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LEWIS

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The Deformation of Mastery

for Chamber Orchestra

Full Score

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GEORGE LEWIS

ISSUU Version For Perusal Only

The Deformation of Mastery

for Chamber Orchestra

Full Score

Instrumentation

Flute and Piccolo in C

Oboe

Clarinet and Bass Clarinet in B-Flat

Bassoon

Horn in F

Trumpet in C (mutes: straight, harmon with stem, plunger)

Trombone (mutes: straight, harmon with stem, plunger)

Harp

Piano

Percussion

High and Low Bongos

Snare Drum

Floor Tom

Concert Bass Drum (32”) Timpani (29”, F2-C3) Castanets (hand)

Medium and Large Cymbals Sizzle Cymbal

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4 bossed gongs (A5, C5, Eb5, G5)

Medium and Large Tam-tam Vibraphone

General: Bow, sticks, mallets, brushes, Superball beaters, chopsticks, etc.

Violin I

Violin II

Viola

Cello

Contrabass

Symbols

s.t.: sul tasto (arco)

s.p.: sul ponticello (arco), normal pressure

c.l.b.: col legno battuto

m.p.: moderate bow pressure (some pitch)

bisb.: bisbigliando (in winds, timbre trill)

+ = closed plunger or harmon mute

B = quarter-tone flat

µ = quarter-tone sharp

m.s.t., a.s.t.: molto sul tasto (arco)

m.s.p., a.s.p.: molto sul ponticello (arco)

flz.: flutter-tongue

h.p.: heavy bow pressure (some pitch)

o= open plunger or harmon mute

Bb = three-quarter-tone flat

˜ = three-quarter-tone sharp

m.v.,m.m.v.: molto (molto) vibrato (normal speed, widest pitch range possible)

square or open noteheads: indicates air sound, growls, or other production of indefinite pitch

h.p.: heavy pressure (with some pitch, using approximate indicated pitches)

h.p. (no pitch): heaviest, pure noise (staff position not indicative of pitch level)

, multi, multiph: stable multiphonic sound on given note

Clusters in indicated register

Indefinite pitches in indicated register

Box notation: V = create Versions of immediately preceding passage

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Bow pressure specification (relative): high low

Vibrato: Should match the duration of the first note to which they are attached. Speed is similar to normal vibrato, but pitch range is much wider, similar to Korean sigimsae

very wide narrow accented fading growing “jeonseong” (grace note-like rise and fall in pitch)

General performance notes

voice grunt (winds): Use rough-textured voice and play at the same time.

glissando down with vibrato glissando up with vibrato accented vibrato

slap tongue: Produce percussive sounds with some pitch content, which may be indeterminate in pitch In brass, the technique is analogous to the flutist’s tongue ram.

smear: play with rough texture

air sound (woodwinds): Sharp, hissy breath textures are intended.

glissandi:

Short, leading toward an attack: Treated like sliding grace notes.

Short, trailing a note: Analogous to a short verbal shout.

Long, trailing a note: Should not exceed the total duration of the note. Follow approximate pitch curve.

Between notes: Follow approximate pitch curve.

irregular speed: Used with trills, bisbigliando and vibrato to produce non-uniform textures.

The score is transposed, in the customary way:

Piccolo sounds an octave higher than written

B-Flat Clarinet sounds a major 2nd lower than written

B-Flat Bass Clarinet sounds a major 9th lower than written

Horn sounds a perfect 5th lower than written

Contrabass sounds an octave lower than written

Specifications as to instruments, bowings, mutes, articulations, etc., are maintained until superseded by a subsequent specification, or by the “ord.” instruction. Accidentals carry through the measure. Trills are always half-step, and are executed with irregular speed, as with tremolos. Specified vibrato is always irregular, unstable, and non-synchronized.

Duration: 20 minutes

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Edition Peters

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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. Ba ch, 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.

Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu. In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20. Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage.

Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik. Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.

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