guilty pleasure (excerpt)

dedicated to Moon Young Ha and ensemble mise-en

Instrumentation

Flute, also Piccolo

Clarinet in B-fat, also Clarinet in E-fat (Boehm system)

Violin

Violoncello

Piano

Percussion (Triangle, Tam-tam, Crotales, Glockenspiel, Tubular Bells, Vibraphone, Suspended Cymbal)

6-channel click track, or 7-channel click track (conducted version)

Conductor (optional)

Transposed Score

Duration: 11.5 minutes

First Performance: guilty pleasure was premiered by ensemble mise-en as part of the 2019 Mise-En Music Festival in the City of New York.

Performance Directions

guilty pleasure utilises a poly-tempo architecture based on a click track, which encompasses several ensemble confgurations within a network of diverging tempi. Te piece can be performed in two different versions:

Te conducted version includes various subgroupings of synchronised tempo layers which are directed by the conductor or the indicated players. Te precise linkage and superimposition of these situations are embedded into the specifc 7-channel click track version. For each group confguration the leading performers are indicated in the score and parts, and only they receive the tempo for the corresponding section.

Te autonomous version is free of subgroupings, with all players following their own click track channel, which contains all tempo processes and changes, without leading, following, or connecting to any other performer. For this version in particular, a well defned consistency alongside a common approach towards dynamics, precision in articulation, and sound duration is essential.

Te conducted version is intended to be staged in a regular concert setup, whereas the autonomous version allows for a range of spatial arrangements. For recordings, the successively playing of all instruments, or the subgroupings respectively, is suitable.

Technical Requirements and Setup

For the technical setup of the click track, all players must be provided with headphones, earphones or in-ear monitors. Both wired and wireless synchronisation methods are feasible and equally suitable. Te best possible setup ensures that: all performers are able to follow the click track effortlessly without the clicks being perceived by any other player or the audience, while still being able to hear all the instrumental sounds. Te concrete click samples have a major infuence on the aforementioned considerations. Dry and gentle resonating samples carry the clicks effectively without interfering. In case a player follows the click track with one ear only, the audio playback shall be allocated to this particular output channel, with the other side being muted. Te click track audio and midi fles are available upon request and can be modifed and adjusted to meet the players’ needs.

Tempo markings, changes and processes (accel. - accelerando, rit. - ritardando) should be followed as precisely as possible, additional tools might complement and aid rehearsals, performances, and recordings.

For prolonged sections subjected to a single tempo process, the targeted tempo is given alongside the starting tempo. Te process should be as continuous and steady as possible, until the tempo marking for the aimed tempo is indicated.

Te concert pitch (A4) with a tuning in 443 Hz or 444 Hz is preferred.

Te score is transposed. All instruments are displayed in the commonly used transpositions, equivalent to how they are depicted in the parts.

Each accidental affects only the subsequent note and each note always has one accidental attached to it, with the exception of pitchless, tied, or successively repeated notes.

All durations should be realised as precisely as possible, without added processes of timbres or dynamics unless indicated. Grace notes should always be played before the beat, curtailing the previous sound if necessary.

Vibrato of any intensity should only be applied if explicitly stated. (vibrato, poco vibrato, molto vibrato, exaggerated vibrato)

For all trills (harmonics, timbres, bisbigliando, tremolo, multiphonics), the auxiliary notes are always indicated, except for certain timbre and multiphonic trills specifed by fngerings.

Noteheads which differentiate specifc playing techniques are only applied as crotchets or smaller note values. Minims or semibreves are not used for these noteheads.

Single diamond-shaped noteheads representing harmonics and air-sounds are applied to all note values, except for minims. For harmonics depicted with the fundamental tone or air-sounds with the transposition, the small sized regular notehead differentiates between crotchets and minims, so that all values can be distinguished without exception.

Triangular noteheads far above the staves and without ledger lines represent very high but undetermined pitches.

Noteheads in reduced size either indicate fngerings or resulting pitches of certain transposing techniques, or signify the volume differences in multiphonics and chords. Additionally, very subtle and nearly silent tones or passages might be visually aided by small noteheads, such as the ending of diminuendo al niente.

Quarter-tone accidentals, denoting tempered quarter-tone steps implemented into the twelve-tone equal temperament.

Eighth-tone accidentals, either indicating contextual micro alterations relative to the tempered quarter-tone grid, or applied to approximate representations of partials and multiphonics.

All glissandos (tones, harmonics, teeth-on-reed, embouchure, fngering) should begin immediately and connect from start to fnish as evenly as possible with constant speed. Te distance is either indicated by a targeted notehead, or by a relative distance, as stated by the added accidentals. Slurred glissandos in a single motion and articulated glissandos with intermediate attacks.

Even and seamless transitions of articulations or playing techniques, also in combination with glissandos.

msfz - mezzo-sforzato, sfz - sforzato, sffz - sforzatissimo: subtle, strong, or very strong accents with emphasis, independent of the surrounding dynamics.

Targeted dynamic marks on a rest sign, suggesting the loudness of an imagined sound and implying its virtual physicality.

Accented rests imply an active and metrical interruption of the previous sound, or a metrical "weight" as a physical impulse for the following playing action.

Rests in parentheses hint at possible positions for unobtrusive breathing gaps.

Muting sign, used for metrically damping of the prior produced sound, or for muting of specifed strings for particular techniques.

Smaller sized dynamic markings in parentheses attached to regular dynamic markings indicate the effective loudness of certain techniques that require distinctly more physical energy for the production of this sound than the result would imply. Te ordinary dynamic marking hints at the player’s effort.

Crescendo dal niente. Diminuendo al niente.

Dashed hairpins indicate a sounding process in contradiction to the physical effort required. Hairpins in parentheses hint at a musical connection, although the implied process is not audible.

Dashed slurs denote a best possible legato, differing from the technical execution.

Flz. - futter tongue, production with tongue or glottis ad libitum unless specifed: Flz. (t.) - with tongue, Flz. (gl.) - with glottis

All phonemes refer to the International Phonetic Alphabet. All graphemes are explicitly specifed with corresponding language and examples. Both types are displayed in square brackets.

Flute (1/2)

multiphonics are labelled with their corresponding module number , notation partially simplifed 1

pizz. - pizzicato, production with lip or tongue ad libitum unless specifed: pizz. (l.) - lip pizzicato, pizz. (t.) - tongue pizzicato

Flz. - futter tongue, production with tongue or glottis ad libitum unless specifed: Flz. (t.) - with tongue, Flz. (gl.) - with glottis

t.r. - tongue ram: fngering indicated by diamond-shaped notehead, resulting pitch displayed as wedge-shaped notehead

aeolian sound/aoel. - blowing over the embouchure hole without lip tension and without phonetic colouration

air - air sound, embouchure open or fully enclosed as indicated, blowing of phonetically coloured air noise over the embouchure hole or inside the embouchure hole (phoneme denoted in brackets), seamless transitions with normal tones regulated by the lip tension

1

Levine, Carin, and Christina Mitropoulos-Bott. Die Spieltechnik der Flöte. Kassel: Bärenreiter, 2002.

Levine,

Carin, and Christina Mitropoulos-Bott. Die Spieltechnik der Flöte II: Piccolo, Alt- und Bassföte. Kassel: Bärenreiter, 2004.

Flute (2/2)

w.t. - whistle tone, emulating the shape pictured by the lines above the staves

t.wh. - tongue whistle: embouchure plate fully enclosed, half embouchure hole flled with tongue, blowing over the tongue into the open section of the embouchure hole

key clicks/k.c. - closing the indicated key with a percussive attack, embouchure hole open or fully enclosed as stated, always without air

jet - jet whistle, emulating the shape pictured by the arrow with the phonemes in brackets attached, or with a single timbre produced by the constituting phoneme

tpt.e. - trumpet embouchure, square-shaped notehead indicating approximated pitch

Clarinet (1/2)

multiphonics, identifed by corresponding module number , notation partially simplifed to enhance legibility 2

slap - slap tonguing followed by the normal produced tone, indicated by the added small-sized notehead, also combined with multiphonics

secco slap - slap tonguing of indicated pitch, without opening the embouchure or tieing a further tone open slap - opening the embouchure right at the instant of the slap tonguing to enable the full resonance

air - air sound: exhaling phonetically coloured air noise with indicated tones and phonemes displayed in brackets

Rehfeldt, Phillip. New Directions for Clarinet. Berkeley: University of California Press, 1977.

2 Richards, Edwin Michael. Te Clarinet of the Twenty-frst Century. S.l.: S.n., 1992.

Clarinet (2/2)

teeth on reed - embouchure with the teeth lightly touching the reed, very high, but undetermined pitches, unaffected by the fngering stated with diamond-shaped noteheads, embouchure diagram hinting at contact point and pressure

teeth on reed glissando - indicated by glissando direction and covered interval distance as stated with the accidentals

Violin and Violoncello (1/4)

open, muted, muted (string indicated), muted (all strings)

T-P brushing tremolo - fast alternating the contact position of the bow between fretboard and bridge, all strings muted natural harmonics - specifed with small numbers in brackets, always referring to the corresponding open string as fundamental:[2]=octave; [3]=octave+ffh; [4]=2 octaves; … ; [8]=3 octaves; [9]=3 octaves+second; … ; [x]=very high but undifned harmonics

harmonic trill (two variants): a - root of artifcial harmonic is released slightly to create a natural harmonic in the same position; b - unlike ordinary trills, both fngers must touch and release the string, to enable two natural fageolets to occur

timbre harmonic trill - fast alternating of harmonic touch and slightly releasing touch (open string), so that both the harmonic and the open string gets hardly enough time to resonate, with the velocity depending on the specifc resonances

Violin and Violoncello (2/4)

M - multiphonic : fnger contact similar to natural harmonics, bowing slowly and with slightly more pressure, "deep" in the string with ord. or poco 3 sul tasto contact point, using all hair (not the edge) and bowing strictly parallel to the bridge might enhance stability; present harmonics indicated similarly to natural harmonics

Te following chart depicts the touching positions and resulting pitches of natural harmonics and multiphonics on the Violoncello C-string for the lower octave. For all the other strings and on all other string instruments, the positions and resulting pitches can be derived by transposition.

Maurer, Barbara. Saitenweise: Neue Klangphänomene auf Streichinstrumenten und ihre Notation - Eine Anleitung. Wiesbaden, Breitkopf und Härtel, 2014. 3 Fallowfeld, Ellen. Cellomp. https://cellomap.com/ [accessed: Jun 29, 2021].

Violin and Violoncello (3/4)

bridge, edge, scroll - pitchless bowing, notated over the 5th staff line and without accidentals, always as crotchets

bridge (pitchless bowing directly on the bridge) edge (bowing on the edge of the instrument body) scroll (bowing on the scroll)

split tone - "carving out" high partials by subtle changes in the bowing position (poco, P)

crunch - crunching, cracking or squeaking sounds, slow bowing with severe overpressure, on indicated open or muted strings, and on stopped tones, indicated by square noteheads, over the fretboard (T) dry and pitchless, near and over the bridge (poco, P) strident with spectral components

harmonic pizzicato - releasing the harmonic touch in the instant of plucking

pitchless Bartók pizzicato on indicated string, all strings muted while snapping

Violin and Violoncello

(4/4) pizzicato behind the bridge on indicated string

pizzicato fuido - lef handed pizzicato, the pitch is created by placing the tension screw of the bow right on the string before plucking with the lef hand. If the screw is right on the bridge, the pitch corresponds to the open string, if the screw is moved towards the top nut, the pitch rises, exactly opposite to the normal tone positions

vertical bowing - bow along the fretboard, with the position of the bow indicated by the circle-dot noteheads; no ordinary motion of the bow between frog and tip unless indicated differently

cutting air - holding bow upright, bowing stick rapidly cutting through the air - forwards, backwards, lef, right, diagonal; tightening the bow hair with the index fnger might sharpen the sound

Piano (1/2)

P - pedal, mP - middle pedal (sostenuto pedal), u.c. - una corda

releasing the depressed key so quickly, that it pops up back into position, causing a subtle percussive noise, XXX for keys with dampers, XXX for keys without dampers

staccato simulated by pointed and noisy attack, XXX fngernail touching the key, XXX plectrum touching the key half depressed sustain pedal, enabling fltered resonances

fast and percussive depressing of the sustain pedal without touching beforehand, rich resonances emerge, with the aimed dynamics hinting at the energy level

metrically muting the resonances with the pedal silently depressed keys, denoted by diamond-shaped noteheads

Piano (2/2)

i.a. - indirect attack, the key is pressed in advance silently half way until the pressure point is reached, then with a fast attack fully depressed until the bottom of the keyboard, resulting in a very sof tone slightly muted attack: with the spare hand lightly muting of the relevant strings while pressing the notated keys guero - steady scraping along the outer edges of the white or black keys, indicated by the added accidentals, with fngernails unless stated otherwise

keys percussion - playing on the surface of the keys with a pointed and percussive attack (keys entirely depressed throughout) square noteheads - strike on the inner frame braces (black noteheads) or on the tuning pins (white noteheads) with a triangle beater or spoon, fnd three different timbres: high (over the staff ), middle (on the staff ), low (under the staff ) XXX

- spoon , XXX - triangle beater

Percussion

arco (scraping) - hard mallet scraping back and forth on indicated key (placed silently on key beforehand)

harmonics (Vibraphone) - dampening the notated key (diamond-shaped notehead) with a fnger right in the middle while hitting the key, the resulting pitch sounds two octaves higher

guilty pleasure

nnœ ≈

#œ

O e O

e O e œ #œ # O e # n O en # O enn O enn O e # n O enn O e # n O enn O en n O enn O en n ‰ œ œ e #O n

e O e n n ≈ O e## O e O e ® O en# ‰

O enn O e O e ## ‰

#

œ n n

nœ n

5 3 O enn nœ ‰ ™

Æ Æ f œ

Æ mf o œ

Ÿ ~~~~~~~~~~~ pp œ

mp b > mp

> > Æ (3+) sfz — 20 —

(3+) pp mf o

enn O enn ‰ nœ #œ œ n nœ œ # œ b ‰ ™ œ O ebn O e ™ ™ ≈ O e œ ‰ nœ œ n#œ O enn œ # O enn ‰ O en n ¿ O e O e nn ™ nœ nœ Œ O ebn ‰ Œ e n#O e O nn e n#O e nnO e n#O

& o mp

sudd n top of a s ream re ea e keys w h ac en n ¥ >¥ t r p

key c cks a r sound mbochu e h e ove d) sfz

A B

>

mp mp pp

199 l mf

§ D

G # # p mf mf p p

Æ 17,6' (0 6 ) Ó 6 e nO n #¿ O e n¿ # e O¿ b n e nO¿ n e O¿ b n ≈ nœ nœ #œ œ #œ #œ nœ nœ œ n ‰ nœ & ∑ (4 6 ) (q≈78)

> p ¿ Œ ¿ Œ ¿ Œ ¿ Œ œ # ‰ nœ ‰ œ # ™ ≈ ≈ nœ ≈

(q≈78) mf p mf

n n O en n e Œ O enn O enn nœ O en# œ ≈ e O O e Æ O e nR ≈ O enn O e n