Tsao PLUS OR MINUS

Contemporary

ISSUU Version For perusal only

TSAO Plus or Minus for two pianos and electronics

Full Score

EP 14357

ISSUU Version For perusal only

ISSUU Version For MING perusal TSAOonly

Plus or Minus for two pianos and electronics (2017/18)

POD PETERS on demand ALLE RECHTE VORBEHALTEN

· ALL RIGHTS RESERVED

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

ISSUU Version For perusal only

ISSUU Version For perusal only

Plus or Minus (2017-18) A realization of all 7 pages of Karlheinz Stockhausens’ “Plus Minus” (1963) in two layers (with each piano representing an independent layer).

For 2 pianos and electronics.

Each piano must be equipped with a sostenuto pedal.

Klavier Each pianist must have: (a) 2 superball mallets (b) 2 thick plectrums Each piano has 4 strings detuned a quarter-tone:

nœœ # Piano 1 & # œ

Klavier

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nœœ µBœœ # & notes O œœ µœ n œ Bœ œœ nœœ& #µBPerformance æ æ æ æ ˙ wææ ˙ææ œææ œææ O œ ‰ W œ B œ n œ B œ # œ & ˙ œ œ ˙ w œ œ œ & #œ µœ & Klavier 3. Ped. ? ? nPedal œ Bmarkings œ œ x œ y ? nnœœ BBœœ OO #er##nnœœœœœ ?µBµµBœœœnœœœ B&œ ? œ O y G x & #œ µœ & Ped. gradually depress pedal over the duration of the arrow z gradually release pedal over the duration of the arrow Superball mallet Ped. & ?

OO æ æ æ æ œ ? Bœ æ æ æ æ nnœœ BBœœnnœœ In œ notœspecifically œ œnotated, ‰ up towthe ˙performers.

W œ pedal Buseœis left B œ where pedal markings are & Bœ areas œ œ ˙ æ ˙ æwæ æ˙æ æ œæ œæ Superball ¿ mallet œ O n œ œ 3.

Ped. æ æ æ æ æ æ æ æ ? & n œPed. ˙ O œ œ œ œ ‰ W Ped.B œ w ˙ œ œ ˙ ¿ w ˙ œ œ œ œ œ B x œ œ x y notes BBœœ 3. Ped. ? nnœœ Sostenuto O y Superball mallet Superball mallet O œ O œ œ O æ æ æ æ y œ œ G G xæq = 57 x n œ B œ O æ æ æ æ æ æ æ æ œœ ?

B œ œ 76 xnB5/4 76 x 3/2 œ q = 114 76 x‰3/4 q = 76 q = 76 æ æ æ æ x q = 95 œ œ æ æ æ y ˙ O œ œ œ W œ B œ B BBœœ œO 4œœsustained œ ‰ pedal W œ ˙˙ ˙ wwæ ˙Superball ww 4˙˙yz œœ œœ ˙æ œœæ œœæmallet G œ ¿¿y œœœ cluster œœ4 Bsostenuto 7 OPed. OO silently 4 œdepressed with Gœ x = = OO = 163.œœ3.Ped. 12 8 3 4 æ æ æ æ æ æ æ æ œ ‰ W œ B œ w ˙ œ œ z ˙ ˙ wæ ˙æ œæ œæ œœ BBBBœœœœ œ¿œ xx œ yy œœ xx yy œ OOOO œ silentlyœœœdepress Ped. O œœ O indicated œ yy G G 7 4 4 keys for indicated 4 xx duration 4 G G ∑ x 16 12 8 3 4 x œ œ y zz OO y œ O attack and release the indicated y followed by a silent depressing of the keys again keys Gœ Gœ x Ped.

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x x œ keys Palm glissandi, softly rotate the palm of the hand across the in anyupwardœor downwardy manner to effect a glissando. œ y G Gœ x If neither a B or W is indicated, then the glissandi should be chromatic. verlag

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Meter

ISSUU Version For perusal only

The presence of irrational measures where the denominator is not a power of 2 indicates sudden shifts in tempi that are related to either triplet or quintuplet values in the original tempo.

11

When the denominator is either 5, 10, 20, then the tempo is multiplied by 5/4:

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74 2012

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7 1648

76 x 5/4 76 x 3/2 q = 76 q = 76 q =Klav 95 q = 114 If the denominator is 3, then the tempo is multiplied by 3/4: = =

7 & 20

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7 20

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7 16

4 12

4 8

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∑

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Note that the “first” repetition refers to the first time played (not the first time repeated) Klavier W B or Klav Special actions inside piano

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When the octave line is indicated, it refers to all pitches on that stave that fall under or Klavier above it.

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4 œœ œœ œœ or œœ 4

y œ 8 a thickm plectrum slowly along the indicated string. Produce a “clicking” sound with tone œ scrape

G

4 12

W B

slowly drag superball mallets along the indicated strings. Produce low glissandi tones

3 ‰

q = 76

& 43

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4 4

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Electronics The electronic part for each piano is notated on the lower 2 staves for each piano.

Each piano uses 8 transducers placed inside the piano as follows: (All sounds produced by the transducers should sound organically integrated with the actually performed piano sounds) Setup for pianos I and II: 4

1

3 2

8 6 5

7

plate nr

plate nr 2017 2017

∑

∑

plectrum glissando across indicated string(s) inside the piano

Bridge

4 4

4 4

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171

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ISSUU Version For perusal only

Transducers 2, 4, 5 are attached to the bridge Ped. Transducers 1, 3, 6, 7, 8 are attached to the wooden soundboard Superball mallet O 8 are not securely ææ ææ sound ææ ææa “rattling” nœ Transducers Bœ œœ attached to æ æ æ æ 7, the soundboard but loosely lie on the soundboard, thus producing when ˙ O œ œ œ ‰ W B w ˙ œ œ &n œ B œ ˙ ¿ activated. w ˙ œ œ œ sampled pitches œ The only sounds produced by the transducers are from œthe 88 piano keys, which is why these pitches are notated on 2 staves. Occasionally, the sampled sounds include the superball mallet action along 3. Ped. the? piano œ x œ x y nnœœ strings.

BBœœ In these cases, the electronic part is notated on a 1-line stave since exact pitch is indeterminate.

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z Every sound produced by the transducers have the following envelope: where x and y are variable duration times in seconds and z is a variable dynamic level. (Note that each sound begins and ends in silence to produce the effect of resonances in relation to the performed sounds by the two pianists). As a general rule, it is important to have each event last longer than actually notated in the score so that an event does not completely disappear before a new event begins to appear – assuming that the events immediately succeed one another in time. In other words, successive events for each piano part in the electronics should overlap slightly.

All or some of the transducers may be activated.

There are three different movement shapes for transducers: - static - cycle - oscillation (or osc.)

Static: 1, 3, 5 the notated sound will be sent simultaneously to transducers 1, 3, 5 Cycle: 1–6 (fast) the notated sound will be sent first to transducer 1, then to transducer 2, ..., finally to transducer 6 and then back to transducer 1 again, the rate of movement ocurring at fast speed.

Cycle: 1, 3, 7, 5 (slow) the notated sound will be sent first to transducer 1, then transducer 3, then transducer 7, then to transducer 5 and finally back to transducer 1, the rate of movement ocurring at slow speed.

Osc.: 3, 4 <—> 1, 2, 6 (med.) the notated sound will oscillate between transducers 3, 4 and transducers 1, 2, 6 at medium speed of oscillation.

The three notated rates of movement are slow, medium (med.) and fast.

It is incumbent for the programmer to program variations of each speed so that an exact value of “medium speed” is not used more than 3 times in the piece. This would mean that medium speed will consist of many different values, all within the range of what we perceive “medium speed” to be. The same applies to “fast” and “slow” speeds. The general range for the three speeds is: - fast x, where q = 80–95 BPM - medium x, where q = 65–80 BPM - slow x, where q = 50–65 BPM Other movement shapes include tremolo and vibrato. indicates that the notated sound will be sent through transducers 1 and 5 with the added effect of tremolo at fast speed 2017 plate nr Static: 1, 5 (vibrato +/- quarter-tone, slow) indicates that the notated sound – usually followed by wavy lines rather than straight lines – will be sent through transducers 1 2017 and 5 with the added effect of a pitch vibrato of

a quarter-tone (50¢) at slow speed.

Note that the movement shapes of tremolo and vibrato can be combined with each other as well as with the movement shapes of cycle and oscillation.

verlag Static: 1, 5 (tremolo fast) verlag

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The detuning effect allows for glissandi to occur with the notated pitches in theSuperball electronic part. Instead of the pitches being followed by straight lines which indicate duration, they are followed by slanted lines up or mallet æ æ æ æ æ æ æ æ æ æ æ æ down.

The destination to which they are glissing is notated by pitches in parentheses at the end. The slanted lines indicate the rate of glissandi and the total duration. œ ‰ B œ ˙ ˙ w ˙ œ œ ¿ w ˙ œ œ œ Occasionally, the glissando finishes in the middle of the sustained sound: Superball mallet ææ ææ ææ ææ œ x œ x

y æ æ æ æ y ˙ œ w ˙ œ œ ˙ ˙ œ œ ¿ w y G Gœ x or a glissando begins in the middle of a sustained sound: z

œ x œ y œ x y Iny both cases, x and y are variable durations in seconds.

G Gœ The numbered events in the electronic part of the score must be triggered independently by a separate performer in a live concert situation. There are 368 events which must be triggered when they appear in the score.

Engraving by Notengrafik Berlin

ISSUU Version For perusal only

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ISSUU Version For perusal only Edition Peters For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing.

Established in 1800 with the keyboard works of J. S. Bach, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the 20th century by Richard Strauss, Arnold Schoenberg and John Cage.

Today, with its offices in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music. At the same time, the company’s historic and educational catalogues continue to be developed with awardwinning critical and pedagogical editions.

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