Hodkinson THE COASTLINE PIECE III WEST

EDITION WILHELM HANSEN WH32165

Juliana Hodkinson

THE COASTLINE PIECE III: WEST FOR AMPLIFIED ENSEMBLE AND SOUND FILES FOR STEREO PLAYBACK

(2014)

Score

THE COASTLINE PIECE III: WEST For amplified* ensemble (oboe, bassoon, horn, percussion, violin, viola, cello) and sound files for stereo playback** -without conductor.

The Coastline Piece III: West was commisioned by Esbjerg Ensemble and Klangspuren Schwaz, for performances at Vadehavs Festival, Klangspuren and Wundergrund Festival in September and October 2014.

The commision was supported by Esbjerg Ensemble, Klangspuren and the Danish Arts Foundation. Thanks are due especially to Katrine Ganer Skaug and Esbjerg Ensemble, for initiating The Coastline Pice III: West.

Audio mastering by picaroMedia; playback patch programmed by AndrĂŠ Bartetzki. * **

light dynamic amplification is required on all ensemble instruments, to balance the mix of live and sampled sounds; in bars 40 - 105 the amplification of the percussion’s 'sea-objects' set-up should be given special consideration. a quadrophonic version of the sound files may be available from October 2014 - contact the publisher for more information.

Instrumentarium One of the musicians uses a footpedal to trigger all the samples. The sample cues are included in all individual parts, so any of the musicians may adopt the footpedal part.

Violin, viola and cello use additional resinless bows (for bowing on wood of instrument), and the cello also uses a superball mallet on back of instrument. At the end of the piece, the cello detunes C-string down to E. For percussion instrumentarium see below.

PERCUSSION INSTRUMENTARIUM Wooden bucket, half-filled with water Small plastic bottle Fishing reel Bundles of shells in fishing-net or similar, to drape over pebbles -they are used for stepping on, so new shells are needed for each performance.

Wooden boards or planks, unpolished Wooden stool or bench (or place wooden planks across timpanum during the section bar 40+) 20+ pebbles, c. 10cm diameter Glockenspiel, and metal bar to be laid over all keys Small triangle Large triangle, with rich overtones Egg shaker Stirring xylophone Glass chimes Wooden chimes (preferably home-made, with rough wooden sticks) Shell chimes Timpanum 32" Cymbal for putting on timpanum Bow Mounted cymbal

Mounted cymbal Very soft mallets Soft sticks Medium soft sticks Hard beaters Superball mallet Wire brushes Triangle sticks (two are needed)

Percussion - upper stave:

fishing reel

pebbles

LEFT FOOT on pebbles

shells in nest

RIGHT FOOT on pebbles

water in bucket

small Thai gong

egg shaker

stirring xylophone

shell chimes

wood chimes

glass chimes

mounted cymbal

large triangle

small triangle

Set-up: See under 'LEGEND - Percussion'.

LEGEND AUDIO: Depress footpedal, to trigger audio cue (no. of cue and duration as indicated) The thick line indicates the approximate duration of the sample in relation to the live ensemble’s notated music; the dotted line at the end indicates the approximate end of the sample OBOE: Diamond note-heads indicate a very quiet sound, in which air and pitch are unstably present and subtle noise-timbres may be explored Bar 7: punctuate end of note very precisely M or (M)

Allow multiphonic timbre to come through (or to come and go) Bar 215: remove mouthpiece and blow, inhaling and exhaling as notated (with consonents where indicated) Inhale Exhale

BASSOON: Multiphonic fingerings may be adapted.

Diamond note-heads indicate a very quiet sound, in which air and pitch are unstably present and subtle noise-timbres may be explored Bar 78: a diffuse multiphonic in which air-noise is predominent, which just one very thin upperrange pitch coming through irregularly and unstably Slaptongue Inhale Exhale HORN: Diamond note-heads air-sound - notated on a pitchless stave, the descending order indicates increasingly darker noise-quality Inhale Exhale Stop sound abruptly with a silent tongue-ram Slaptongue Hand-stop -rapid movement, creating irregular timbre PERCUSSION: Unpitched percussion is notated on the upper stave; pitched percussion is notated on the lower stave, alternating between treble clef (15va) for glockenspiel and bass clef for timpanum. In the section from bar 44+, the two planks are notated on the timpanum stave. They may be laid on a wooden stool or bench.

Movements that have no audible sound are notated in brackets.

The 'sea-objects' (planks of wood, pebbles etc.) are mainly used during the section bars 40-105 where they are to be arranged to be visible. This could be a second percussion station. At the beginning of the piece, half of the pebbles and the net of shells are in the wooden bucket of water; at bar 40, take them out and arrange them on top of the dry pebbles. Submerge the small plastic bottle in the bucket of water such that there is a small air-pocket - at bar 89, let a few bubble sounds rise from the bottle.

Mallets: Very soft mallets Soft sticks Medium soft sticks Hard beaters Wire brushes Triangle sticks (2 are needed) Bar 106: rub superball mallet in large circles on timpanum skin, exploring different points between the centre and rim; keep the movements slow, but vary pressure frequently, so that the sound has an internal dynamic; vary pedal position whistle a high pitch, as high as possible Planks: slide top plank horizontally towards you slide top plank horizontally away from you with one end lifted, slide top plank away from you

( )

lift one end of the top plank put down the lifted end of the plank, audibly

STRINGS: Bar 7(violin and viola), punctuate end of the note very precisely Bars 19 and 206, flurry of undefined microtonal steps with fingering as described In the section bars 40-105 and bars 127+, the five unpitched lines of the stave indicate the string / place to be bowed, in descending order: I, II, III, IV, waist. For the waist, bow - con crini or col legno tratto as indicated - on the waist of the instrument, as if it were a Vth string, All strings are totally damped with flat fingers, quenching all resonance.

Bar 78, stop bow dead on string, with slight extra pressure to 'bite' the string and quench its resonance strings and percussion: whistle as high as possible - it may be a fluctuating or split pitch, and if no pitch comes through, continue to whistle just blowing air smoothly molto sul pont.

position LH finger as high as possible next to the bridge, leaving only just enough space to let the bow run along. Let all sense of pitch disappear Avoid all typical pont. / tasto sounds, adhere to a 'grey' noise timbre Bar 215, using mouth and breath, inhale and exhale to the consonants notated Scrunch: explore individual, sparse scrunching sounds by grinding bowhairs between wood of bow an wood of the instrument’s waist

IV

Cracks: explore individual, sparse cracking sounds by moving bow millimetre by millimetre under high pressure at heel - the cracks come from the string slipping, not from the bow moving

LIST OF CUES AND SAMPLES Bar Type no.

22 Samples on

Cue Sample no. no.

Description

Duration

1

Shore 1

Sea sounds with gulls

76 sec.

49 Sample pedal 2

Shore 2

Waves lapping on shore

20.5 sec.

60 Sample pedal

3

Shore 3

Waves lapping, with discreet underwater sounds

76 sec.

75 Sample pedal

4

Shore 4

Waves lapping, quiet underwater; diving and surfacing

57 sec.

92 Sample pedal

5

Shore 5

Underwater bubbles

5 sec.

95 Sample pedal

6

Shore 7

Short bubble

1 sec.

96 Sample pedal

7

Shore 8

Surfacing from underwater

4 sec.

98 Sample pedal

8

Shore 9

Diving down

5 sec.

101 Sample pedal

9

Shore 6

Underwater bubbles

5.5 sec.

103 Sample pedal

10

Shore 8

Surfacing from underwater

4 sec.

105 Sample pedal

11

Shore 9

Diving down

5 sec.

106 Sample pedal

12

Gaza 1

Bubbles then collage

24 sec.

109 Sample pedal

13

Gaza 2

Collage starting with motor, ending with shots

16 sec.

112 Sample pedal

14

Gaza 3

Collage starting with shouting, ending with shooting

17 sec.

117 Sample pedal

15

Gaza 4

Collage starting with shouting, ending with motor

15.5 sec.

121 Sample pedal

16

Gaza 5

Collage starting with bubbles

27 sec.

126 Sample pedal

17

Gaza 6

Collage starting with shouting and shooting, ending with motor

12 sec.

130 Sample pedal

18

At sea 1

Quiet creaking and rough sea

55 sec.

146 Sample pedal

19

At sea 2

Creaking and rough sea

126 sec.

185 Sample pedal

20

Hurtigruten 1

2 Ship horns

43 sec.

194 Sample pedal

21

Hurtigruten 2

Ship at sea

15 sec.

196 Sample pedal

22

Fishing Boat 1 Steady motor, speed drops after 6.5 sec.

36 sec.

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WH32165 ISBN 978-87-598-3180-9