pixmap (excerpt)

Tobias Fandel pixmap (2020)

dedicated to my parents and the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern

Instr umentation

3 Flutes

3 Oboes

3 Clarinets in B- at (German system, version for B oehm system available)

3 Bassoons

4 Horns in F

3 Trumpets in C

3 Trombones

Tuba

Timpani (5 kettles: A2, D3, F#3, A3, C4)

Percussion 1 (Tam-tam, Glockenspiel, B ell Plates, Xylophone)

Percussion 2 (Snare Drum, Vibraphone, Gongs, Castagnets, Triangle)

Percussion 3 (Bass Drum, Marimba, Crotales, Suspended Cymbal, Whip)

12 Violins I

10 Violins II

8 Violas

6 Violoncelli

4 Double basses (four-stringed)

Transposed Score

Duration: 15 minutes

Performance Dire ctions

e entire piece should be performed with a strict and steady uent pulse, without rubato or fermatas. All barlines only ser ve to organise, but do not contain any metrical qualities. Unless explicitly stated, vibrato is not intended and the sound quality shall range from neutral to sterile throughout. e micro inter vals and accidentals are based on an equal-tempered quarter-tone grid, whereas some pitches shall be intonated slightly "sharp" or " at", corresponding to a leading note or the seventh of a dominant chord

e included multiphonics have been explicitly chosen and placed to be suitable in the orchestral context. For the woodwinds, the score notation displays the most prominent pitches of the complex sounding spectrum and is approximated within an eighth-tone grid e multiphonics of the string instruments are indicated by the touching position of the le hand in addition to the mixture of resulting harmonics, as displayed by the referring overtone numbers. As "fragile" marked multiphonics are of indistinct and frangible quality, with the constant search for resonance being intended

Tempo markings and changes should be followed as precisely as possible, additional tools might complement and aid rehearsals, performances, and recordings.

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

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

Each accidental a ects 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.

Slightly " at" and "sharp" intonation, relative to the tempered twelve-tone grid

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 necessar y

Noteheads which di erentiate speci c 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 airsounds 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 di erentiates between crotchets and minims, so that all values can be distinguished without exception.

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

Noteheads in reduced size either indicate ngerings or resulting pitches of certain transposing techniques, or signif y the volume di erences in multiphonics and chords. Additionally, ver y 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, exag gerated vibrato)

For all trills (harmonics, timbres, bisbigliando, tremolo, multiphonics), the auxiliar y notes are always indicated, except for certain timbre and multiphonic trills speci ed by ngerings.

All glissandos (tones, harmonics, teeth-on-reed, embouchure, ngering) should begin immediately and connect from start to nish as evenly as possible with constant speed e 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, s z - sforzatissimo: subtle, strong, or ver y 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 speci ed strings for particular techniques.

Smaller sized dynamic markings in parentheses attached to regular dynamic markings indicate the e ective loudness of certain techniques that require distinctly more physical energ y for the production of this sound than the result would imply e ordinar y dynamic marking hints at the player’s e ort.

Crescendo dal niente. Diminuendo al niente

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

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

All phonemes refer to the International Phonetic Alphabet. All graphemes are explicitly speci ed with corresponding language and examples. B oth types are displayed in square brackets.

Flz. - utter tongue

Wo odw inds

Multiphonics are labelled with their corresponding module number e notation has been partially simpli ed, with the 1 ngerings only displayed in the parts, but not in the score

t.r - tongue ram: ngering 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

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

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

key clicks - closing the indicated key with a percussive attack, without air

Z - embouchure with teeth on reed, also for certain multiphonics

1 Krassnitzer, Gerhard Multiphonics für Klarinette mit deutschem System Aachen: Edition Ebenos, 2002. Veale, Peter, Claus-Ste en Mahnkopf, Wolfgang Motz, and omas Hummel Die Spieltechnik der Oboe (6th ed.). Kassel: Bärenreiter, 2011. Gallois, Pascal Die Spieltechnik des Fagotts. Kassel: Bärenreiter, 2009.

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

C larinet

slap - slap tonguing followed by the normal produced tone with indicated pitch and duration

teeth on reed - embouchure with the teeth lightly touching the reed, ver y high, but undetermined pitches, una ected by the ngering

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

g.s. - ghost sound, ver y so and air y sound with the reed barely vibrating

ap - hitting the reed with the tongue, almost without air

pizz. - pizzicato, smacking the tip of the reed, without air pressure

brassy - brassy sound, smacking the tip of the reed ver y strongly and with high air pressure

Bass

Brass Instr uments

X - inhaling, Y - exhaling: direction of air stream for various techniques

air - air sound with normally placed mouthpiece, phonetic colouration as indicated by phoneme or grapheme ([x] like "ch" in German "Achtung")

air (i. m.) - air sound with inverted mouthpiece, no phonetic colouration applicable

tongue ram - strong air accent abruptly stopped by the tongue in the mouthpiece

straight mute, preferably from wood

CD-buzz - holding a CD directly to the bell opening, similar to a plunger mute

without mute/remove mute

Timpani and Percussion

bow, brush, e-gong rubber, superball, triangle beater, drumstick, drum/jazz brush, sof and hard mallet, very sof and hard timpani and gong mallet, hand, reed

R - right stick, mallet, or hand

L - lef stick, mallet, or hand

XXX - striking normally (ord.), XXX - striking normally for percussive sounds (ord.), XXX - dead stroke ,

XXX - arco (bowed or rubbed) without attack, YYY - bowed on singing bowl, XXX - harmonics (Cymbal, singing bowl),

XXX - "singing" arco, with pressure, XXX - buzzing arco, slight pressure crossed sticks: circling or tremolo of one drumstick (R suggested) on the shaf of a second drumstick (L) that contacts the membrane with its tip in the indicated position (L: fat, slanted, steep)

Timpani

5 kettles with pedal: A2, D3, F#3, A3, C4

5 or more singing bowls in different sizes metal bowl with fat bottom and water, crackling bath crystals

bow, 2 brushes, superball, triangle beater, drumsticks, timpani mallets

singing bowls on membrane - 3 singing bowls, different pitches, additionally several other singing bowls (upside down on membrane) for buzz effect

Percussion 1

Tam-tam, Glockenspiel (notated: G3 - C6, sounding 2 octaves higher), B ell Plates (D2, F2, G2, A3, C4, G#3, A4, Bb4), Xylophone (notated: C4 - C7, sounding 1 octave higher)

bow, brushes, 2 e-gong mallets, 3 superballs (sizes: S, M, XL), so mallets, triangle beater, drumsticks, jazz brushes, hard mallets, ver y so gong mallets, crotale holder

Percussion 2

Snare Drum, Vibraphone (sounding as notated: F3 - F6), Castagnets, Gongs (Bb4, D3, Ab3, C#3, E5), Triangle

bow, brush, so mallets, triangle beater, drumsticks, jazz brushes, hard mallets, gong mallets, reeds

arco (reed) - with the tip of the reed on snare membrane, (synthetic) clarinet or saxophone reeds prepared with a little rosin and the reed diagram of the active hand hinting at the applied pressure

Percussion 3

Bass Drum, Marimba (sounding as notated: C3 - C7), Crotales (notated: C5 - C6, sounding 2 octaves higher), Whip, Suspended Cymbal

bow, 2 brushes, superball, so mallets, triangle beater, drumsticks, jazz brushes, hard mallets

String Instr uments (1/2)

natural harmonics - speci ed with small numbers in brackets, always referring to the corresponding open string as fundamental:[2]=octave; [3]=octave+ h; [4]=2 octaves; ; [8]=3 octaves; [9]=3 octaves+second; … ; [x]=ver y high but undi ned harmonics

M - multiphonic : nger contact similar to natural harmonics, bowing slowly and with slightly more 2 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

pizzicato behind the bridge on indicated string

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

bridge, edge, scroll, mute - pitchless bowing, notated over the 5th sta 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) mute (bowing on the at side of a wooden mute)

bridge (slow, overpressure) - pitchless bowing right on the bridge with overpressure, inde nite squeaking noise split tone - "car ving out" high partials by subtle changes in the bowing position

crunc h - all strings muted, slow bowing and with severe overpressure, sul tasto

crunc h (open) - on indicated open string, bowing slow and with severe overpressure, contact point and changes indicated

2 Fallow eld, Ellen. Cellomp https://cellomap.com/ [accessed: Jun 29, 2021].

Robert, Jean-Piere Modes of Playing the Double Bass Editions Musica Guild, 1994.

Maurer, Barbara. Saitenweise: Neue Klang phänomene auf Streichinstrumenten und ihre Notation - Eine Anleitung Wiesbaden, Breitkopf und Härtel, 2014.

String Instruments (2/2)

grinding - Violin and Viola held upright with the end pin on the thigh and the backside of the body pointing outwards, then the bowing stick is rotated through the hair that are placed on the backside of the instrument's body, Violoncellos and Doublebasses with the same technique, but the bow hair contact the instrument under the ngerboard

col legno vertical bowing and circling - all strings muted, bowing with the stick of the bow along the fretboard as indicated by the circle-dot noteheads, or in circles