338_Score_Extracts

EMILY HOWARD

Leviathan for Baritone Saxophone and Percussion (2015)

Performing Score

ALLE RECHTE VORBEHALTEN

· ALL RIGHTS RESERVED

EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK

INSTRUMENTATION Baritone Saxophone Percussion (1 player): 1 Cymbal, firmly suspended 1 Hybrid Bass Bow/Metal Reibstock* 1 Tibetan Singing Bowl * It is recommended that the metal reibstock is a low piano string from the bottom octave of a piano. However, suitable equivalents can be used as well. The metal reibstock should be attached to the back (the wooden part) of the bass bow, with tape at each end fixing the reibstock firmly so that it doesn’t move. The reibstock should be the length of the ‘haired’ part of the bow.

Transposed Score

Duration: 13ʹ

First performed on 14th May 2015 by scapegoat (Joshua Hyde, Saxophone – Noam Bierstone, Percussion) at La Vitrola, Montreal, as part of the scapegoat North American Tour, May 2015 a recording of Leviathan, given by scapegoat, is available on NMC debut disc Magnetite [NMC D219], NMC Recordings

PROGRAMME NOTE In Leviathan (2014–15), baritone saxophone split-tones and cymbal multiphonics collide in the creation of a newly-formed and unpredictable musical language, which responds to recent mathematical research in dynamical systems. Originally written for one particular cymbal to be played with a hybrid bass bow/metal reibstock, various harmonics are generated through the placement of a Tibetan singing bowl in different positions on the cymbal’s surface in combination with changing the bow’s contact angle. I am grateful for so many helpful conversations with scapegoat, mathematicians Lasse Rempe-Gillen and Alexandre DeZotti (University of Liverpool), and support from the Royal Northern College of Music and The Leverhulme Trust (Artist in Residence Scheme).

Leviathan lasts approximately 13 minutes and is dedicated to scapegoat (Joshua Hyde and Noam Bierstone) and was first performed by them as part of the scapegoat North American Tour, May 2015 (Montreal, Toronto, Detroit, Chicago and New York).

Leviathan recieved its European premiere at the Huddersfield Contemporary Music Festival 2015 (scapegoat / hcmf shorts).

Emily Howard, 2015

PERFORMANCE NOTES Baritone Saxophone Notation of split-tones °› 5 & 16 ‰

‰™

o 11 nw 4

p

œ

œ

œ

28 q = 111

o

ffff

nœ

5 4

œ

œ

o

21 4

Noise spectrum

5 ¢& 16 ‰

‰™

11 4

n)

Fundamental pitch

° 5 16

nœ o

œ

œ

p

w

o

11 4

5 4 5 4

nœ o

œ

œ

21 4

Ó

ffff

The noise spectrum for baritone saxophone is created by allowing partials between the fundamental pitch in the lower stave and the notated partial(s) in the upper stave to sound to 5 11 wshape and size 5 ‰ ™ The œ of the œnotated œ œnoise wspectrum (example above) ¢varying / 16 ‰ degrees.

4 4 ˙ should be œ œ taken as an approximate guide for the soundotoo aim for. If there is no spectrum notated, the oo p p ffff multiphonic of the two written notes should be produced ‘cleanly’.

21 4 21 4

˙ ffff

Percussion Leviathan was originally written for a particular cymbal. If another cymbal is used in performance, ideally it would have the following fundamental:

?

∑

Bw

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑(max)

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

11

3 Bowl Position 2 1

Notation: ? ∑

° P0

P1

P2

P3

21

Noise Spectrum (min) Hybrid Bow

∑

¢/

œ

?

∑

Bowed with bass bow side

¿

∑

∑

Bowed with metal reibstock side

31

The bowl position refers to one edge of the bowl being in contact with the cymbal.

?

∑

∑

∑

∑

P0: the Cymbal is bowed without any contact with the Tibetan Singing Bowl.

P1, P2, P3 are positions for the Tibetan 41 Singing Bowl on the Cymbal in the following diagram:

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

51

?

P3 P2 P1 o

61

?

The noise spectrum for percussion can be created with bow pressure and/or the releasing of bowl pressure and/or the ‘closing’ of the bowl on the cymbal.

71spectrum should be taken as an approximate guide The shape and size of the notated noise for the sound to aim for. If there is no spectrum notated, a ‘clean’ sound should be produced.

?

∑

∑

∑

∑

∑

At P0 with no noise spectrum, the aim is to sound the fundamental of the cymbal which can be obtained by bowing the cymbal at a 30–45 degree angle (as opposed to the typical 90 degrees).

81

?

∑

∑

∑

∑

∑

Transposed Score

for Joshua Hyde and Noam Bierstone aka scapegoat

Leviathan Emily Howard

°› 7 Œ √ ‰™ & 16 Baritone Saxophone

2 q = 177 3 qo = 175 1 ‰ 8 n˙ ™ 8 4

1 q = 180

q = 36

14 4

∑

√™ 14 7 Œ ‰ 4 ¢& 16 nw o

° 7 16 1

˙™

˙™

w

4 q = 172 o › ° 5 nw &4 5 & 4 ¢

œ

ppp

° 5 4 œ ppp

ppp

j œ

Edition Peters 73338

pppp

20 nw 4

3 16 ‰ ™

20 4 n)

3 16

20 4

3 16 ‰ ™

20 w 4

o

° 9 4

9 ¢/ 4 w o

Ó™

(l.v.)

∑

pp

3 16 ‰ ™

o nœ ˙™ J

6 q = 167 °›9 &4 9 ¢& 4 n w

œ

œ œ w ppp ppp

w

˙

1 8 -¿J

8 4 ˙™ o

w

˙

3√ 16 16 ‰ ™ 4

nw

pp

˙ oo

w

w

˙™

œ pp

w

3 8‰ ‰ ‰

9 4

3 8‰ ‰ ‰

9 4

3 8

9 4

3 8‰ ‰ ‰

9 4

pppp

w

˙™

pp

œ 3 4Œ

Œ

Œ

3 16

3 4Œ

Œ

Œ

3 16

pp

3 4 w

5 4

1 ≈ 5 16 4

∑

pppp

œ w pp

1 5 16 ≈ 4 1 16

œ o

16 4

3 √ 16 16 ‰ ™ 4 w o o

w

o nœ w

7 q = 165 œ 3 √™ 16 16 ‰ 4

ppp

o

pp

o

n˙ o

pppp

3 16

8 4

pp

5 q = 170

n)

5 ¢/ 4 w o

˙

1 8

1 5 16 ≈ 4 w

pp

Noise Spectrum

√ 7 œ ™ 14 w Cymbal ¢ / 16 œ J 4 o

œ

1 8 8 œr ≈ 4 n )

14 4

3

Bowl Position 2

pppp

o

3 4Œ

3 16 Œ

Œ

3 16

© 2019 by Peters Edition Ltd, London

2

8 q = 162

° › 3 nœ & 16

3 ≈ & 16 ¢

œ

p

≈

nœ œ

9 q = 159

10 q = 157

7 4

1 16 ≈

5 n˙ 4

7 4

1 16 ≈

5 4

p

˙™

˙™

ppp

° 3 16

7 4

3 ¢ / 16 >¿J ™

7 4 ˙™

œ

mp

o n˙ ™

n˙ ™

˙™

pp

˙™

pp

˙™

o

j nœ

n) 0

/

mp

˙™

11 q = 154 ° › 21 &4 21 & ¢ 4

œ

œ J

f

f

1 16

5 4

1 ≈ 16

5 4˙

œ

œ

f

˙™

˙

˙

˙™

˙™

6 & 4 ¢

14 q = 147 œ

1 ≈ 14 µw 16 4 1 14 16 ≈ 4

B)

fff

° 6 4

6 ¢ / 4 ˙™ o

1 16 ˙

14 4

œ 161 ≈ 14 4 w ffff

w

fff

˙™

˙™ fff

w

21 4

1 ≈ 16

21 4

1 6 16 ≈ 4

n) 0

nœ

/

œ ˙

fff

o

7 4

1 16 œ œ ˙™

16 q = 141 6 µ˙ 4

1 1 16 ≈ 4 j ‰ Bœ

6 4

1 16

1 4

6 4

1 ≈ 1 16 4 -¿

6 4 ˙™

f

ff

ff

o

fff fff

1 ≈ 1 ‰ µœJ 16 4

ff

˙™

B)

1 16

3 7 16 ‰ ™ 4

15 q = 144 ˙™

21 4

1 6 16 ≈ 4

21 3 7 ¢ / 4 -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ 16 ‰ ™ 4 ˙ ™ o o ff

fff

1 16 ≈

12 q = 152 o fff 3 ‰ ™ 7 n˙ œ œ 16 4

3 16

ffff

21 4

f

° 21 4

13 q = 149 o › ˙ ° 6 µ˙ ™ &4

1 16 ≈

n) 0

/

œ œ

6 4

1 ≈ 6 16 4

o

B˙ ™ o

3 16 3 16

œ f

3 16

f

˙™ oo

3 16 f

°› 3 & 16

‰™

4 4

3 16 ‰ ™

18 q = 136 p n w 20 4

3 & 16 ¢

‰™

4 4

3 16 ‰ ™

20 4

17 q = 139

Bw

o

mp

° 3 16

3 ¢ / 16

‰™

4 w 4

3 16 ‰ ™

20 w 4

pp

nœ ˙™

° › 18 &4

18 ¢& 4 b ˙ ™ o

˙™

˙™

w

˙

p

˙

w

w

w

p

˙™

o

˙™

20 q = 131 pp

5 n˙ 4

œ

j bœ ˙

pp

5 4

18 ¢ / 4 ˙™ o

22 q = 125 o › B w ° 16 &4

˙™

˙

œ ˙™

œ ˙

˙™

o

mp mp

‰ œ ˙ J pp

23 q = 123 pp

w

b)

œ

œ

pp

w

n˙ ™

ppp

6 4 6 4

w

b˙™

o ppp

° 16 4

16 ¢/ 4 w o

5 4Ó

˙™

œ

w

mp

mp

w

o

18 4

3 16 ‰ ™

18 4

3 16

18 4

3 16 ‰ ™

18 4

1 8

1 16

2 4

1 8

16 4

1 ≈ 2 16 4 >Y

1 8

‰ 16 4

o

p

˙™

ppp

ppp

‰

16 4

24 q = 121 o pppp n œ œ 3 4

3√ 16 ‰ ™

18 4

3 4

3√ 16 ‰ ™

18 4

3 16

18 4

3√ 16 ‰ ™

18 4

b) 0

bœ

pppp

œ

o

3 4

6 4 ˙™

‰ 16 4

1 2 16 ≈ 4 ob œ pp

/

6 4

3 16 ‰ ™

21 q = 129 pp o nœ 1 1 ≈ 2 16 4 8

œ J

5 4

° 18 4

16 & ¢ 4

w

p

20 4

19 q = 134

˙

˙

3 16 o

w

B)

4 4

mp

3

3 4œ

pppp

œ œ œ oo

p

4

25 q = 118 ° › 18 n˙ ™ ˙™ &4

26 q = 116

˙™

18 ¢& 4 µ )

3 16 16 ‰ ™ 4 ∑ µ˙ ™

ppp

˙™

3 16 16 ‰ ™ 4

˙™

3 16 ˙™

°› 5 ‰ & 16

‰™

27 q = 113 o 11 nw 4

5 ¢& 16 ‰

‰™

11 4

˙™

˙™

˙™

° 5 16

n)

p

œ

œ

nœ o

œ

p

‰™

˙

w

o

Ó

5 16 5 16

∑

w oo

w

pp

28 q = 111

o

œ

w

5 16

pp

œ

w

pp

16 4

ffff

nœ

5 4 5 4

w

nœ o o

11 4

5 ¢ / 16 ‰

w

3 16 16 ‰ ™ 4 w

˙™

ppp

ppp

µw

pp

° 18 4

18 ¢ / 4 ˙™

Ó

o ˙

œ

œ

œ

œ

o

œ

œ œ œ oo

ffff

p

21 4

5 4˙

w p

21 4 21 4

Ó

5 4

11 w 4

5 16

21 4

œ œ ˙ oo

ffff

ffff

29 q = 108 fff › ° 21 nw &4

21 & ¢ 4

w

˙

œ J j nœ

n)

fff

˙

w

w

° 21 4

21 ¢/ 4 w

fff

w

˙

œ

œ fff

˙

w

w

1 16 ≈

15 4

1 16 ≈

15 4

1 16

15 4

1 ≈ 16

15 4

30 q = 105

o ff nœ œ œ

° › 15 &4

15 & ¢ 4

n˙ ™ o

˙™

15 ¢ / 4 ˙™

˙™

° 15 4

œ œ ff

32 q = 100 33 q = 98 °› 1 & 16

≈

9 4

1 & 16 ¢

≈

9 4 #˙ ™

1 16

9 4

1 ¢ / 16

>¿ R

pppp

° › 21 &4

21 ¢& 4 #˙ ™ o ° 21 4 21 ¢ / 4 ˙™

ppp

9 4 ˙™ o

35 q = 93

˙™

˙™

3√ 14 16 ‰ ™ 4 3√ 14 16 ‰ ™ 4 #˙ ™

o

3 16

ff

j œ o

1 6 8 ‰ 4 /#) 0

˙™

1 6 8 ‰ 4˙

1 8 o

œ œ

œ ˙™

˙™

œ œ

œ ˙™

ffff

˙™

˙™

o

œ œ œ œ ˙™

˙™

˙™

16 ¢& 4 #w o

w

16 ¢/ 4 w

w

˙

o

1 ≈ 8 16 4 ˙ ™

pppp

w oo

fff

œ o

o w

o

o

21 4 21 4 21 4

3 16 16 ‰ ™ 4

o

fff

3 16 16 ‰ ™ 4 3 16

16 4

3 16 16 ‰ ™ 4

3 4Œ

Œ

Œ

5 16

3 4Œ

Œ

Œ

5 16

3 4 pppp

ppp

w oo

fff

w

21 4

˙™ oo

j #œ œ œ w o fff

w

Ϫ

œ

1 8 16 ≈ 4 /#) 0 8 4

f

#œ œ œ ˙ ™ o pp

œ œ œ™

pppp

˙

œ œ œ

36 q = 91 o 1 ≈ 8 n˙ ™ 16 4

1 16

ffff ffff

o nœ ™

6 4

1 16

˙™

o œ J

pp

ppp

o

1 16 1 16

o

œ œ ˙™ oo

f

˙™

ffff

˙™

˙™

˙™

o n˙ ™

œ œ ˙™

o

1 16

o nœ ˙ ™ J

Ϫ

˙™

14 4

3√ 14 16 ‰ ™ 4 ˙ ™

˙™

o f nœ œ œ œ ˙ ™ ˙™

f

ppp ppp

37 q = 88 › ° 16 &4

pppp

o

34 q = 95 o ppp 1 ‰ 6 n˙ 8 4

Ϫ

ppp

° 16 4

œ œ

˙™

œ œ œ œ ˙™ oo

p

°

œ ˙™

31 q = 103

5

3 4Œ

Œ

Œ

5 16 5 16