Issuu

Al y s s a We i n b e r g . . . e n f u m é e

( 2 0 2 3 / 2 5 )

Al y s s a We i n b e r g

e n f u m é e

. . .

d u r a t i o n c a . 1 5 ' ( 2 0 2 3 / 2 5 )

I n s t r u m e n t a t i o n : F l u t e

O b o e

C l a r i n e t i n B b

S a xo p h o n e ( Te n o r a n d B a r i t o n e )

B a s s o o n

H o r n i n F

P e r c u s s i o n 1 :

v i b r a p h o n e , l a r g e t a m , s u s c y m , r a t c h e t , s l a p s t i c k , t r i a n g l e P e r c u s s i o n 2 :

c r o t a l e s ( w i t h w a t e r ), s u s c y m , l o w t o m , b a s s d r u m , m a r i m b a

H a r p

Vi o l i n 1

Vi o l i n 2

Vi o l a

C e l l o

D o u b l e B a s s

C o m m i s s i o n e d b y t h e L a k e G e o r g e M u s i c F e s t i v a l

m a d e p o s s i b l e b y t h e N e w Yo r k S t a t e C o u n c i l o n t h e Ar t s

T h i s w o r k w a s c o m p o s e d w h i l e i n r e s i d e n c e

a t t h e C o p l a n d H o u s e , C o r t l a n d t M a n o r, N e w Yo r k , a s a r e c i p i e n t o f t h e Aa r o n C o p l a n d Aw a r d

i n s p i r e d b y G e o r g i a O K e e f f e

i n r e s p o n s e t o t h e C a n a d i a n f o r e s t f i r e s o f 2 0 2 3

i n m e m o r i a m K a i ja S a a r i a h o

O r c h e s t r a t i o n c o m m i s s i o n e d b y t h e B u t l e r S c h o o l o f M u s i c

a t U n i v e r s i t y o f Te xa s a t Au s t i n

2 0 2 5

Diminuendo al niente

Strings

cendo dal niente

Rapid left hand movement in randomized order with har monic pressure does not have to fall strictly on speciﬁc nodes but play “ as har monics,” Free bowing, the result should be a shimmery cloud of har monic noise String and hand position will be speciﬁed in each passage

Glissando on the entire gesture within the box

This is a two-part gesture: Begin with the “creaky door” overpressure drag Using extreme overpressure, dig into the string with slow bow speed, creating the “creaky door” effect Upon reaching the end of the bow in this pressure drag, transition immediately into a tremolo and glissando up to as high as possible, changing strings as desired to continue up the glissando The glissando should feel sudden, urgent, and quickly sweeping up Immediately retur n back down to the starting pressure drag and repeat this entire gesture on loop for the indicated duration

Gradually increase bow pressure following the shape, at its peak with maximum overpressure, creating a crunchy, pitchless effect Gradually retur n to nor mal pressure as indicated by the contour

Small arrow above the staff indicates a gradual change in perfor mance technique, ie gradually moving from ord to sul pont

Gradual change in left hand pressure between nor mal playing and har monics “ x ” indicates free and random alter nation of any amount of pressure

Square Scratch Tone

Note head

W inds

Blow air through the instrument - no pitch

tongue

Multiphonics: The following multiphonics can be found in the book Oboe Unbound by Libby Van Cleve, are are listed by their corresponding number in her chart of standard multiphonics:

5 As an additional resource, audio examples can be found at the following link: https://libbyvancleve com/oboe-unbound

8 If these speciﬁc multiphonics do not work for you or your instrument, use these audio examples as a reference and search for your own substitutions containing similar pitch content and timbral quality

Two types of multiphonics are called for in this work:

● Fingered Multiphonics

● Spectral Multiphonics

Fingered multiphonics have been selected from the Gregory Oakes database, examples of which can be found at the following link and looking up the corresponding number label: https://www gregoryoakes com/multiphonics/ If these speciﬁc multiphonics do not work for you or your instrument use these audio examples as a reference and search for your own substitutions containing similar pitch content and timbral quality

Spectral Multiphonics are achieved by adjusting embouchure and air to allow additional partials to sound along with the fundamental pitch They are indicated in the score by providing the fundamental pitch, along with dynamic or expressive infor mation for how to choose the best option Sometimes suggested speciﬁc upper partials are also notated and should be included or emphasized if possible The following resource from Richard Elliot Haynes can be consulted for the best ways to produce these results: https://www youtube com/watch?v Y0KvAf4Otds

Flutter

Oboe

Clarinet

Saxophone

Spectral Trill: a trill with a diamond notehead indicates a har monic or spectral trill This technique should contain a variety of complex, multiphonic spectral sounds, ranging from ghostly and ethereal to rich, complex, and grungy distortion depending on the indicated dynamic level and additional expressive instructions

Audio examples can be found here:

Harp

The following additional implements are required:

● Superball Mallet

● One pair of soft percussion mallets

● Metal Tuning Key (or other small metal rod) to be used as a slide for pitch bends

Hit strings with open palm

Superball Mallet

Pair of mallets, to be used for percussive rolls on indicated strings or registers

Hollow square noteheads shows the string to be used for indicated technique, not to be traditionally plucked

Superball mallet notation: Square noteheads indicate which strings should be utilized Follow the contour of the arrow across indicated note duration, dragging the superball mallet vertically (not a glissando) along the strings

i c U U

f a s t , bl u r re d , w i l d ﬂ u t t e r t o n g u e &

/ ∑ s l a p s t i c k > t a m s po r a d i c i nt e r je c t i o ns a d i b , l i s t e n a nd re s po nd t o e ve r yo ne e l s e i m pro v g e s t ure s c re a t e w l d o ut bur t s i n c o nve r s a t i o n wi t h t he t e xt ure s ha r p rhyt hm i c c ut o ff s a vo i d c o ns i s t e nt re pe t i t i o ns o r pre d i c t a bl e be a t pl a c e m e nt s … U / s u s c ym s po r a d i c i nt e r je c t i o ns a d l i b a l t e r na t e f re e y be t we e n t he t wo i ns t rum e nt s l s t e n a nd re s po nd t o e ve r yo ne e l s e i m pro v g e s t ure s c re a t e wi l d o ut bur t s i n c o nve r s a t i o n w t h t he t e xt ure , s ha r p rhyt hm i c c ut o ff s a vo i d c o ns i s t e nt

a s f a s t a s p o s s i bl e w i l d , s hre d !

a s f a s t a s p o s s i bl e w i l d , s hre d ! C ha n g e p i t c he s a t r a n d o m g r a d u a l l y w o r k i n g yo u r w a y u p t he s t r i n g , u s i n g ha r m o n i c p re s s u re a n d bo w i n g a s f a s t a s p o s s i bl e F i n g e r i n g a n d bo w i n g c ha n g e s d o n o t n e e d t o l i n e u p &

C ha n g e p i t c he s a t r a n d o m , g r a d u a l l y w o r k i n g yo u r w a y u p t he s t r i n g , u s i n g ha r m o n i c p re s s u re a n d bo w i n g a s f a s t a s p o s s i bl e

F i n g e r i n g a n d bo w i n g c ha n g e s d o n o t n e e d t o l i n e u

C ha n g e p i t c he s a t r a n d o m , g r a d u a l l y w o r k i n g yo u r w a y u p t he s t r i n g , u s i n g ha r m o n i c p re s s u re a n d bo w i n g a s f a s t a s p o s s i bl e F i n g e r i n g a n d bo w i n g c ha n g e s d o n o t n e e d t o l i n e u p hi g he s t p o s i t i o n & C ha n g e p i t c he s a t r a n d o m , g r a d u a l l y w o r k i n g yo u r w a y u p t he s t r i n g , u s i n g ha r m o n i c p re s s u re a n d bo w i n g a s f a s t a s p o s s i bl e F i n g e r i n g a n d bo w i n g c ha n g e s d o n o t n e e d t o l i n e u p hi g he s t p o s i t i o n & hi g he s t p o s i t i o n

g i n a d d i n g o v e r p re s s u re

hi g he s t p o s i t i o n be g i n a d