REBECCA SAUNDERS
For perusal only
Lash Acts of Love
An Opera in Three Acts – Love, Mute and Loss
(2023–25)
Libretto by Ed Atkins and Rebecca Saunders, based on an original text by Ed Atkins
Legende
ISSUU Version
For perusal only
2024 by Henry Litolff’s Verlag GmbH & Co. KG, Leipzig
ISSUU Version
Instrumentation
Solo Vocalists
For perusal only
A soprano
S soprano
N alto
K actor
Solo Instrumentalists
2 BX3 Korg Organs – doubling small Synths, Act 3 = 2 Grand Pianos Electric Guitar
Orchestra
2 Flutes – doubling Piccolo and Bass Flute Oboe
4 Clarinets in Bb – 3. & 4. doubling Bass Clarinet in BContrabass Clarinet in B- – doubling Clarinet 5 in B-
Tenor Saxophone in B-
4 Horns in F
3 Trumpets in C
3 Tenor Trombones – 3. doubling Bass Trombone
5 Percussion
4 Spatial Percussion – Act 2 Scene 8 & Act 3 only
Harp
Button Accordion
8 Violin I
8 Violin II
8 Viola
8 Violoncello
6 Double Bass – V-string scordatura
ISSUU Version
General
For perusal only
Pauses and fermatas are minimum durations and can be expanded as needed. Where marked, e.g. 12+ , fermatas and pauses can be signifcantly longer to accommodate stage visuals and dramaturgical direction.
Tempi given are only guidelines, depending on the direction, dramaturgy, and the acoustic and dimensions of the stage and auditorium.
All sounds and attacks are laissez vibre unless a dampen symbol is given.
Vocalists
Quartertones – a timbral and expressive function, need not be exact.
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Sprechgesang/spoken
Air/projected whisper. Both In and Out , very focused with clear vowels
Relative “pitch” of sprechgesang changing across range. When in unpitched clef, pitch of sung lines are relative.
Open mouth
½ open – fxed jaw (still), almost closed teeth; when loud a ventriloquist effect and when quiet a gentle hidden murmur. Still attempting extreme articulation.
C losed mouth. When loud, force the words against closed lips.
In quiet sections, e.g. Scene 1 Act 1, K, although the mouth is closed see the jaw moving, seeking comprehensibity despite all! Language rising out of the body. On In and Out - In can only be spoken or on a ½-fry.
+ Hand tightly over mouth. Passages are spoken with a quasi-amplified dark timbre. Speak/shout forte against the palm of your hand. Sounding piano, like a weird morse-code.
o sff Explosive! Remove hand suddenly far from mouth on underlined syllables.
+ In quiet sections, e.g. Scene 1 Act 1, K, although the mouth is closed see the jaw moving, seeking comprehensibity despite all! In and Out. ‒ In can only be spoken or on a ½-fry
Recitation
Text articulation throughout should be very clear and exaggerated. See stage directions for characterisation.
All words and vowels are with English pronunciation, in keeping with the libretto. Additional text may be given in brackets, should time allow. Minimal instructions for each text excerpt are shown in the score.
slow In rhythm indicated (follow syllables), moderate underlined words show accents and tenuto. fast
Oscillation between indicated techniques; dynamics, mouth position, recitation speed etc.
Perc. Minimal airstream with extreme articulation Front of mouth extreme articulation, hard sf accents for attacks, and very expressive; hear teeth, lips, spit and tongue, bring out v, f, s, sh, qu, ch, b, k, t, etc. with hardly any air- stream.
ISSUU Version For perusal only
whisper Whisper text as for Perc., adding more air for clearer fricative consonants and vowels bringing out sh, s, th, v, w, qu, ch and vowels.
1/2-whisper Add some low chest voice.
½- fry ½- whispered very low with chest voice and adding some “fry” at the back of the throat and low in the jaw to give body and projection to the sound (think quasi-Voldemort) Extreme articulation!
In Spoken and sung on an in-breath – take care when spoken, keep it low.
Out On out-breath
Out + In – integrate in-breath within the given recitation. Make the in-breath heard when the Out-breath is completely exhausted.
CH Smooth “air” with shadow of pitch centre. German “ch” sound, changed by mouth cavity’s shape; very open mouth, fat tongue towards back of throat: o ® i =from back to front; dark to light.
a ® i Bring out timbral transition of vowels - explore shape of mouth und use nasal resonances.
[n/i/a] Scat syllables – a fluid murmuring. Phonetics in brackets – adapt freely to surrounding text and to timbre.
Sung
M.V
Scat words in regular rhythm slow to fast. Bracketed text should be looped at indicated rate syllabically, underlined syllables are clearly emphasised.
Accents in unmeasured recited passages – the underlined syllables show where accents fall.
Classical trill at tightest possible interval.
Montiverdi ‘Box’ Trill, bubbling at the back of the throat (on same pitch).
Smorzato – articulation with diaphragm gradually morphing into tight M.V trill.
½-air at passagio, fragile and quasi- collapsed, without pressure – sempre senza vibrato
vib.
p.vib
n.v
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Rolled “r” at front of mouth, directly behind teeth. Almost closed mouth. Alternatively, depending on context, a “R” gentle roll in throat.
Vibrato only where indicated, otherwise minimal/no vibrato (pure sound). Voice will naturally expand with vibrato in higher/louder points. poco vibrato non vibrato, cancelling in quick succession
acciaccatura – before the beat appoggiatura – on the beat
Quasi- yodel, from head to chest voice.
Quasi- yodel, from chest to head voice
Either a gentle continuous yodel, slackening vocal chords and allowing the pitch to oscillate freely, or a fuctuating , expressive glissando gradually moving downwards.
Molto vibrato, dirty and wild, or a tight yodel-like fuctuation within a small range.
Lament-like. Tenuto beginning and gentle molto espressivo glissando. Dark.
Solo
Instruments
2 Korgs doubling small Synthesisers and Grand Pianos in Act 3
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Two analogue Korg BX3 double-manual drawbar organs.
- high quality local amplifcation in orchestra pit, plus sub- woofer speakers and full auditorium amplifcation for Act 3 Prelude and during the audience admittance to the hall.
- a magnetic sensor volume pedal (e.g Lehle Stereo Pedal without buffer or Poti) is recommended.
Check balance between individual keyboard instruments and manuals (volume treble/bass/overdrive).
Actual sounding dynamic are given in the score, which may require some adjustment with drawbar settings (higher setting are naturally louder).
e given pre- sets on the Korg may be used if helpful.
All new settings are underlined throughout. At times RH plays both manuals, while LH changes settings or plays.
Manuals
Clusters are always chromatic. A block (or similar object) may be used occasionally to sustain clusters while settings are changed.
e following settings are separate for both manuals:
Draw bar settings from 0 to 8 correspond to the draw bars
Gradual change of setting with end of arrow showing arrival point at new setting
¼ Pitch is bent with dial from ¼ below to ¼ above written pitch approximately – be aware of beatings and embrace them. Natural sign represents standard tuning.
overdrive either maximum, ½ or OFF
vib. Vibrato – V I, V II, V III
Chorus – CH I, CH II and CH III
Shared by both manuals:
Rotary Rotary settings are either Slow or Fast
Synth
A small Synth is placed on Korg 1 + 2, played in Acts 1 and 3
ree kinds of White and Pink Noise. Explore; high, complex, inner motion. Hear the sound mutating from one type to another.
Pianos
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Korg Players exit the orchestra pit after the Prelude to Act 3 and go to their positions on stage. Two Grand Pianos appear onstage during Act 3.
Pianos play Modules 1a + 1b and Lied 1 + 2 with S and A
Grand Pianos need a 3rd sostenuto pedal with their lids removed. Soft fngerless gloves are recommended.
Sustain with 3rd sostenuto pedal
Silently depress keys and hold with sostenuto 3rd pedal.
White key or black key clusters.
Chromatic cluster, with outer pitches denoted.
Glissandi are always clear and continuous. e starting note shows the “melodic” attack.
a)White Key
b)Black Key
c)Chromatic
e piano chords follow a melodic line marked by tenutos – this is a melody! Bring out the melodic tones at the top or bottom of clusters and glissandi.
Electric Guitar
Player requires:
ISSUU Version For perusal only
hard plectrum, 2 metal bottle-necks, E-Bow (Plus), sensitive excellent Volume Pedal (e.g. Lehle Stereo), Wawa pedal, Chorus pedal, polyphonic octave generator (e.g. POG 2 from Electro-Harmonix), Ring Modulation generator (e.g. Moogerfooger), optional distortion pedal
Two general instructions are given to determine timbre.
Set up palette to contrast as strongly as possible using pre- set pedals: treble, bass or normal settings; clean (bright) or overdrive (lead-overdrive/distortion).
Pedal pre- sets are necessary throughout.
Changes are underlined before a new entry.
In Act 3 the Electric guitar has a solo, Module 6
Each entry is numbered with a timecode.
Pick out a harmonic from each string. Use pitch transpositions to create different waves of sound. e whammy bar can glissando the chord down gradually or in clear steps. is is very free - listen!
General
XII Fret. String. 3. Finger.
Plectrum (ossia: nail) Dampen strings (secco).
Coil Coil 1. = pick-up nearest to bridge, and Coil 2. = pick-up near sound-hole: approximate indication, as many e-guitars have 3 coils.
Straight fnger strikes strings barré at mid-point between pickups.
Attack: as fast as possible all strings with nail, plectrum or MBN end.
Lightly dampen strings before RH attack with LH or LH-arm.
Harmonic barré chord within IV (and X) fret. Release LH fnger immediately for resonance.
Metal bottle neck (MBN)
MBN hits all strings 1.-6. together (barré), unless otherwise stated. (e.g. 1.-4.)
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Diag. When used to strike barré at coil 1, or coil 2. positions, MBN is more diagonal than perpendicular to strings, for distorted and complex sound.
MBN barré at very high overtones between Coils
Regular vibrato with MBN within the fret at given rhythm.
MBN fautando: MBN held very lightly on the strings for light distortion /vibration.
A constant glissando from one fret to another (MBN), also to Coil 1 or Coil 2. For big expressive glissando gestures, exact frets less important than the contours and shaping of the gesture.
Alternating RH and LH MBNs, very close together between Coils – only the top halves. High clear rhythm.
-1,-2 Octave transposition. E.g., POG 2 from Electro-Harmonix, a polyphonic octave generator, with a Pass function. Use presets for the given combinations.
+22, 23, 24, 25 semis Semitone transposition. Up to four combined transpositions must be possible.
Ring Mod.
ere are two settings. See graphic below for main Setting 1. Setting 2 takes half- values.
Wawa 1. – 6. Wawa pedal from 0% to 100%
ISSUU Version For perusal only
High electric buzzing– harmonics come and go (see Act 3)
e-bow E-Bow sounds without an amplifer - add a Volume Pedal as necessary to achieve written dynamic. Top stave shows string and single tone picked out by the E-bow Bottom stave shows the LH frets.
Behind is sound occurs several times during Lash (e.g. in Scene 1 of Act 1). With different e-bow octave settings. E-Bow is in harmonic mode and is placed on the fret and string indicated behind the barré MBN
MBN moves from XII (sounding octave above open string) to XI and XIII giving a detuned double- stop, +7th & 8ve (XI) and -9th & 8ve (XIII).
As MBN moves to IX specifc tones are obscured by wide spectral sound. Use Chorus speed control via an expression pedal to bridge the gap and keep sound continuously in transition Very explorative, take your time!
RH umb RH fesh of thumb on 6th- string rub quickly back and forth to the right of the soundhole by the bridge. Flautando. Beautiful special timbre.
OFF/(mp) Volume pedal turned off between gestures or strings are secco, as shown. Where necessary dynamic of RH and LH are written separately from volume pedal in brackets.
Silent Actual initial attack not heard (VP off ).
Whammy
Whammy glissando after chord played according to graphics.
RH vibrato with whammy bar – from a very free wide amplitude to tight regular vibrato.
E-bow on 6th- string at indeterminate low pitch, ca. one octave down - string must be very lax but tight enough to generate sound with e-bow. E-bow starts near SP, starting note little earlier and a little higher if necessary.
Orchestra
All Instruments
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Quartertones serve a timbral and expressive function and need not be exact.
vib. Vibrato should be minimal/none by default
m.vib molto vibrato, very expressive
p.vib poco vibrato, subtle
n.vib non vibrato, cancels out in quick succession
Crescendo from or diminuendo to niente
acciaccatura – on the beat
Winds and Brass General
appoggiatura – before the beat
Fluttertongue
Bisb. Bisbigliando (Bisb.) – same note trill with strong timbral contrast slow in indicated rhythm medium
espr. fast
Espressivo – with an expressive vibrato
Glissando – always smooth as possible
2 Flutes (doubling Bass Flutes and Piccolos)
A family of four noise based techniques:
Overblow on lower fngering, aiming for highest overtones – some pitch.
Overtone glissandi, both up and down the spectrum of given fngered pitch – noise! With and without futtertongue
Jet whistle into instrument covering full overtone spectrum, changing fngering midway – air and noise!
Oboe
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Spatial Notation is used in Act 3 for Module 2. Numbers above bar refer to seconds (approximate), duration is dispersed freely during bar.
Four multiphonics in Module 2 of Act 3:
Numbers in brackets refer to the Veale/Mahnkopf Techniques of Oboe Playing (Bärenreiter).* Refer to this source for further information regarding the multiphonics and for alternate/bisbigliando fngerings. Soft, pliable reeds are most suitable for the delicate multiphonic sounds
* For further advice, please contact the composer.
Oboe exits orchestra pit at end of Act 2, moving to spatial position for Module 2 at end of Act 3.
4 Clarinets in B- (3 & 4 doubling Bass Clarinet in Bb) And Contrabass Clarinet in B- (doubling Clarinet in Bb 5)
air sound – some pitch is heard.
Clarinets 1-4 exit orchestra pit at end of Act 2, moving to spatial positions for Module 3 in Act 3 ‒paired Cls 1+3 and Cls 2+4.
Tenor Saxophone air sound – some pitch is heard.
Multiphonics:
Squared numbers refer to the Weiss/Netti Techniques of Saxophone Playing (Bärenreiter).* Refer to this source, as well as the online resource provided by Bärenreiter, for further information regarding the multiphonics and alternate/bisbigliando fngerings.
* For further advice, please contact the composer.
Saxophone exits orchestra pit at end of Act 2, moving to spatial position for Module 4 at end of Act 3.
Horns
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For perusal only
open
stopped/closed con sord. with (horn) mute
½ - stopped senza without/remove mute
Trumpets and Trombones
Each requires a wawa , cup and straight mute
Trumpet 1 also requires a harmon mute - remove stem of wawa mute.
open
C hange hand position in front of the wawa closed
futtertongue
Glissandi always as smooth as possible
Trumpets only
Mute/hand trill in clear rhythm
Quartertones are achieved by extending the 1st or 3rd valve.
[1 0 3] Shows fngering for a glissandi.
Glissando down as far as possible - harmonic spectrum (use half- valve)
HV Half- valve pitch
Spatial Notation is used in Act 3 for Module 2. Numbers above bar refer to seconds (approximate), duration is dispersed freely during bar.
Trumpets 1, 2 & 3 exit orchestra pit during Scene 8 Act 2 to go spatial positions for Module 2 in Act 3. Trumpet 1 in Upper Dress Circle and Trumpets 2 + 3 in Box to the left.
Percussion (Orchestral – 5 or more players)
ISSUU Version For perusal only
Five parts can be shared between more players. Depending on Percussion set-up, some instruments (i.e, Chinese Cymbals) can be shared between players. Most Ch Cyms require a sizzle chain in Act 3.
All sounds and attacks are laissez vibre unless a dampen symbol is indicated.
Note: D2 = D, D3 = d, D4 = d’, D5 = d’’, D6 = d’’’
Percussion 1
BD
MPs
M.Tom
L.Tom
H.Coils
TT
S.Cym
Tri.
Biscuit Tin
Alu Tubes
Guiro
S.Ratchet
Bass Drum – natural skin, double sided - with ick Bamboo tube fxed at Rim (ca. 70cm long/ 10 cm wide). Plus chain (thin sizzle chain) and Balls (5 hard wooden balls on string)
2 Metal Plates (fxed on BD in Act 2)
Medium Tom-Tom (wood replacing skin)
Low Tom-Tom (wood replacing skin)
2 Hung Coils – old metal; complex and resonant, without plastic coating
Large Paste Tam-Tam – with thin long sizzle chain
Small Chinese Cymbal
2 high Kolberg Triangles
Biscuit Tin – Large Aluminium Family Size biscuit tin without lid, with opt. amplifcation
5 Aluminium Tubes [F – G ] (soprano) – hung (with fsh wire)
Large long hard-wood open guiro
Small Ratchet (shared with Perc 2)
Percussion 2
H.Coils
F. Coils
Crotales
Timp.
Nico
BPs
Alu Tubes
M.Cym
Rins
S.Ratchet
In addition:
2 Hung Coils – old metal; complex and resonant, without plastic coating
2 Flat Coils – old metal coils, xed on Side Drum
5 Crotales (G+5-C6)
Large Timpani (30″/32″) – with chain
Bass Nicophone – fxed on side of additional Timpani
4 Bell Plates [D3, Eb3; F2, E2] – with foil
9 Aluminium Tubes [F – A] (alto) – hung (with fsh wire)
Medium Chinese Cymbal
7 Japanese Rins (G4, G+4, A4, Bb4, B4, E5, F5) – placed on additional Timpani
Small Ratchet (shared with Perc 1)
30″/32″ Timpani to place Nicophone and Rins on, and Side Drum for Flat Coils The Timpani are detuned at the pegs by about a third to a fourth for maximum resonance.
Percussion 3
BD
H.Coil
M.Tom
L.Tom
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Bass Drum – natural skin, double sided - with ick bamboo tube fxed at Rim (ca. 70cm
long/ 10 cm wide) – with chain (thin sizzle chain)
1 Hung Coil – old metal; complex and resonant, without plastic coating
Medium Tom-Tom (normal skins)
Low Tom-Tom (normal skins)
Blast Cym.
Alu Tubes
Bongos
S.Cym
M.Cym
L.Cym
Percussion 4
SD Nico
BPs TT
H.Coils
F. Coils
Rins
S.Cym
M.Cym
In addition: Percussion 5
BPs
S. Spr. Dr.
M.Spr Dr.
S.Cym
M.Cym
L.Cym
Wd Blks
2 Blast Bell Cymbals
9 Aluminium Tubes [B – D] (tenor) – hung (with fsh wire)
pair of Bongos
Small Chinese Cymbal
Medium Chinese Cymbal
Large Chinese Cymbal
Snare Drum
Bass Nicophone – fxed on side of additional Timpani
4 Bell Plates; shared with Perc 5 [A3, G#3, F#2, G2] – with foil
Large Paste Tam-Tam – with chain
2 Hung Coils – old metal; complex and resonant, without plastic coating
2 Flat Coils – old metal coils, fxed on Side Drum
7 Japanese Rins (F4, C5, C#5, D5, Eb5, F#5, G5)
Small Chinese Cymbal
Medium Chinese Cymbal
30”/32” Timpani to place Nicophone and Rins on, and Side Drum for Flat Coils
The Timpani are detuned at the pegs by a third to a fourth for maximum resonance.
4 Bell Plates; shared with Perc 4 [A3, G3, F+2, G2] – with foil
Small Spring Drum
Medium Spring Drum
Small Chinese Cymbal
Medium Chinese Cymbal
Large Chinese Cymbal
3 Woodblocks (H, M + L)
Temple Blks 2 Temple Blocks (M + L)
Marimba 5 Octave Marimba
Guiro Large long hard- wood open guiro
CTD Child Talking Drum / small Waldteufel
Spatial Percussion (4 Players)
Act 2 – onstage
ISSUU Version For perusal only
4 BDs 4 very large natural skin Bass Drums (double sided) – with sizzle chains and ick bamboo tube fxed at Rim (ca. 70 x 10 cm)
Act 3 – in Auditorium
Spatial Percussion 1 (Module 4)
Alu Tubes 7 Aluminium Tubes [A - D]
Spatial Percussion 2 (Module 2)
Alu Tubes 6 Aluminium Tubes [F – G ]
H. Coils 2 Hung Coils
Rins 4 Japanese Rins (F4, G4, G#4, A4)
Additional: Medium Tom-Tom to place Rins on.
Spatial Percussion 3 (Module 4)
Ch. Cym Medium Chinese Cymbal
Ch. Tam-Tam 2 Chinese Tam-Tams (small, medium)
Spatial Percussion 4 (Module 7) – optional
Rins Several Rins, bowed
Hard plastic (glockenspiel) beaters
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Rubber handles of Kolberg triangle beaters
Medium felt beaters (e.g. Marimba beaters)*
Soft bell plate beater
in light triangle sticks
Large fuffy bass drum beaters, also for low Marimba p/pp sounds.
ick snare drum beaters
arco Double bass bow (well rosined)
Large-headed Superball mallet
Small-headed Superball mallet
Kolberg triangle stick (metal centre)
Soft felt beaters
Knitting needles
Hard wooden square hammer (Kolberg 843H or similar) is can have a very thin covering.
Small- headed brass beaters (BPs)
Ordinary Bass Drum beaters
Round-headed large wooden beater, can be with thin leather covering.
Wire brushes
Grass – dried, bound in middle
Brush Small brush with very soft natural bristles
Rin Beater additional Aluminium Tube for striking all Alu-Tubes
* For Nicos and Coils these can be medium gong beaters for deep tones.
When mallets are not indicated (i.e – Wood and Templeblocks, Bongos etc.) choose a classic mallet depending on context. or
Percussion Techniques
All attacks, especially on metals, should be laissez vibre unless a dampen sign is given.
+ chain
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Continuous trill/roll
BD, Tom-Tom or Timpani:
Slow dragging of superball mallet over drum skin
Seek a melody ! Luminous and eerie at softer dynamics; bring out distortion at f/ff
Tam-Tam:
Drag superbal l beater, slowly and careful ly over surface of seeking a melody - beautiful and explorative.
Drums
Very thin and light ( e.g. sizzle) chain on surface of BD, Timpani* and Tam-Tam for pp high trilling and ff distortion. Deep resonances heard.
* Timpani ossia : place chain in an empty 500g coffee can
Brushing action back and forward in clear regular rhythm on SD or TT surface.
Scrape or swish across surface (or rim) of Cymbals, TT, Nicophone (rills) and Guiro
Dampen instruments, follow numbers for order of BPs
Bend resonance of Rins and Nicophone in given rhythm with Timp. Pedal. Always with a natural diminuendo.
Spatial Notation is used in Act 3 for Module 2. Numbers above bar refer to seconds (approximate), duration is dispersed freely during bar.
BD + Rim Thick bamboo tube ( ca. 70 cm/10cm) that replaces rim.
Contact points on snare drum stick (a.) = tip, (b.) = mid-point; When sf/sff play at (b.).
+ balls Thick wooden balls on a string placed on surface of BD. Similar principle to chain. Let them rattle against the surface during superball dragging.
Roll /trill lightly on skin very close to rim of BD or Timp. Gradually move from edge to centre of skin, bringing out high overtones.
Timpani only: detuned at pegs by about a third. Use pedals to glissando between highest and lowest sound (circa 1 octave). No pitches given.
Free pulse over given duration from slow to fast.
Metals & Miscellaneous
TT Large Paste Tamtams ca. 110-140cm diameter.
ISSUU Version For perusal only
Contact points:
1. Centre.
2. Immediately beside centre
3. Large smooth central zone
H. Coils
F. Coils
Cymbals
BPs
+ foil
4. Ridged outer area
5. Edge of Tam-Tam.
2 old car springs without plastic coating, suspended. Special, complex, long resonance.
2 coils of different sizes and timbre, without plastic coating
Lay flat and fix on a Side Drum on small pieces of black expanded sponge rubber or dense polysterene (Moosgummi) for maximum long complex resonance.
ossia: in loud passages heavy triangle beaters (M) can replace hard plastic ones (P).
All Cymbals used – aside from Blast Bell Cymbals – are Chinese Cymbals. Large very complex and resonant suspended cymbals can be used as an alternative.
Large resonant bell plates, preferably old or Kolberg and not aluminium – hung.
Percussion 2:
Percussion 4 (Act 2+3) Percussion 5 (Act 1):
All BPs require a small sheet of tin foil folded over top edge. When attached, creates varying degrees of distortion: pp/p subtle trilling, f/ff noisy buzzing – always with long resonance.
Two contact points:
a. centre/low – low deep bass tone (default)
b. top half – higher partials and complex spectrum
Nicophone Perc 2 & 4: Large Bass Nicophones fixed above/across the additional Timpani surface
Placed on very small pieces of black compressed rubber (Moosgummi) for long complex resonance.
3 contact points:
1. Slat (L)
2. Guiro -like Rills
3. Slat (R)
Glide continuously with triangle beater (both sizes) along rills of Nicophone, increasing/decreasing speed over indicated duration.
Rins Placed on the additional Timpani for maximum resonance and pitch fluctuation:
Percussion 2: Percussion 4:
Spatial Perc 2 also has Rins placed on a standing medium Tom-Tom (see below).
Guiro Large, hard-wood, open and loud guiros. sff always played with heavy metal triangle stick.
Marimba A large 5-octave Marimba is required
ISSUU Version For perusal only
Fast repeating pattern in lowest register with very large fluffy bass drum beaters for a beautiful and blurred single sound. In Act 3, this pattern is repeated in an ascending/descending ‘wash’ across given range
Alu Tubes Percussion 1, 2 & 3 and Spatial Percussionists 1 & 2 have sets of microtonal Aluminium Tubes. These are hung with thin plastic thread, e. g fish wire.
There are 2 kinds of notation shown below
Percussion 1
Act 2: unpitched stave (1-5) = (see below for pitches)
Act 3: pitches shown
Percussion 2
Act 1 & 2: unpitched stave =
Act 3: unpitched stave (7-1) =
Percussion 3
Act 1-3: unpitched stave (9 -1) =
Written at pitch for Spatial Percussion 1 & 2 in Act 3:
Spatial Percussion 1:
Spatial Percussion 2:
Strike all Alu Tubes with additional Alu Tube
Glide across indicated number of Tubes with beater
Play near top of Tubes to achieve harmonics (Act 3 – Spatial Perc 1)
Note: Aluminium Tubes and Nicophones can be purchased/hired from Domenico Melchiorre <www.lunason.com>, or from the composer <info@littlebit.eu>.
Chinese Tamtams and Chinese Cymbal (Spatial Percussion 3)
1 Large Chinese Cymbal and 2 f lat light Chinese Tam-Tams, medium/small and medium – hung e.g. Kolberg “Chinese Tam-Tam / White Gong”
Contact points, see Module 4 part for further information.
ISSUU Version
Harp
Sempre laissez vibre unless a dampen symbol is given.
For perusal only
Lowest two strings are scordatura:
Pedal changes are indicated throughout the score.
e harpist requires two hard plectrums.
Glissandi between indicated range
Fast swipe with plectrum on strings
Swipe in opposing directions with both plectrums
Strike with Palm (RH)
Strike with Palm and mute in rhythm
Strike indicated lowest strings with Bass Drum mallet (LH) – approximate pitches within ca. a third.
Button Accordion
Button accordion with two manuals, MI, MII/MIII.
ISSUU Version For perusal only
e accordion should have the low contrabass and piccolo top octave on both manuals.
Range of MI + MII/MIII:
Use MI chin registers for subito register changes.
Written at sounding pitch. Where there are octave pitch combinations from registers/stops, the lowest octave is notated. Re-distribute chromatic chords between MI and MII as necessary.
For contra and piccolo octaves play unison on both manuals for more volume if necessary. If registers for both manuals are given for one chord, then double the single chord where possible.
Accents always at maximum dynamic sf/sff
A chromatic cluster outer tones included.
Chromatic cluster extra wide using palm diagonally on buttons in given range. vib senza vibrato unless otherwise stated.
Beats! Gently half-depress button (M1) to lower tone by ca 1/4- tone. Bring out beats between the tones.
1-by -1
Gradually depress for gentle start, as if from nothing.
Single tones of cluster emerge one-by -one with crescendo and disappear one-by -one with diminuendo.
BS Bellows shake - fast tremolando
Fast repetitive figures within given intervals, each hand aims for 2 notes at a time, and LH/RH different rhythms. A blurred image.
Many bellow changes! Generally change bellows as often as you need for given dynamics.
Strings
Violin 1 (8 – with solo part in Act 2 Scene 9 and Act 3)
ISSUU Version For perusal only
Violin 2 (8 – with solo part in Act 3)
Viola (8)
Violoncello (8)
Double Basses (6)
Solo Violin 1 exits orchestra pit during Act 2 Scene 8 to spatial position for Scene 9 with solo voice. Solo Violin 1 and 2 go to shared spatial position end of Act 2 for Module 5 (Violin Duo) in Act 3
All double basses have V string scordatura as follows:
Accents are always biting, hard-edged sf
Tenuto and accents automatically indicate a bow change.
Change bows on long notes freely and as often as you need.
s.t sul tasto
s.p sul ponticello – pp/p bring out overtones; f/ff sound towards distortion.
½ s.p faut. Flautando blow stroke at sul tasto – foating , fute-like sound.
Highest pitch on fngerboard on indicated string(s).
Glissandi up to highest pitch of string
Expressive Brahmsian vibrato pulse at the beginning of note.
Molto vibrato left-hand movement with a wide glissando within the given interval.
Bow behind the bridge on given string. Delicate and fuid. Pitch varies from one instrument to another.
Overpressure clicking with very slow bow over course of duration
Bartok pizz. on notated open string, ½-damping all strings. Extremely loud
Double Bass and Violoncello
A double sound: Left-hand Pizzicato on the notated string and immediate Battuto attack with the bow to damp the string – Hear the wood of bow. Loud and dramatic! Double Bass: alternatively choose IV or V, whichever is most effective on your instrument Batt.
ISSUU Version
Harmonics
For perusal only
Natural harmonic trills sempre sul pont. – always very fast, regular and quasi mechanical. Layers of very high overtones! Playing position notated in score. Lower fnger (blacked out) stays on harmonic with upper fnger trilling (white). Keep both fngers very light on string.
Fast regular rhythmic harmonic fnger patterns always on the one string – no string crossings! In patterns of four and six.
Black harmonic notehead = fnger 1, depresses harmonic throughout. White harmonic note heads = upper fngers, released immediately. Keep both fngers very light on string. sempre spiccato, sempre sul pont. Spiky and hard-edged.