Christopher D. Walker
Solo Piano for Percussion inspired by El Mar by Caitlin Ireland
Solo Piano for Percussion by Christopher D. Walker © 2012 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. “El Mar” © Caitlin Ireland. Used by permission. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law. TSPCS-31
El Mar (The Sea)
El mar es sin fin Con agua azul y clara a la vez Ambos una realidad y un espejismo Cuando uno trata de capturarlo En una memoria distante Está presente y consumido también Con un toque frágil, El mar cambia su comportamiento, Sus sensaciones El mar es un amante enjado Y un amigo consolador ¿Cómo entiende uno algo tan libre? ¿Como puede uno capturar la intensidad de algo que no puede ser controlado? Los ojos de mi amor son el mar Y yo estoy vadeando simplemente ortografía en esa agua Sabiendo que no puede capturarlo Preo gozando las ondas, no obstante
–Caitlin Ireland
The sea is endless With water that is both blue and clear at the same time It is both a reality and a mirage When one tries to capture it It is a distant memory It is present and consumed With a fragile touch The sea changes its form, It’s sensations The sea is an angry lover And a consoling friend How does one understand something so free? How can one capture the intensity of something that cannot be controlled? The eyes of my love are the sea And I am simply wading in this water Knowing that I cannot capture it But enjoying the waves nonetheless
Performance Notes 1.
All triangle-shaped noteheads indicate the highest and lowest notes possible within the specified internal piano section. Hollow noteheads are longer than darkened noteheads. 5" .25" 5" Ca. 25" L.H. 2. Two types of mallets are called for:
# ## & #
Piano
Δ∆ F
f
Note: The important thing about the rubber mallet is that it must be able to “grip” the strings as it slides the length (see item 3). This should produce an eerie, haunting sound.
··· ·
Wood side
··· ·
R.H.
··· ·
œ œ
3. Hollow square-shaped notes are used to indicate the motion of the mallet π head (both rubber and felt) being silently placed on the string(s), then run the # ? full # # #length from above the dampers to the end of the string. In section I of the piano, ° ° the distance is determined by the crossbeam. *! 4. Darkened square note shades with r.h. fingers are single, defined strokes. 5" 5" , , 20" Õ
.25"
8"
L.H. Õ ÕÕÕÕÕ Õ Õ Õ III ã ÕÕnotes All diamond-shaped Õare to beÕsilently depressed. Δ∆ P cresc. f ˙ F 6. –The top two staves are used for all internal sounds. ã I –––– 7. πThe internal sections of the piano are divided as illustrated below: ## · · & ##
V IV 5. III
≠≠ III p
L.H.
œœœœœ
œ ? # # # # œœœ œ (cont. °) U.C. *
I
4"
≠≠
√ 34 œ ˙ ∏ √ œ 34 œ œ œ °
····
···
Note: Since the internal construction varies considerably (the placement of dampers, crossbeams, strings, etc.), it is important that an instrument is chosen that facilitates *! the execution of all the various effects. Note also that a correctly 15" functioning sostenuto ≠≠ pedal is needed.
P , ≠ ≠
IV V
≠≠
cresc.
≠≠
,
≠≠
cresc.
# ≠≠
≠
≠≠≠ (F)
+ U.C.
III
–
–
L.H.
œœ
˙–ñ
œ –– œ œœœ Iœ –– œ
cresc.
≠≠
˙œ .
j œ œœœ œ œ .
j œ œœœ œ ˙˙˙
˙˙˙ ...
f
This example wouldœbe˙read as: Withœtwo soft felt mallets in the œ left˙hand, roll œ of the œpianoœ(I). Crescendo œ œ ˙ possible notes œ section . from any/all œ in the lowest niente to forte and gradually increase the roll speed over the length ˙ . of about œ 25 seconds.
13. Any motion across the staff, as represented by a line5"with an .25" arrow, should 7" be, L.H. Õ Õ ~~~ 20" Õ played from V the lowest/highest note in a given section(s) Õ ÕÕ ~~ forIVthe full~~~width ã ~ of the Õ up/down section. Follow the shape. Δ∆ ã III ∆ III
~~~~~ ~~~
&
4"
II
ã I
####
l.v.
III
43
~
# ≠
2"
Ca. 25"
~~~~
&
R.H.
°)
*°
12. The graphic notation of wavy lines represents the relative motion of the mallets. As the waves become closer together, the amount of struck notes Lento rubato 4" should increase. 34 &
~~~
(cont.
11. All boxed notes are to be repeated as many times as the performer feels necessary within a given time indication.
~~~ ~~~
? ####
···
10. The second partial harmonic is produced when the string is pressed at the octave node with the second finger œ ofœ left hand and plucked with right œ œ œ finger(s). This is most effective if the hand œ œœœœ comes off the node immediately œ œ œ œ œœœ œ œ œ œœ after œ the string œœœ is plucked.
F
f
P
should follow the basic direction. – – – –the– performer ––––– ≠ 14. –For– the– glissandi, I – the However, the length of – stroke and intensity of the motionãareI free to interpretation. f more! ƒ R.H. # ## · ··· ···& up# to ····the 15. Any aspects of the performance that are not explained are left performer.
··
··
∆
,
cresc.
~~~ ~~~
˙–ñTwocresc.soft felt mallets ã I ––––One rubber mallet L.H.
l.v.
ã & ≠slightly, depending on the 9. All time indications are approximate and may vary instrument, hall, and performer’s interpretation ofP the poem/music.
~~~~ ~
ã III
8. Accidentals apply to the bottom two staves as traditionally notated, indicated by the key signature. The top two staves are much more indeterminate. However, when following a change to treble clef, the given note is the note to 4"be played at the 3" written pitch. 4" 5" R.H. 2" 3"
·· ···
? ####
*!°)
(No
1/2
Level: Medium Approx. playing time: 5’00”
Solo Piano for Percussion Inspired by El Mar by Caitlin Ireland
&
####
? #### ã
V IV III
··· ·
(cont.
*!
˙
P cresc.
20"
5"
f
8"
∆ F
*! 2"
l.v.
4"
L.H.
œœœœœ
œ ? # # # # œœœ œ (cont. °) U.C. *
4"
≠≠ p
≠≠
P , ≠ ≠
≠≠
cresc.
≠≠
15"
,
≠≠
cresc.
# ≠≠ ≠
œ œ
≠≠ III ≠≠ ≠ (F) – – ≠≠
&
œ
œ
≠ P
2"
3"
l.v.
ã
œ œœœ œœœ
*° 4"
Lento rubato
43 43
· ···
œ œ œ
5" R.H.
√ 34 œ ˙ ∏ √ œœœ 43 °
+ U.C.
œœ
œ œ œœœ œ œ
˙ œ œ
œœ˙
œ ~~~
20"
~~
≠
V IV III
– – – – –
more!
œ˙ .
~~~~
j œ œœ œ ˙˙ œ ˙
j œ œœ œ œ . œ œ œ œ
œ
œ
––
– – – ––––– f
œ œ 5"
~~~~~ ~~~
#≠
.25"
· ···
°)
œ
œ œœœœ œœ
°
L.H.
III
œ
4"
~
&
,
· ···
ã I
####
,
with r.h. fingers
5"
œ œ π
œ œ œ
3"
~~~~
&
R.H.
··· ·
°
– ã I –––– π #### & ? ####
··· ·
R.H.
4"
~~~~ ~
ã I ––––
∆ F
f
cresc.
5"
~~~
˙–ñ
L.H.
.25"
L.H.
~~~ ~~~
ã III
Piano
5"
Ca. 25"
Christopher D. Walker
f
© 2012 Tapspace Publications, LLC, Portland, OR. (ASCAP) International copyright secured. All rights reserved.
ƒ
··· ··
R.H.
&
˙˙˙ ... ˙. ˙.
.25"
7"
L.H.
∆ F
··· ··
··· ·· *!
ã
2
Solo Piano for Percussion – Walker
,
ã III ∆ P
∆
25"
,
∆
cresc.
,
5"
f
ã I
# ## & # ···· ? ####
(No
&
··· ··
·
°)
1/2
3"
ã I
## & ## œ œ œ π ? #### œ œ œ (cont. °)
Full
œœœ
œœœ
o w P
œ œ p
œ œ œ
3"
4"
L.H. with fingers
··· ··
°
3"
4"
(No mallets)
faster + faster
∆ π
œ œ
&
,
5"
III ∆ l.v.
∆
Sost. ped.
pizz. w/ right finger
œ #œ
5"
,
L.H.
œ œ œ œ
R.H.
∆ ∏
π
* Divide string by pressing it at the octave node with second finger of L. h. while plucking the note with right finger
,
∆ p ∆
··· · *
,
5" l.v.
œ œ œ œ œ
*°
°
5"
o #w P
*
,60" ∆ ,
∆
, ,
becoming more distant
dim.
ñ
Sost.
*
TSPCS-31
www.tapspace.com