no sense of self

Tobias Fandel no sense of self (2019) for Clarinet, Violoncello, and Piano

score

dedicated to whom it may concern

Instrumentation Clarinet in B-flat (Boehm system, version for German system available upon request) Violoncello Piano

Transposed Score

Duration: 5 minutes

First Performance: no sense of self was premiered in 2020 as part of the concert series Musik und Gegenwart in Leipzig.

Performance Directions no sense of self should be played strictly in tempo throughout, with all bars being counted as indicated and without subdivisions. To consolidate the continuous stream of underlying pulses, all silent sections should be counted in tempo as well. The stated metres do not carry any inherent sense of gravity, but instead a perspective on the formal dimensions of the piece and should be approached with this awareness in mind.

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

The 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.

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 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.

Noteheads which differentiate specific 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 fingerings 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.

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 specified by fingerings.

All glissandos (tones, harmonics, teeth-on-reed, embouchure, fingering) should begin immediately and connect from start to finish as evenly as possible with constant speed. The 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 specified 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. The 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.

Clarinet (1/2)

multiphonics are labelled with their corresponding module number1, notation partially simplified

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

slap - secco slap tonguing of indicated pitch, without opening the embouchure or tieing a further tone

teeth on reed - embouchure with the teeth lightly touching the reed, very high, but undetermined pitches, unaffected by the fingering 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

1

Richards, Edwin Michael. The Clarinet of the Twenty-first Century. S.l.: S.n., 1992.

Clarinet (2/2)

Flz. - flutter tongue

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

Violoncello (1/4)

bridge clef - depicting the position of the bowing contact and the transitions in between

P - ponticello, very close to the bridge, on the bridge poco

- poco sul ponticello, close to the bridge ord. - ordinario, ordinary bowing contact position T - tasto, fretboard GF - in touch with the tip of the stopping finger (greifender Finger)

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

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

Violoncello (2/4) harmonic pizzicato - releasing the harmonic touch in the instant of plucking

pizzicato behind the bridge on indicated string

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

natural harmonics - specified with small numbers in brackets, always referring to the corresponding open string as fundamental:[2]=octave; [3]=octave+fifth; [4]=2 octaves; … ; [8]=3 octaves; [9]=3 octaves+second; … ; [x]=very high but undifined harmonics

harmonic trill (two variants): a - root of artificial harmonic is released slightly to create a natural harmonic in the same position; b - unlike ordinary trills, both fingers must touch and release the string, to enable two natural flageolets 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 specific resonances

Violoncello (3/4) M - multiphonic2: finger contact similar to natural harmonics, bowing slowly and with slightly more pressure, "deep" in the string with ord. or poco 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

The 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.

Fallowfield, Ellen. Cellomp. https://cellomap.com/ [accessed: Jun 29, 2021].

2

Violoncello (4/4) 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, left, right, diagonal; tightening the bow hair with the index finger might sharpen the sound

edge - pitchless bowing on the edge of the instrument body, notated over the 5th staff line and without accidentals, always as crotchets

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

half depressed sustain pedal, enabling filtered resonances

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

silently depressed keys, denoted by diamond-shaped noteheads

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 soft tone

guero - steady scraping along the outer edges of the white or black keys, indicated by the added accidentals, with fingernails unless stated otherwise

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A-1

ï ïï _ïï # óï #œ > ne ‰ bœ J F

˙ E ˙

3 4

mf f ff

°

P

ff

P

poco

6 4 T split tone I

ord. split tone

crunch [5]

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¡

nH

?

3 4

I nO ne

h

nh Œ

Vlc.

¢

6 h 4 ,

,

j # O > e ‰ nn Oe J

¿

OEO E

3 4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

mf f

mf ff ff

“” mp

nœ nœ # œ n œ # œ n œ # œ # œ n œ # œ nœnœnœn œ n œ n œ n œ #œn œ # œ n œ # œ Œ nœnœnœnœ ®n œ nœ

&

1

1

# œj ‰ nœ

sffz

nœ nnnœœœ nœ

œ œ 6 œœ 4 œ

nn#˙˙˙

˙ #œ œ œ œ œ œ œ ˙bnœœ œœ œœ œœ œœ œœ œœ ≈

3 4

pppp 1

p pp Pno. mf mf

{

?

Πff

Œ

6 4Œ

Œ

Œ

‰

bœ J

n˙™ sfffz

“‘ P (mP)

P

ø

P

˙

3 4

12

B-5

A1-24

ï ïï _ïï # ïï nL ˙E ™™ nk ˙ ™

ï ïï _ïï óï Kw R

C

E

21 silence

Cl.

3 &4

14 4

Œ

n˙™

˙™

o

pppp

F

Kœ ˜2 e

Œ

Œ

ppp pp

o p

° 3 4

P

14 4 T

T arco split tone

M [4-11-7-3]

silence

?3 Vlc. ¢ 4

nH ™ o

14 H ™ 4

Œ

pp

o

[9]

nµOE ™™

Œ

nn~%

Oe

Œ

p pp

“” silence

3 &4

∑

#œ

#œ ™ 14 ≈ #œ ™ 4 nœ ™

˙ ˙ ˙

Œ

n#˙˙

Œ

n˙™ Œ

Œ n˙ ™

n˙ 3

:

;p

ppp p

Pno. ppp

{

?3 4

∑

14 Π4

Œ

Œ

Œ

Œ n˙ ™ ppp P

Œ

Œ

Œ

Œ

Œ

Œ

13

_ _ _ _˜ [i]

[i]

24

Cl.

˜ 1

1

air sound

˜ 1

˜ 1

[a]

[u]

slap

Œ

& . n>

nO #O nO #O nO Πn O # O n O n O n O # O # O n O n O # O n O # O # O n O n O # O nO nO #O nO #O nO #O nO nO nO #O nO #O nO #O o pp

4 n# 4 7

Ó

o

pp

‰

‰

n#

7

‰

n#

7

‰

n#

11 4

7

pppp

ppp

o

arco col legno vertical bowing IV

pizz.

°? ¿è Vlc. ¢

arco ord.

– Ov

nf

nf

nf Œ

Œ n.f …

pp

nf

Œ

nf

“.” . . . . . . . . . . . . . . . . . . . n 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 11 &4 4

f (=p) 5

5

5

5

pppp p (=pppp)

ord.

◊ÿ.

guero

n Œ

& Œ

Œ

¿ Œ

Œ Œ

Œ

Œ

Œ

Œ

¿

Œ

Œ

Œ

. . . . . . . . . . . . . . .

4 n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 11 4 4

#

Œ

pppp ppp

“n”œ.

p (=pppp)

Pno.

f (=p) f (=p) p (=pppp)

{

?

4 &4

‰™ Œ n œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 11 4 3

P

“‘

mf

3

3

3

14

_ _

˜ 1

˜µ sim.

n#

Œ

1

µ

µ

1

_˜

-˜

1

1

µ

µ

1

1

26

Cl.

11 &4 Œ

n#

7

Œ

Œ

n#

7

7 3

n#

Œ

n#

7

3 4Œ

Œ n˙™

7

n#

7

# 7

# 7

# 7

# 7

11 4

3

3

ppp ppp

pppp

ppp

° 11 4

poco

3 4

11 4

IV T

≥ keep ngering-width

edge

nn Oe

III

6

gliss.

Vlc.

11 Œ & ¢ 4

Œ n˙ ™ nn Oe o

p

6

6

6

6

3 4Œ

?

11 4 mp (=ppp)

pppp

“” ◊ÿ

nœ 3 3

11 &4 Œ

n˙

˙

Œ

Œ n˙

Œ

Œ

Œ

3 4Œ

Œ

Œ

nœ ™ nœ ™

œ

j #œ nœ # œ

11 4

3

Pno. ppp

{

11 &4 Œ

Œ

:

Œ

Œ

; p : ? ≈>

j #œ ™

pppp i.a.

pppp i.a.

; mp

ppp

3 4Œ

Œ ˙

11 4 nH

nH ™ ppp P P

H™

15

˜_.

1 bisbigliando

air sound

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 29

Cl.

˙™

[i]

[o]

#˙

11 &4 Œ

‰™

Œ

7w 4

#œ

Œ

18 4

n#

n~

o

7

O

o

mp

mp

o

o p

° 11 4

P

poco

poco

7 4

18 4

T [6]

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

M

Ÿ~~~~~~~~~~~~~~~~~ nO

[4-11-7-3]

? 11 Œ Vlc. ¢ 4

nµ~%

Oe

Œ

nnOe

ne

nnOE

OE ™™

7 ~% 4

¿

Œ

18 4

o

p

o f

f

“” ◊ÿ

nœ

11 &4 Œ

Œ

Œ

Œ

Œ

Œ

n œ. œ. œ. œ. Œ nœ. œ. œ. œ.

Œ

Œ

# ˙™

n˙ #˙

7 nw 4

18 4

3

mf mp pp

Pno. ppp

{

? 11 4

7 4ΠP P

Œ

Œ

Œ

Œ

‰ nœ ™

18 4

16

L1-403 R Ab

_

˜.

1 Cl.

B-5

‰™

Œ

ï ïï _ïï # ïï nLw % kw C

G

31

18 &4 Œ

ï óï _ïï ó #ó L # ˙E ™™ #˙ ™

E

Flz.

ææ µœ

Œ

n#

Œ

nL œe œ

w

15 4

7 pp p p p

° 18 4

P

poco

15 4 [12]

M

arco split tone

pizz.

Vlc.

? 18 Œ ¢ 4

» nnOe

M

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[5-12-7]

#H ™

l~ n%

µh

Œ

Œ

l~ ¿ n%

[5-12-7]

lO ne

Œ

15 4

o

mp

p p f f

“”

18 &4 Œ

#œ.

‰™

Œ

Œ

Œ

Œ

“”

# œ. ‰™

Œ

# ˙3

3

nw

n˙

n˙

˙ #œ

Œ n˙

15 4

˙

mf pp Pno. pp

{

? 18 4

mp

15 4 P P mf

17

C-28

ï ïï _ïï # ïï

-˜

1

G

1 Kw % w

32

Cl.

15 ˙E &4 ˙

#E ˙

Œ K˙

E ˙

Œ

7 4Œ

Œ

Œ

Œ

Œ

e

Œ

6 4

n#

7 o

p ppp

sfz p

° 15 4

7 4

6 4 pizz.

»

M

O ? 15 E Vlc. ¢ 4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~

[4-11-7-3]

Œ

…

Œ nµ ~%

~%

Œ

Œ

Œ

Œ

nn OE ™™nœ

Œ

6 4

Œ

6 4

¿ o

p

p

7 4Œ

ppp

sfz

“”

nœ #w

˙

3

15 &4 ˙

Œ

nw

Ó

pp

b˙ :

; mp :

{

nœ ™ Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

3

; pp

Pno.

? 15 Π4

7 4Œ

Ó

‰

˙

sfz

˙ Œ

pppp

Œ

7 4

6 4

18

B1-118

ï ïï _óï # ó # ï Lœ kœ R

C

G

34

Cl.

6 &4 Œ

Œ

slap silence

Œ

Œ

Œ

4Π4

Œ

n>

Œ

7 4Œ

17 4 n˙ ™

˙™

ppp

o

o

pp

pppp

° 6 4

P

4 4

7 4

17 4 T arco split tone

pizz. arco

?6 Œ Vlc. ¢ 4

Œ

nO ne

Œ

Œ

Œ

4Π4

Œ

è ¿

T

silence

Œ

7 4

17 4 H™

nH pp pp

o

o mf

:“;

n˙™

nœ nœ

“”

nœ

b˙

silence (containing slight resonances)

6 &4 Œ

Œ

Œ

Œ

Œ

4Π4

Œ

Œ

#œ nœ

7 4

˙ ˙

17 4

3

pp Pno. ppp

{

?6 Π4

Œ

nœ

Œ

Œ

Œ

4 4

∑

7 4Œ

17 4 n w™ “‘

ppp

pppp P