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ScoresOnDemand

Thorvaldsdottir, Anna [one]

Score for sale (North America): https://www.halleonard.com/product/viewproduct.action?itemid=278652 Score for sale (UK, Europe and other territories): https://www.musicroom.com/product-detail/product1140450/variant1140450/ Information about the work and materials for hire: http://www.musicsalesclassical.com/composer/work/57465

Chester Music Limited Part of the Music Sales Group


The first performance was given on 7 February 2009 as part of the Dark Music Days at HafnarfjĂśrdur, Iceland. Duration: c. 13 minutes

quiet – beauty – atmosphere – sustained – time

Performance Notes The percussionist plays inside the piano. The pianist plays on the keyboard and inside the piano. The right sustain pedal is held pressed throughout the whole piece and strings should not be stopped unless specifically indicated, regardless of written note values. Stopped strings are indicated with a specific note head, see below. It is suggested for performances of this piece that lights in the concert space be dimmed with no spotlights on the performers. Performers should have a few small lights attached to the instrument/music stands to read the music. Tools and preparation The following pitch areas should be marked inside the piano for convenience of the percussionist: The above cluster figures include all the pitches within the two notes written (upper and lower). Pitch areas represent registers on which written techniques or phrases should be performed and are always written with the distinctive lines on each side of the note heads, as shown. Parts of pitch areas may be indicated, meaning that a particular written technique or phrase should be performed over an approximate portion of the pitch area. For example, means perform on lower portion of pitch area 2. For convenience the following strings should be marked with pitch labels: To identify precise nodal points of harmonics, affixing a tiny thread to certain strings is also advised.

r2 soft mallets

r2 regular mallets

r2 wire brushes

r2 super balls

2 aluminum thimbles

+rHands

Techniques pizz. f.t. pizz. f.n. f.t.

DDDD

œÑœÑœÑœ

Pluck with fingertip/-s. Pluck with fingernail or guitar pick. Tap on string/-s with fingertip/-s. Circular strokes over several strings (over written pitch area), indicated with speed levels above the staff (slow – medium – fast). Drag along indicated string throughout written note value. Back and forth on string/-s (or in between strings), indicated with speed levels (slow – medium – fast).

All glissandi occupy the total duration of the note to which it applies.


Percussionist Position Notice that, owing to the physical position relative to the instrument, left and right hand playing is notated as follows: Lower register is written on upper staff and upper register is written on lower staff. Right hand plays the upper staff and left hand plays the lower staff according to tradition. An exception to this is when there is a written tremolo, requiring both hands, in which case both hands are playing from the staff where the tremolo is written (as for example at the beginning of the piece). Rear end of the string (near the curve at the back) Centre/middle of the string Front of the string (near the keyboard)

Noteheads

Ñ 2R

Beyond bridge noteheads are used to indicate the technique and approximate movement to be performed inside the written pitch area, meaning that the notehead does not represent the specific pitch it is written on. Stop string/-s with finger or hand, as appropriate. String is touched/pressed without hitting so as to stop the resonance of the string that has previously been played on the keyboard. When this notehead is written as a whole pitch area, it represents the particular cluster within the pitch area. When ‘arm’ is written above, cover indicated strings by placing the arm, approximately from elbow to hand/fingers, over the strings and press down to mute. Shows rhythmical and linear movement that should be played within the indicated pitch area. Does not represent the exact pitches it is written on. For example, register where the passage should be played, the cross notehead indicates the linear movement and the rhythm.

the pitch area shows the

Techniques Super ball played on wood: In bars 31-32, drag the super balls along the inside of the case on the wood. Change between left and right hand to sustain the sound for the note values indicated. This produces a whalesong-like sound. Play on string beyond bridge (bridge pins) is indicated with a special note head. This technique is not written out on specific pitches but indicated with the special notehead and pitch area. Strings should be played randomly in the idicated rhythm within the written pitch area. Large portions of the strings within pitch area 2 are hidden under the bass strings on most instruments, so when this technique is written for pitch area 2 the ‘beyond bridge’ parts of the strings that come from under the bass strings should be played. On some instruments the frame covers this part of these strings and a small fraction can be played within a circle at the rear end of the piano. (On other grand pianos larger portions of the strings come from underneath the bass strings, not hidden beneath the frame). Bridge and bridge pins, upper register

The sheet music should be placed inside the piano.

Beyond bridge

Bridge and bridge pins, lower register

Circle


Pianist Great care should be taken with dynamic markings, especially in faster passages, as the dynamic will automatically rise owing to the sustain pedal being held pressed. Keep as soft as possible where written as such.

„Ñ

Noteheads

Harmonics are written with a fundamental pitch that is played on the keyboard. For when a harmonic is written later than the fundamental is played on the keyboard, see below. From a single pitch to a cluster of several pitches – start the cluster from the single pitch, moving hand over the indicated pitches as the form shows. Can appear as upwards and downwards, or either individually (e.g. ) Stop string/-s.

Stopping strings

ØÑ

Stop each string individually for a specific pitch.



When string/-s should be stopped, but not on a harmonic, a notehead ( ) is written in place of the harmonic notehead at the position of octave above, but the string should be stopped at convenient position and not on a harmonic.

Ø

When the 2 or 3 strings of a specific pitch should be individually stopped it is indicated with a notehead ( ) for each string of the pitch. Each string should be stopped individually from the first to third (or first to second – either from left to right or right to left) – as rhythmically indicated. Notice that in the case of stopped notes the term rhythm does not strictly apply since the strings should be stopped ‘naturally’ without emphasis. Rhythmical notation applies to approximate length between the strings being stopped. When a harmonic notehead is written later than the actual playing of the fundamental, the string should be stopped on the specific harmonic at the written indication (leaving the soundboard resonating on the harmonic).The fundamental pitch is written underneath the harmonic notehead as a tiny regular notehead and shows where the note that was originally played and should now be stopped).


[one] for percussionist, pianist and grand piano

Anna Thorvaldsdottir

h = 30 8 2 Percussionist

8 2

front slow

centre

pp

rear

mp

pp

slow

8 2 p

Inside

f.n. slow (on lowest string)

8 2 Pianist

8 2 pp

Keyboard

8 2 pp

Copyright Š 2018 Chester Music Limited


2

3

Perc.

slowly place arm over strings to mute

slow

pizz. f.t.

p p

Inside

Pianist

p

Keyb. Bยง-Fยง

ppp

Fยง-Cยง

mp

5

pp


3 4

slowly lift arm off the strings

Perc. pizz. f.t.

mp both hands: slurred until end of passage 5 3

Pianist Keyb.

7

7

7

ppp 5

5

5

5

5

5

ppp

mp

ppp

5

slow (on lowest string)

Perc.

p

5

5

pizz. f.n.

f.t.

p 7

Pianist Keyb.

5

5

5

5

5


11

15

p

Perc.

p

4-5

3

Inside

Pianist mp

Keyb.

5

Aยง-Eb

5

mf

p

4

4


12

(16)

slow

on string

mp

Perc.

p

5

on string

mp stop strings with hand – keep hand on the strings

Inside

Pianist Keyb.

pp

mp B§-Eb

pp

pp

mp


20

32

Sustain on wood, alternating between both hands — when resonance from piano has mostly faded out, sustain for approximately 10 more seconds. Pianist starts playing inside piano, in the following bar, as the sustain decays.

p

Slow strokes up and down the strings, sustained through the written note values. Imitating breath, left hand: inhale, right hand: exhale.

8 2

4 2

Perc.

mp

4 2

8 2

mp

8 2

4 2 Inside

Percussionist sustains superball on wood — when resonance from piano has mostly faded out, percussionist sustains sound for approximately 10 more seconds. Start playing inside piano (following bar) as the sustain on wood decays.

pizz. f.t.

8 2

4 2 p

Pianist

4 2

8 2

4 2

8 2

Keyb.

p


24 41

(Below Ab)

(lowest string)

pizz. f.t.

pizz. f.t.

f.n.

pp

p

Perc.

mp

pp

p f.t.

pizz. f.t.

f.t.

p mp

ppp

p

p

pp

D§-A§

Pianist Keyb.

5

D§-A§

pp 44

Perc.

pizz. f.t.

very slowly

p

mp

p

pp

very slowly

p mp

Pianist Keyb.

p

pp D§-A§

pp

pp

p

Profile for ScoresOnDemand

Thorvaldsdottir [ONE]  

2-6 players; Chester Music; musicsalesclassical.com; 57465

Thorvaldsdottir [ONE]  

2-6 players; Chester Music; musicsalesclassical.com; 57465