Sediment [2018] - Timothy McCormack

Sediment [2018] for chamber ensemble

Commissioned by impuls . International Ensemble and Composers Academy for Contemporary Music, Graz/Austria Premiered at impuls 2019. www.impuls.cc

Written for Klangforum Wien.

instrumentation

bass clarinet [with metal can]

contrabass clarinet [with metal can]

baritone saxophone

bassoon [plastic/fberglass reed preferred]

trumpet [with practice mute & CD used as a mute]

trombone [with practice mute & square of cardboard used as a mute]

accordion

violin i [with practice mute]

violin ii [with practice mute]

viola [with practice mute]

cello [with practice mute]

double bass [fve strings]

time-space notation

This work utilizes a time-space notation in which events are presented spatially and proportionately in relation to other events, suggesting things like rhythm and duration without prescribing them. Though time is elastic and thus the duration is relatively fexible, the durational/proportionate relationship between events should not vary wildly. Grey lines parsing out evenly spaced intervals of approximately 9-10 seconds has been provided to aid the performers in visually retaining proportionate relationships throughout the piece.

beams and stems

As this piece is written in a time-space notation, conventional distinctions between note values (quaver, semi-quaver, etc.) have been replaced by pure spatial relationships between impulses. Thus, stems indicate velocity and value through their proximity to other stems. Beams indicate both phrasing and duration. If a beam is present, sound should be present [air should be fowing into the instrument; the bow should be traveling across a string; air should be moving through the bellows]. The sound/action indicated by the note head afxed to a stem continues through the beam until a diferent direction is given.

Action takes place either on a stem (simultaneously with an event) or of of the stem (delayed amendments to the information carried by that stem).

simultaneous action - even though it is visually of the stem, the concave upper attachment to this stem indicates that whatever is afxed to this stem is happening simultaneously with the information carried by the main stem. This is used in situations where there is not enough room on the main stem itself to contain all of the information necessary.

delayed action/arborescent stems - whatever is afxed to the arborescent stem branching of from the main stem takes place as a delayed action within the larger fgure. The information contained within the main stem remains and acts as the base upon which further amendments occur at points spatially indicated by the arborescent stems.

sound-world

The sound world of this piece should have an earthy sunkenness to it. Sounds and techniques that embed pitch within a heavy gauze of noise or interference populate the score. Performers should give intent focus to the noisy aspects of their material: the grain of the bow against the string, the dirt in the timbre of the bassoon multiphonics, the beating and interference within multiphonic dyads in the clarinets and saxophone, etc...

Note also that this piece is not particularly loud. Though many of the techniques [crunchy multiphonics, heavy bow pressure, etc...] typically suggest a louder dynamic, here they are often tempered by other elements [various mutes used across the ensemble, the slowness & placement of the bow, etc...]. The most common loud dynamic found in the score is forte, which, for this composer, does not signify something particularly loud. The generally quiet dynamic range should not come at the expense of tension or vitality in the sound. These sounds must be palpably charged with a sense of the physicality behind them, and the piece at large should ofer the sensation of hearing from the surface of the earth a subterranean and extremely turbulent geologic event.

The score is not written in C. All instruments are notated as transposed (both in the score and parts).

All string instruments play with a scordatura, and both fngered as well as sounding pitches are provided.

time - a note to the conductor

In previous unconducted ensemble pieces, I have worked with a time=space system which eschews things like tempo, meter, and discrete rhythms. In these pieces, the performers send and receive sonic cues to and from each other as a way of keeping coordination through the music, and time is encouraged to be felt rather than marked, elastic rather than measured.

Under a conductor’s baton, this quality of a felt sensation of elastic time should still be present in Sediment. Do not mark small units of time [do not show each second passing by] and do not broadcast through large gesticulations the passage of time or the coordination of the ensemble to the listeners. Though the score includes grey lines at even intervals, that does not mean to suggest a strict rigidity of marking time. As mentioned earlier, each ‘measure’ should take approximately 9-10 seconds, though throughout the piece, time can ebb and fow within and slightly around that.

Many extended passages may feel at times static, but there should always be a subtle churning turbulence to the air. Time moves slowly through this piece, but we should not feel that time is standing still; the listener should sense time and sound moving with a slow but impending intentionality.

Only when the symbol below is perched over a stretch of music should we feel that this perpetual movement has stopped, and that the sound is hanging, suspended, temporarily, above time. These passages should last a bit longer than they do on the page, existing outside the time/space proportion that the score otherwise posits.

program notes

In Sediment, sound material has become so impacted upon itself that all gestural energy has stopped, leaving a static, hazy residue that oozes slowly over time. The title references sedimentary rock, which is made of geologically distinct material which has fused together after being subject to processes of compression and constriction over the persistent weight of time. There is something foundational to the idea of sediment: drill into the earth and you will fnd this layer of striated rock beneath its crust, enveloping the core. In another sense, Sediment is a shy confessional; at once a disclosure and obfuscation of the things we carry for so long, they settle within us and become a part of who we are.

note heads

In this piece, note heads represent both sounding pitches and indicate fngerings or various fngering amendments from which any number of diferent pitches may result. As is explained below, some note heads indicate full fngerings as well as tone quality, while others indicate specifc keys [see mechanism diagrams, on the following page].

winds bass & contrabass clarinets

black note head - normal (full fngering = resultant pitch), normal tone production. Within a more complex fngering assemblage, this indicates the main fngering that is being modifed.

hollow note head/fngering amendment (subtraction). Remove the specifc key associated with that pitch from the indicated main fngering.

+ note head/fngering amendment (addition). Apply the specifc key associated with that pitch from the indicated main fngering.

fngering subtraction/addition trill - trill only the indicated key between open and closed positions as fast as possible for the duration indicated by the trill line. The speed of the trill is represented graphically through the degree to which the wave-line appears condensed. If two keys are bracketed together & followed by a single wavy trill line, trill those two keys together.

multiphonics

multiphonic - an M afxed to a stem indicates that the resultant sound should be a multiphonic. The strongest pitches within the multiphonic are given in small grey note heads to help isolate the correct sound.

small gray note head - indicates approximate resultant pitch and typically refers to the dominant pitch(es) within a multiphonic or gives further information as to which multiphonic is being made (since many multiphonics can be produced with the same fngering and rely on air or embouchure pressure to speak).

articulations

accent with the tongue (left) and with the diaphragm (right)

futter tongue (the action is termination marked by a bracketed stem)

acknowledgements: Heather Roche, Richard Haynes, Madison Greenstone, Carl Rosman

Both clarinetists insert a metal mute [metal can] into the bells of their instruments at measure 94, and these objects stay in the bell for the remainder of the piece. The metal cans should be able to securely stay in the bell without the aid of an adhesive. The clarinetists are encouraged to fnd a metal can that results in a high degree of rattling and distortion, even at low dynamic volumes.

special fngering amendments - some note heads indicating specifc keys are written in the shape of the key they refer to [ex: the trill keys]

tremolo - alternate between the two full fngerings of the pitches indicated or the two multiphonic fngering assemblages as fast as possible for the duration indicated by the zig-zagged line.

baritone saxophone

acknowledgements: Marcus Weiss

Multiphonic fngerings and pitches are given in reference to The Techniques of Saxophone Playing [Weiss, Netti]. From that book, the following multiphonics are used in this piece:

12, 29, 30, 35, 36, 49, 56, 53, 72, 99, 100, 103, 104, 105, 111, 113, 114 guide to fngering amendments - the connection between specifc pitches and specifc keys within the instrument’s mechanism:

spectral multiphonics - the behavior of a spectral multiphonic is indicated graphically via blue designs emanating from the pitch which serves as the multiphonics fundamental. This includes the approximate degree of harmonic saturation, its speed of development, its duration, and which formants within the harmonic spectrum are being highlighted. A gradient suggests that the spectral multiphonic is gradually faded in, typically already at its full harmonic saturation. In this piece, most instances of spectral multiphonics are isolating only very high, narrow formants. Some sounding remnant of the fundamental is expected, whether accounted for in the notation or not.

guide to fngering amendments - the connection between specifc pitches and specifc keys within the instrument’s mechanism:

bassoon

It is preferred that the bassoonist use a plastic or fberglass reed to perform this piece.

All multiphonics and multiphonic fngerings are the composer’s creation, using a Fox Renard Artist Model 240. All multiphonics in this piece are accompanied by a circled number. This number corresponds to an audio sample library recorded by the composer of these multiphonics. The multiphonic numbers also correspond to, and originated from, the multiphonics in the composer’s bassoon solo, BODY MATTER

Due to the sheer variety of multiphonics ofered by the bassoon, the following distinctions are made to the M attached to the stem of a multiphonic in the score so as to further describe the desired sound:

changing multiphonic - this indicates that a multiphonic is expected to change or vacillate between two or more distinct multiphonics as the result of the aforementioned shifting states.

intermittent multiphonic - this indicates that a multiphonic is expected to sound only intermittently, the sound vacillating between a multiphonic and a monophonic sound, often doing so somewhat unpredictably.

rolling multiphonic - a multiphonic which is centered around an audible pitch which seems to “roll” or beat with interference.

dirty multiphonic - an incredibly fat, dulled and timbrally distinct type of multiphonic in which the sound seems to be heavily encrusted with earth, dirt and rocks.

The above multiphonic delineations are also combinatorial: symbolic elements from each may be combined to describe the sonic and textural qualities of specifc multiphonics.

subharmonic - a special type of multiphonic which creates the illusion of pitches below the instrument’s lowest pitch. Though there will be interference, there should also be a clear presence of these low pitches.

Whisper Key - used in contexts which present a main fngering that would typically necessitate the whisper key, but is removed in this instance. Only added to a fngering if the removal of the whisper key is not self-evident (some fngerings contain amendments that obviously disallow the activation of the WK).

guide to fngering amendments - the connection between specifc pitches and specifc keys within the instrument’s mechanism:

this note head is used as notational shorthand for the full amended fngering being used at the stem immediately preceding it (a stem that is attached to the beam; not an arborescent stem).

the beam

The beam conveys information regarding the action of the mouth, lungs and embouchure (the placements of and pressures applied from each).

embouchure placement is indicated graphically with the beam in relation to an image of the reed. At certain points in the piece, the entirety of the reed will within the mouth.

air pressure above what is typically needed is indicated graphically via blue extensions of the beam.

embouchure pressure is indicated graphically through the thickness of the beam. The smaller the beam, the tighter the embouchure.

this amount of beam thickness (which the piece begins at) denotes a ‘normal’ degree of embouchure pressure a technique that requires a wide embouchure/thick beam may require not only a very slack jaw, but also an opening up of the throat & back of the mouth.

arrows pinch the beam to aid the eye in noticing when a tighter embouchure is required

mutes

1 practice mute [used in measure 85 through to the end]

1 CD [compact disc] used as a dynamic, noise-producing mute. Insert your fnger in the hole in the middle of the CD so as to fully block the passage of air, and hold CD in the bell. Used from the beginning until measure 42. In passages played with the CD mute, the movement of the hand & mute is indicated by diferent symbols placed upon the beam at diferent levels. In addition to the degree of closed or openness, a red gradient between the beam and the staf describes the degree of rattle or distortion caused by the CD vibrating against the bell. This is only used in instances where the CD is fully closing the bell.

mute is removed (while playing)

mutes

1 practice mute [used in measure 77 through to the end]

1 piece of cardboard, cut in a square so as to ft & fully cover the bell, and afxed to the bell with two binder clips. Used from the beginning until measure 42.

note heads

split-tones: between the specifed partials.

fully closed fully open

note heads

split-tones: between the specifed partials.

trill/tremolo with the valves

brass accordion

Rapidly press and release the buttons of the pitches grouped together by the bracket for the duration of the wavy line. Pitches that share a stem but are not contained within the bracket should be sustained throughout.

Within one smooth, continuous push or pull of the bellows, the left arm adds light, quick, repeated impulses of pressure, resulting in a continuous sound punctuated by short moments of hiccups or beats. This always occurs over one direction of the bellows [it is not a quick alteration of the bellows] in whatever direction the performer fnds most comfortable. The efect on the sound should be subtle, minimal, but audible. It should not sound forceful; it should be heard as a slight quivering within the sound.

Within one smooth, continuous push or pull of the bellows, the instrument itself is slightly shaken by the leg/left knee. It should not sound efortful; it should be heard as a slight trembling within the sound.

Air button - depress the air button for the duration of the beam. Movement of the bellows is at the discretion of the performer to achieve the notated dynamics & balance within the ensemble.

trumpet trombone acknowledgements: Matt Barbier, Weston Olencki

acknowledgements: Krassimir Sterev, Luca Piovesan

strings

In passages for which pitch and interval are important, the fngered pitch is given in the normal string note head notation [see below], while the sounding pitch is provided as a small grey note head. Though each string change is accompanied with roman numerals above the staf indicating which strings are being used, each note head giving the sounding pitch will also contain a small roman numeral corresponding second [detuned] & third [normal tuning] string will look like:

fnger pressure

This piece employs fve degrees of fnger pressure which create a incremental spectrum between regular [heavy] fnger pressure where the string is in contact with the fngerboard, and a light degree of pressure typically employed to create natural harmonics. Each degree of pressure is ascribed to a note head which has been given a diferent degree of shading:

A note head with a white circle in it indicates an open string.

general

String changes are indicated throughout the piece.

The piece is to be played entirely legato, with literally no of-the-string articulations. If a beam is present, the bow should be in unbroken contact with the strings.

A thick crescent under a note head indicates that one should further mufe the string(s) with an added fnger (always at mid- to lightfnger pressure). The interval or distance from the indicated note head is inconsequential. The intention is to create a more mufed, weak tone quality, or, since it is often used in conjunction with a mid-level fnger pressure, a toneless, airy noise. [This applies only to the cello & double bass].

accent: indicates feeting instances of momentarily fast bow speed. Thus, an accent does not indicate an exaggerated attack, but a brief acceleration of bow speed.

single-string double-stop: parenthesis on either side of the dyad indicate that the action is taking place on a single string. Parenthesis may be oriented vertically or horizontally, depending on the context.

vibrato: Though this piece is to otherwise be performed without any vibrato, the degree of vibrato in singular instances of its usage is notated graphically. The “wideness” of the vibrato gets greater as the waves become greater. The vibrato speed should be rather fast throughout. The efect should be that of an audible muscle spasm more than it should simply sound like conventional vibrato.

bow speed

In certain passages, it is necessary to prescribe the movements, speed, and placement of the bow. This is because it must be bowed sufciently slowly to create the noisy fbrillation desired of the sound.

The bow speed, but also place upon the bow which makes contact with the strings, is conveyed through the fve-lined stave. The bottom line represents the frog; the top line represents the tip, and the bow is further divided into four zones (spaces) or fve points (lines), depending on how one wants to look at it. The middle line represents the dead middle of the bow. In this way, these pitch staves double as a tablature staf representing the length of the bow.

These actions and movements of the bow are charted through a colored graphic underlay:

bow pressure

Note heads indicate diferent bow pressures through their various sizes; the smallest of which should be understood as an exertion of no pressure greater than that which is exerted by the bow simply resting upon the strings, the largest of which should be understood as resulting in sounds with very high noise content. There are fve levels of bow pressure:

Note that the heaviest degree of bow pressure is never used in this piece. It is nevertheless presented here as part of this fve-step gradient of bow pressures for reference: the four levels of bow pressure found in the piece are in proportion to a spectrum of pressures that is divided into fve levels.

Transitions between bow pressures are conveyed through narrowing or widening grey lines between the departure and arrival note head.

It is possible for strings that are bowed simultaneously to alter bow pressures to diferent degrees. These instances, typically used with triple-stops in which a new string is being slowly introduced or faded out, indicate a shifting of the weight of the bow towards one direction or another.

bow placement

Bowing areas are indicated through the placement of the beam to which other material is afxed. Each position has its own level, which helps illustrate the physical movement between one position and another. The abbreviations for the positions are boxed and will be declared once the position is arrived at. The symbols are:

Notice that the tasto area is divided into many areas. The following three symbols indicate diferent degrees of tasto, while the same symbol preceded with signifes the space in between that & the previous zone:

the beginning of the fngerboard until about one third of the way to the point where the upper bout meets the neck

the middle third between the beginning of the fngerboard and the point where the upper bout meets the neck

the point at which the upper bout meets the neck and about one third of the way to the end of the fngerboard

double bass

This piece was written for an instrument with fve strings.

Multiphonics: An M afxed to a beam indicates that the resultant sound is to be a multiphonic. The pitches of the multiphonic are not given. Complexity of pitch saturation and timbre is desired.

violin i violin ii viola cello bass