Five Unfinished Narratives VERSION

Five Unfinished Narratives

VERSION

For Saxophone, Trumpet, Piano, Violin, and Bass

Sean Harold 2015

Five Unfinished Narratives Score is in C Instrumentation: Soprano Saxophone Bb Trumpet -Harmon Mute Piano -Loose Metal (IE: keys), Playing Card, Soft Mallets, Styrofoam Block, SuperBall Violin Double Bass For ease of performance, mark the following nodal points inside the piano: 11th partial of G1 and 7th partial of E2 And mark the following strings inside the piano: A0, D1, and G1 Duration: Approx. 6’

NOTATION Arrows: Arrows connecting one technique to another (for example, ord. to sul pont) indicate a slow change over the duration of the arrow.

Harmonics: Harmonics in this piece are written as normal, but with the addition of a circled number that indicates the partial number of the harmonic. For example, 2 would be the second partial (the octave harmonic), 3 the third (octave plus a fifth), etc.

Microtones: Microtones are notated in two (simultaneous) ways: First, the cent deviation from 12-EDO is given above the pitch. Second, the ratio used to tune the pitch is given. For the latter, a dashed line connects the “fundamental” to the harmonic.

Microtonal deviations are not notated for natural harmonics. Microtonal deviations within about 5 cents of 12-EDO are not generally notated, except in specific instances.

Movement II Tablature (Styrofoam and Vertical Bowing): The second movement of the work is largely notated with tablature. This notation shows the general position of the Styrofoam or bow on the strings. Lower on the staff indicates closer to the tuning pegs or closer to the bridge, and higher on the staff is further away from the pegs or closer to the neck.

For the pianist, rub the Styrofoam on the lowest strings inside the piano.

For the strings, drag the bow vertically, as opposed to horizontally, over the strings between the bridge and the fingerboard. There should be absolutely no horizontality in the bowing, only an up and down vertical motion. This is best achieved by holding the bow in one’s fist and playing near the frog. The LH should mute the strings where indicated so that no definite pitch is produced.

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Using (rubbing) a block of styrofoam on the lowest strings of the piano, This is a non-pulsed technique. The general speed shown should be followed, but it is not exact.

The staff represents distance from the performer on the strings, wherein the top of the staff is as far as the performer can reach, and the bottom of the staff is next to the hammers.

Vertical bowing is playing the bow up & down the strings, instead of across them. The bow should still be held lengthwise across the strings, but the movement is vertical instead of horizontal.

Only strings II & III should be played, but all the strings should be completely muted with the left hand.

This is best done by gripping the bow firmly, and playing using only the hair next to the frog (well resined).

This is a non-pulsed technique. The general speed shown should be followed, but it is not exact.

The staff represents the space between the bridge and fingerboard, wherein the bottom of the staff is the bridge, and the top of the staff is the edge of the fingerboard.

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The multiphonic should be more pronounced the louder the given dynamic is (so that the overtones fade in and out as the sax gets louder / quieter).

Preferably a different multiphonic than the first.

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