Dennehy THE PALE (10 PLAYERS) 56557

DONNACHA DENNEHY

APRIL 2003 (revised version, 28 July 2003)

The Pale For the Aurelia Saxophone Quartet and the Slagwerkgroepdenhaag Premiered by them at the Ijsbreker, 11 May 2003.

Copyright © 2003 by Music Sales Corporation (ASCAP) Rights administered by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved.

INSTRUMENTATION Saxophone Quartet (soprano, alto, tenor, baritone) Percussion Sextet PERCUSSION SET-UP IN DETAIL: I: II: III: IV: V: VI:

Vibraphone, 2 woodblocks, slapstick (pedal operated), high brake drum Vibraphone, Slit Drum, high woodblock, slapstick, 2 brake drums Bass Drum, Snare, Slit Drum, Low Cowbell Bass Drum, Tenor Drum, Snare, Low Cowbell, slit drum, Lion’s Roar (string drum) Tenor Drum, Snare, Low Cowbell, Slit Drum, high woodblock, slapstick (pedal op), 2 brake drums Tenor Drum, Snare, Low Cowbell, high woodblock, slapstick (pedal op), low brake drum, Lion’s Roar.

POSITION ON STAGE (important in terms of left-right placement): 3

1

2

4

5

6 sop

tenor L

|

alto R

bar

PITCH CONSISTENCY IN THE METAL INSTRUMENTS If possible, all the metal percussion instruments should be consistent in terms of pitch through the ensemble. For example, the high brake drum for player I should have the same pitch as the high brake drum for player V.

If possible, the metal instruments should be somewhere around the following pitches:

high brake drum

low brake drum (low) cowbell

NOTATION OF THE PERCUSSION PARTS. Apart from the vibraphones, all the other instruments are drawn from the set below, the notation of which remains consistent through all parts: Slit Drum

Snare Drum

(rim-shot) BassDrum

(snares off)

Tenor Drum

low cowbell

low

Brake drums

Woodblocks

low

high

high

Lion's Roar (string drum)

Slapstick

low

Explicitly, here is the subset from the above for each player: I: Vibes + woodblocks

low

high

slapstick

high brake drum

high

II: Vibes +

side

Brake drums

Woodblocks

Slit drum

low

high

high

low

slapstick

low

high

III: Snare Drum

Snare

Snare

Bass Drum

Slit drum

low cowbell

Snares off

(rim-shot)

low

high

IV: Slit drum

Snare Drum

Bass Drum

Tenor Drum

Snare

Snare (rim-shot)

Snares off

low cowbell

side

low

Lion's Roar (string drum)

high

V:

Tenor Drum

Snare

Snare (rim shot)

Snare (snares off)

Brake drums

Slit drum

Snare Drum

low cowbell

side

low

high

high woodblock

slapstick

low

high

VI: Snare Drum

Tenor Drum

Snare

Snare (rim shot)

Snare (snares off)

low cowbell

high woodblock

Lion's Roar

Slapstick

Low Brake Drum

SNARE & TENOR DRUMS The more military these drums are, the better. I know that the notation using a sharp for “snares off” is odd; however, I’ve chosen to use this sign for the sake of clarity. There is sometimes quite a bit of switching between snares on and off (and although the move to snares off is also designated in words), I figure that it helps to have an extra indication to that effect.

TEXTUAL INSTRUCTIONS Whenever, after a long passage involving a small group of instruments, a new instrument is added, a little textual reminder appears to ‘announce’ its presence, although it is already marked by the notation. The instruments there already are not announced by the text.

GENERAL NOTE TO ALL

Accidentals last through the bar unless otherwise contradicted.

PERFORMANCE NOTES MICROTONES

Where something may not be quite possible, aim for the closest thing.

Here’s a legend of the signs used: 3 quarter-tones sharp (i.e., a quarter tone sharper than an ordinary sharp)

1 quarter-tone sharp

1 quarter-tone flat (i.e., a quarter tone sharper than the ordinary natural version of the note) 3 quarter-tones flat q(i.e., a quarter tone flatter than the ordinary flat sign)

MULTIPHONICS ON THE SAXOPHONE ARE DENOTED BY A TRIANGULAR NOTEHEAD AS FOLLOWS: The multiphonic should contain the written note as its strongest constituent. In general the multiphonic should blend reasonably gently with the sound around it rather than sticking out too much.

If a decent multiphonic cannot be found, use some other means to colour the sound (such as your voice)

ARTICULATION

Unless otherwise specified, the normal articulation for the saxes is tonguing. Tenuto markings within a slur signify a kind of legato tonguing. Dotted slurs exist merely to show important phrase groupings. Ordinary slurs, of course, signify slurring!

Note for the saxes for the final section: The indications

“

1/4 tone lower till

*”

and

“

At pitch again

”

take effect from the start of the bar EXCEPT in the case where a bracket marks off notes from the rest, for eg., at bar 331.

Proper, and straight-faced

premiere 11 May, 2003. final revised version: 28 July 2003.

THE PALE 3

3

3

3

3

3

3

3

no Sax (L) in Bb

or Sax (L) in Bb

to Sax (R) in Eb

ne Sax (R) in Eb

Proper, straight-faced, and with a stiff upper lip medium hard mallets

Perc I

medium hard mallets

Perc II

Perc III

Perc IV (don't let it ring out too much)

Perc V

Perc VI

7

A

op Sax

en Sax

Alt Sax

ar Sax

7

A

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

-2-

13

op Sax

en Sax

3

3

3

3

Alt Sax

ar Sax

13

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

-3-

B 19

op Sax

en Sax

Alt Sax

ar Sax

B 19

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

-4-

25

op Sax

en Sax

Alt Sax

ar Sax

25

Perc I

Perc II

Don't play the parenthesised notes. These are played by your opposite number!

Perc III Don't play the parenthesised notes. These are played by your opposite number!

Perc IV

Perc V (don't let it ring out too much)

Perc VI

-5-

31

C

31

C

op Sax

en Sax

Alt Sax

ar Sax

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

-6-

D

37

op Sax

en Sax

Alt Sax

ar Sax

D

37

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

-7-

Heavily

43

E

op Sax

en Sax

Alt Sax

ar Sax

E

43

Perc I

Perc II

Perc III

Perc IV (snare rim-shot)

Perc V

Perc VI

-8-

F 49

op Sax

en Sax

Alt Sax

ar Sax

F 49

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

-9-

55

op Sax

en Sax

Alt Sax

ar Sax

55

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 10 -

G

60

op Sax If the top notes prove too high, transpose down an octave

en Sax

Alt Sax

ar Sax

G

60

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 11 -

65

op Sax

en Sax If the top notes prove too high, transpose down an octave

Alt Sax

ar Sax

65

Perc I

Perc II

Each accented attack should be hard (strike the edge not centre)

Perc III

Perc IV

Perc V

(slapstick)

Perc VI

- 12 -

70

op Sax

en Sax

Alt Sax

ar Sax

H

70

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 13 -

+

75

=

I

op Sax

en Sax

Alt Sax

ar Sax

I 75

Perc I

Perc II

Perc III

Perc IV

(woodblock)

Perc V (woodblock)

Perc VI

- 14 -

80

op Sax

en Sax

Alt Sax

ar Sax

80

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 15 -

J 85

op Sax

en Sax

Alt Sax

ar Sax

J 85

Perc I

Perc II

Perc III (structural layers combined)

Perc IV (with the snare of perc. 3)

Perc V

Perc VI

- 16 -

K 89

op Sax

en Sax

Alt Sax

ar Sax

K 89

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 17 -

93

op Sax

en Sax

Alt Sax

ar Sax

93

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 18 -

L 97

op Sax

en Sax

Alt Sax

ar Sax

Please try all possibilities to make this pitch shift.

If not possible, play equal tempered.

L 97

Perc I

Please try all possibilities to make this pitch shift.

If not possible, play equal tempered.

Perc II

Perc III

Perc IV (slapstick)

(woodblock)

Perc V (slapstick)

(woodblock)

Perc VI

- 19 -

M 103

op Sax

en Sax

Alt Sax

ar Sax

M 103

Perc I

Perc II

(slit drum (high))

Perc III (tenor drum)

Perc IV

Perc V

Perc VI

- 20 -

N 109

op Sax

en Sax

Alt Sax

ar Sax

N 109

Perc I

Perc II

Perc III

Perc IV (slit drum (high))

Perc V snares off

Perc VI

- 21 -

115

op Sax 3 3

en Sax

Alt Sax

3

ar Sax

115

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 22 -

P

O

121

Flatulently ugly (tenor should be slightly louder than rest)

op Sax 3 3

en Sax

Alt Sax

3

ar Sax

121

P

O

Perc I

Perc II (low cowbell)

Perc III

Perc IV

Perc V

Perc VI

- 23 -

127

op Sax 3 3

en Sax

Alt Sax

3

ar Sax

127

Perc I

Perc II

Perc III

Perc IV

Perc V

Perc VI

- 24 -

133

Q

133

Q

op Sax

en Sax

Alt Sax

ar Sax

Perc I

Perc II

Perc III

Perc IV 3

3

Perc V 3

Perc VI

- 25 -

3

139

op Sax

en Sax

Alt Sax

ar Sax

139

Perc I

Perc II (slit drum (low))

Perc III 3

Gradually bring out the bass drum the most

3

Perc IV 3

3

Perc V 3 3

3

(woodblock)

3

3

Perc VI

- 26 -

3

3

3

3

3

R

S

145

op Sax

en Sax

Alt Sax

ar Sax

S Wood and Metal

R

(woodblock) 3

145

3

3

3

Perc I

Wood and Metal (high brake drum) 3

Perc II

Perc III

Perc IV

Perc V 3

3

3

3

3

3

Perc VI

- 27 -

3

3

3

3

3

151

op Sax

en Sax

Alt Sax

ar Sax

151

GP

3

3

Perc I

3

(woodblock)

3

GP

Perc II

GP Perc III

GP Perc IV

GP Perc V 3

3

3

3

3

Perc VI

- 28 -

3

3

3

3

3

3

GP

T 156

Again, flatulently ugly. And, this time, especially arrogant

(with percussion 1 and 2 for this) 3

Sax

Sax 3

3

Sax

Sax 3

T 156

3

3

3

3

3

3

3

3

3

rc I

(slit drum (high)) 3

c II

c III

c IV

cV 3

3

3

3

3

c VI

- 29 -

3

3

3

3

162

U

162

U

Sax

Sax

Sax

Sax

rc I

c II

c III

c IV 3

3

3

3

cV 3

3

3

3

3

3

3

3

3

3

3

c VI

- 30 -

3

Lion's Roar (with the bar sax in all cases)

3

3

3

168

Like horns, in need of repair

Sax

Sax

Sax

Sax

168

rc I

c II

c III

c IV

3

3

3

3

3

3

3

3

3

3

3

cV

c VI

- 31 -

3

3

3

3

3

3

3

3

3

3

3

3

V 174

Sax

Sax

Sax

Sax

V 174

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

rc I

c II 3

3

3

3

3

c III

c IV 3

3

3

3

3

3

snares off

3

3

3

3

3

3

cV

3

3

3

3

3

3

3

c VI

- 32 -

3

3

3

3

3

3

3

3

3

3

3

3

3

180

Sax

Sax

Sax

Sax

180

3

3

3

3

3

3

rc I

3

3

c II 3

3 3

3

3

3

3

3

3 3

3

3

3

3

3

3

3

3

c III Lion's Roar c IV 3

3

3

3

3

3

3

3

3

3

3

3

3

3

cV

3

3

3

3

3

3

3

3

3

c VI

- 33 -

3

3

3

3

3

3

3

While this section is loud, be careful not to overwhelm the saxes.

W 184

Sax

Sax

Sax

Sax

W

While this section is loud, be careful not to overwhelm the saxes.

Wood and Metal

184

rc I

Wood and Metal c II Bass drum mf, slit drum ff

c III

c IV

cV

c VI

- 34 -

192

Sax

Sax

Sax

Sax

192

rc I

c II Now bass drum can be forte

c III

c IV

cV

c VI

- 35 -

X 200

Sax

Sax

Sax

Sax

X

Brake drum should be slightly quieter

200

rc I

c II

c III

c IV

cV

c VI

- 36 -

Y

208

Sax

Sax

Sax 3

Sax

Y

208

rc I

c II

c III

c IV

cV

c VI

- 37 -

3

3

3

3

3

216

Sax

Sax

Sax 3

3

3

3

3

3

Sax

216

rc I

c II

c III

c IV

cV

c VI

- 38 -

Z 224

Sax

Sax

Sax

Sax

Z 224

rc I

c II

c III

c IV

cV

c VI

- 39 -

aa 232

Sax 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Sax

Sax

Sax

aa 232

rc I

c II

c III

c IV

cV

c VI

- 40 -

pitch shift between 1/4 and 1/2 tone

240

Sax 3

3

3

3

3

3

3

3

3

3

3

Sax pitch shift between 1/4 and 1/2 tone

Sax 3

3

3

Sax

240

rc I

c II

c III

c IV

cV

c VI

- 41 -

bb 248

All tongued

Sax

Sax

Sax

Sax

bb 248

rc I

c II

c III

c IV

cV

c VI

- 42 -

cc

pitch shift between 1/4 and 1/2 tone

256

Sax 3

3

3

3

3

3

pitch shift between 1/4 and 1/2 tone

3

3

3

3

3

3

Sax pitch shift between 1/4 and 1/2 tone

Sax

Sax

cc 256

rc I

c II

c III

c IV

cV

c VI

- 43 -

dd

pitch shift between 1/4 and 1/2 tone

Ferocious and precise

264

Sax 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Sax

Sax

Sax

dd Ferocious and precise

264

rc I

c II

c III

c IV

cV

c VI

- 44 -

272

Sax

Sax

Sax

Sax

272

rc I

c II

c III

c IV

cV

c VI

- 45 -

ee 278

Sax 3

Sax 3

Sax 3

Sax

ee 278

rc I

c II

c III

c IV

cV

c VI

- 46 -

284

Sax 3

3

3

3

3

3

3

3

3

Sax

Sax

Sax

284

rc I

c II

c III

c IV

cV

c VI

- 47 -

ff 290

Sax

Sax

Sax

Sax

ff 290

rc I

c II

c III

c IV

cV

c VI

- 48 -

gg 296

Even faster

Everyone should exagerrate fiercely the difference between loud and soft here

Sax

Sax

Sax

Sax

gg 296

Even faster

Everyone should exagerrate fiercely the difference between loud and soft here

rc I

c II

c III

c IV

cV

c VI

- 49 -

302

- 1/4 tone lower till *

* At pitch again

- 1/4 tone lower till *

* At pitch again

- 1/4 tone lower till *

* At pitch again

- 1/4 tone lower till *

* At pitch again

Sax

Sax

Sax

Sax

302

rc I

c II

c III

c IV

cV

c VI

- 50 -

hh 308

Sax

Sax

Sax

Sax

hh 308

rc I

c II

c III

c IV

cV

c VI

- 51 -

314

- 1/4 tone lower till *

* At pitch again

- 1/4 tone lower till *

* At pitch again

- 1/4 tone lower till *

* At pitch again

- 1/4 tone lower till *

* At pitch again

Sax

Sax

Sax

Sax

314

rc I

c II

c III

c IV You may leave out the woodblock

cV

c VI

- 52 -

320

ii - 1/4 tone lower till *

* At pitch again

Sax

- 1/4 tone lower till *

* At pitch again

Sax

- 1/4 tone lower till *

* At pitch again

Sax

- 1/4 tone lower till * Sax

320

ii

rc I

c II

c III

c IV

cV

c VI

- 53 -

* At pitch again

- 1/4 tone lower till * 326

* At pitch again

Sax

- 1/4 tone lower till *

* At pitch again

Sax

- 1/4 tone lower till *

* At pitch again

Sax

- 1/4 tone lower till * Sax

326

rc I

c II

c III

c IV

cV

(snares ON) c VI

- 54 -

* At pitch again

- 1/4 tone lower till * jj

332

Sax

Sax

Sax

Sax

jj

332

rc I

c II

c III

c IV

cV

c VI

- 55 -

* At pitch again 338

Sax

Sax

Sax

Sax

338

rc I

c II

c III

c IV

cV

c VI

- 56 -

344

Sax

Sax

Sax

Sax

344

rc I

c II

Very soft fuzzy sticks

c III Very soft fuzzy sticks

c IV

cV

c VI

- 57 -

Donnacha Dennehy, final revised version, 28 July 2003.