ERILAZ a Ritual for Baritone, Violoncello and Percussion

Jeffrey Holmes

ERILAZ a ritual for baritone, violoncello and percussion

Score

2018

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JEFFREY HOLMES

:ERILAZ:

eRilay:ayt:alu

A Ritual... for Baritone, Violoncello, and Percussion

Text from the Lindholm amulet (DR 261, Rundata) ca. 3rd century, Skåne

Full Score ii iii

PERFORMANCE NOTES

General

1. All tempi are approximate, but the relationships between tempi should be proportionally exact.

2. All accidentals apply through the measure and within one octave, and many cautionary accidentals are provided.

3. The following microtonal accidentals are used: B Quarter tone flat µ Quarter tone sharp J 1/6 tone lower than flat j 1/6 tone higher than flat K 1/6 tone lower than natural k 1/6 tone higher than natural L 1/6 tone lower than sharp l 1/6 tone higher than sharp

4. Pitches based on the harmonic series are labeled above the staﬀ by their hypothetical fundamental and partial number. For example, G(7) indicates the seventh partial in the overtone series of G. (The fundamental is partial number 1.) These precise tunings are notationally approximated to the nearest quarter or sixth tone. Performers may either produce the notated quarter or sixth tone or, if accustomed to performing in just intonation, may produce the exact pitches of the indicated partials.

Baritone

In addition to singing, the baritone is asked to perform on three instruments: an Uruz horn (a primitive cowhorn) tuned to Eb, a lyre (or psaltery), and a drum, preferably a very large skinned tom-tom. Notation is as follows: iv

Violoncello

1. The abbreviation s.t. indicates sul tasto; s.p. indicates sul ponticello.

2. The symbol

indicates a downbow with extreme bow pressure, sounding a major seventh lower if possible.

3. A horizontal arrow between two indications of playing technique indicates a gradual change from one to the other. The combination of normal downbow with sul tasto, changing gradually to extreme downbow with sul ponticello, is used at several points.

4. In addition to playing the cello, the cellist is asked to play a suspended triangle, a collection of metallic wind chimes, and a large metal chain. Notation is as follows: v

Percussion

1. The percussion part should be performed by one player.

2. Sticks and mallets may be freely chosen by the performer.

3. The part is notated on two staves labeled A and B. The instruments required are

A: 3 Noah Bells (suspended) 3 Tibetan Bowls 3 Thai Gongs 2 Chinese Opera Gongs 1 Chinese Cymbal 1 Wind Gong 1 Chau Gong 1 Tam-tam

B: 2 Bongos 1 Conga 2 Tom-toms 1 Suspended Bass Drum

Notation is as follows:

Suggested actual pitches (if possible) for the Noah Bells, Tibetan Bowls and Thai Gongs are:

The desired order of relative pitch for the other gongs and cymbal is:

Highest: Chinese Opera Gongs Chinese Cymbal Wind Gong Chau Gong Lowest: Tam-Tam

Any nine semi-pitched bells, bowls or gongs may be substituted for the Noah Bells, Tibetan Bowls, and Thai Gongs. Any six non-pitched gongs or cymbals may be substituted for the Chinese Opera Gongs, Chinese Cymbal, Wind Gong, Chau Gong, and Tam-tam. Any six graded drums may be substituted for the Bongos, Conga, Tom-toms and Bass Drum. vi

Text

The text for Erilaz is taken from an esoteric, and probably magickal, inscription made on a bone antler carved into the shape of a rib bone, made between the 2nd and 4th centuries CE, and found in Skåne (modern-day Sweden), cataloged as the Lindholm Amulet (DR 261, Rundata).

The carving was made in the Elder Futhark written system of runes, notating a Proto-Germanic or Proto-Scandinavian dialect. The meaning is not clear, but it appears to be a magickal or ritualistic chant or appeal to the Old Gods. Both the transliteration and the interpretation of the original runic text are made by the composer.

Runic text: ekeRilaySaWiagayhateka:aaaaaaaayyynnnBmuttt:lau:

Transliteration:

EKERILAZSAWILAGAZHATEKA:AAAAAAAAZZZNNNBMUTTT:ALU:

Pronunciation (sung text) in Proto-Germanic:

Ehwaz Kaunan Ehwaz Raido Isaz Laguz Ansuz Algiz Sowilo Wunjo Isaz Ansuz Gebo Ansuz Algiz Hagalaz Ansuz Tiwaz Ehwaz Kaunan Ansuz : Ansuz [8 times] Algiz [3 times] Nauthiz [3 times] Berkana Manaz Uruz Tiwaz [3 times] : Ansuz Laguz Uruz :

Interpretation:

I am Erilaz [a powerful warrior or ruler made from magick]. I am a wise one [a reference to the God Oðinn]. : Invocation to eight Gods or eight invocations to Oðinn. Three invocations to the nature-spirit, Three declarations of need or want, Three pronouncements to the God Tiwaz (Týr) of War, Justice, and Honor. : Magickal formula "Ansuz Laguz Uruz" [Mouth of River, Lake, Rain]. :

Note: This text is in the public domain. All transliterations, notations, pronunciations, and interpretations have been made by the composer.

Music engraving by Prime Form Music www.primeformmusic.com To Vincent Ranallo :ERILAZ: A Ritual... for Baritone, Violoncello, and Percussion

Jeﬀrey Holmes 2018 e. = 27 accelerando poco a poco °? 6 9 6 12 9 Voice 16 ∑ 16 ∑ 16 ∑ 16 ∑ 16

Baritone Point Ūruz horn high into the air Ūruz horn Instruments ? 6 œb ™ 9 œ™ œ™ 6 œ™ 12 ˙™ 9 ¢ 16 16 J 16 16 16 f (Breathe when necessary, but always rearticulate at forte dynamic level.)

Triangle Wind chimes œ ™ l.v. Wind chimes Violoncello/ 6 œ™ j 9 œ™ j 6 12 9 / 16 æ œ 16 ™ œ 16 16 ˙™ j 16 Percussion æ æ æJ æ œ ppp p pp mp ppp æ pæ f j œ œ all l.v. sempre simile ° 6 9 6 œ œ™ 12 9 A / 16 ∑ 16 ∑ 16 16 ∑ 16 ppp p Percussion with small friction mallet medium friction mallet large friction mallet B 6 9 6 ∑ 12 9 / 16 æ 16 æ j 16 16 æ æ 16 ¢ œ™ œ™ l.v. œ™ œ™ œ™ œ™ œ™ p f mf ff mf fff

5 (accel.) e. = 54 ° 9 12 U 3 6 9 6 ? 16 ∑ 16 ∑ 16 ∑∑16 16 ∑ 16

U to Drum Drum ? 9 œ™ œ™ 12 ˙™ / 3 j 6 9 ∑ 6 ¢ 16 J 16 16 œ™ 16 œ™ œ™ 16 16 p mf Triangle to Vc. Violoncello œ™ œ™ U˙™ œb œ™ 9 J 12 ? 3 œb ™ 6 ™ 9 ™ 6 / 16 16 16 J 16 & 16 œn ™ kœ™ œb 16 pp p pp

j all l.v., sempre simile œ j U ° 9 œ œ™ 12 œ j 3 j 6 9 œ œ œ™ 6 / 16 œ 16 œ™ 16 œ 16 œ œ œ™ 16 œ 16 l.v. œ œ œ™ l.v. ™ pp mp p mf p U 9 ∑ 12 ∑ 3 ∑∑6 9 ∑ 6 ¢ / 16 16 16 16 16 16

10 ° 6 9 12 9 ? 16 ∑ 16 ∑ 16 ∑ 16

(Drum) 6 9 j ‰™ ‰™ 12 ∑ 9 ¢ / 16 œ™ œ™ 16 œ™ 16 16 f

4:3 œn ™ œb ™ œ# œn ™ Jœ™ ™ ? œb œb Kœ™ 6 kœ Jœ œn ™ œb ™ 9 œ œ 12 œb 9 &16 œn 16 œn œB™ J ™ œb ™ œ œ™ 16 16 3:2 œb œb 5:4 f

° 6 œ œ œ™ 9 œ œ 12 œ œ 9 / 16 16 œ œ™ 16 œ œ™ œ™ 16 f 6 ∑ 9 ∑ 12 ∑ 9 ¢ / 16 16 16 16

13 ° 9 12 15 U 9 ? 16 ∑ 16 ∑ 16 ∑ 16

to Lyre U 9 12 ∑ 15 ∑ 9 ¢ / 16 œ™ œ™ œ™ 16 16 16 f p

3:4 U 4:5 ? 9 œb œb ™ œn ™ œn œ# ™ 12 15 9 œn œb œn œb œn ™ œ# ™ œn ™ ™ 16 œn 16 Kœ 16 œ™ œn ™ 16 4:3 ( f ) p ° U 9 œ œ œ j 12 œ œ œ 15 œ œ 9 / 16 œ œ œ™ 16 œ™ œ™ 16 œ œ™ œ™ 16 ( f ) p U 9 ∑ 12 ∑ 15 ∑ 9 ¢ / 16 16 16 16

(e. = 54) p espressivo (vib.) mf mp 16 Eb(7) °? 9 œ# ™ 12 œn ™ 15 9 œb ™ œ# 16 œ œ 16 J œb œb œ™ 16 œn ™ Jœ™ œ œ 16 œn Eh ----waz Kau ------nan Eh - e k e Lyre j j j 9 j œœ™ 12 ∑ 15 ∑ 9 œ œ™ ¢ / 16 œ™ œ™ 16 16 16 œ™ œ™ p p

non vibrato sempre simile 9 12 15 9 ? 16 j 16 16 j 16 j -œb ™ œ™ ˙™ ˙™ œ™ -œb ™ œ™ p ppp p

soft mallet (RH) soft mallet soft mallet ° 9 j 12 ∑ 15 j 9 j / 16 œ™ œ™ 16 16 ˙™ œ™ 16 œ™ œ™ p lontano sempre ppp p soft mallet * hard mallet (LH) ≈ ----- 9 12 ∑ 15 ‰™ ‰™ ‰™ œ œ œ œ œ 9 ¢ / 16 16 16 16 >>>œ™ œ™ œ™ >>>œ™ œ™ œ™ ppp lontano sempre ppp pp pp lontano * Accent ( > ) indicates a hard mallet, tenuto ( – ) indicates a soft mallet. 3 f mf ff Eb(28) Eb(23 25) 20 Eb(11) œ ™ Eb(22) ° Bœ™ ™ œ™ œb ™ J œb 6 œn kœ Kœ 3 œb Bœ œn 6 ? œn œ œb œn ™ 16 16 16 waz Rai --do Is - az La -----guz An -suz Al - giz (Lyre) R i l j a y œ ™ ∑ ∑ œ™ œ™ 6 ∑ 3 ∑ 6 ¢ / J 16 16 16 p

6 3 6 ? j j j 16 16 j 16 œ™ œ™ œ™ œ™ -œb ™ œ™ œ™ œ™ pp p sempre

° j j j 6 3 j 6 / œ™ œ™ œ™ œ™ œ™ œ™ 16 œ™ œ™ 16 œ™ 16 ppp pp p ppp p œ--œ ---- ‰ œ---œ œ - --- ∑ ‰™ œ œ œ œ 6 œ 3 œ œ œ 6 ¢ / 16 16 16 œ™ œ™ œ™ p mp pp pp>>>

ff sempre G(56) G(46 42) G(44) 25 Kœ œ ™ œn ™ œ ° 6 œn ™ 9 lœ Kœ 12 µœ œ™ 18 ? 16 œ# 16 16 J 16 So ------wi --lo An -----suz S j a œ ™ 6 œ™ œ™ 9 ∑ 12 ∑ 18 ¢ / 16 J J 16 16 16 f 3 s.t. ¶¶s.p. ≥ œ™ √≥ ? 6 9 j 12 œ# ™ œ# ™ 18 16 œn ™ 16 œ™ œ™ 16 œ™ 16 mp mf f

° 6 9 j 12 18 / 16 œ™ 16 œ™ œ™ 16 ˙™ 16

3:2 - -- 6 9 ∑ 12 ‰™ ‰™ œ œ œ œ---œ œ 18 ¢ / 16 œ™ œ™ œ™ 16 16 16 p>>> p

( ff ) G(44) G(42) ( ff ) 28 ™ ° 18 µœ œ œ œ Kœ œb ™ œb ™ œ™ ? 16 œ# J Wun ----jo Is --az Lu ---guz An suz- W i l a j j 18 ™ œ œ™ œ™ œ™ ∑ ¢ / 16 œ œ œ Jœ f 3 ≥ s.t. √¶¶≥ s.p. ? 18 b˙™ œ™ 16 ˙n ™ œ™ ˙™ œ™ mf f

° 18 / 16 ˙™ œ™ ˙™ œ™

3:2 ----- 3:2 18 ‰™ œ œ œ œ œ œ----œ œ œ ‰™ ‰™ ‰™ ‰™ ¢ / 16 œ™ œ™ œ™ œ™ œ™ œ™ mp>>> mp mf>>> 4

30 f ff G(28) °? œn ™ œ œb ™ œ™ Kœ œ™ 36 œ# ™ œ™ œn œ œ œ# ™ œ™ œ™ 27 J 16 J J 16 Ge bo- An suz- Al giz- Ha ----ga laz- An suz- g a y h a (Lyre) j j ∑ 36 j œœ™ œ™ ˙™ ˙™ 27 ¢ / 16 œ™ œ™ œ™ ˙™ ˙™ 16 f 3 3 ≥ s.t. √¶¶s.p. ≥s.t. √¶¶≥ s.p. #˙™ œ™ ≥ b˙™ ˙™ ˙™ ? ˙™ œ™ 36 27 16 ˙™ ˙™ ˙™ 16 ff f ff ° 36 27 / ˙™ œ™ 16 ˙™ ˙™ ˙™ 16

œ---œ œ ------36 œ------27 / ‰™ ‰™ œ œ œ œ œ œ œ œ œ 16 œ œ œ ‰™ ‰™ ‰™ ‰™ ‰™ ‰™ ‰™ ‰™ œ œ œ œ œ ---œ œ œ 16 ¢ >>> mf f mf mf

f p 32 G(25) G(28) U °? 27 œb ˙ Kœ™ œ™ œ™ 18 œ# ™ œ™ œn ™ Jœ™ 3 16 J 16 J J 16 Ti waz- Eh waz- Kau ----nan An --suz: t e k a : to Ūruz horn U 27 ∑ 18 ∑ ? 3 ¢ / 16 16 16 3 to Perc. ≥ s.t. √¶¶≥ s.p. 3 n˙™ ˙™ œ™ ≥ s.t. √¶¶≥ s.p. ? 27 ˙# ™ ˙™ œ™ 18 ˙™ Uœ™ 3 16 J & 16 ˙n ™ œ™ / 16 ff fff U ° 27 j 18 3 / 16 ˙™ ˙™ œ™ 16 ˙™ œ™ 16

27 œ--œ ------18 œ---œ œ ------U 3 / 16 œ œ œ ‰™ ‰™ ‰™ ‰™ œ œ œ œ œ œ œ----œ œ œ 16 œ œ œ œ œ œ œ œ œ œ œ-----œ œ œ œ 16 ¢ >>> >>> f f ff ff fff

34 e. = 27 accelerando poco a poco ° 3 6 9 6 9 12 ? 16 ∑∑16 16 ∑ 16 ∑ 16 ∑ 16 Point Ūruz horn high into the air Ūruz horn ? 3 ∑ 6 œb ™ 9 œ™ œ™ 6 œ™ 9 ∑ 12 ¢ 16 16 16 J 16 16 16 f Wind chimes Triangle Chain j œ™ œ™ œ™ œ™ œ™ æ j 3 j 6 9 æ ™ œ 6 9 J 12 / 16 œæ™ 16 œ™ 16 æ 16 16 16 f l.v. ppp p ppp p

scrape with j all l.v. j triangle beater œ œ œ œ™ ° 3 j 6 9 6 œ™ 9 œ 12 / 16 æ 16 16 ∑ 16 œ œ 16 16 œ™ œ™ l.v. f pp mp f small friction mallet 3 ∑∑6 9 æ j 6 ∑ 9 ∑ 12 ¢ / 16 16 16 œæ™ œ™ 16 16 16 p f 5

39 (accel.) ° 12 9 12 15 U 6 ? 16 ∑ 16 ∑ 16 ∑ 16 ∑ 16

(Ūruz horn) to Lyre U ? 12 ˙b ™ 9 œ™ œ™ 12 ˙™ 15 ∑ 6 ¢ 16 16 J 16 16 / 16 ( f ) Wind chimes Triangle Wind chimes to Vc. œ™ œ™ œ™ œ™ œ™ œ™ j U 12 ˙™ j 9 12 15 ˙™ æ j ? 6 / 16 æ œ 16 16 16 æ ™ œ 16 æ æ pp mp pp mf p mf

œ U ° 12 9 œ œ ™ 12 œ j 15 6 / 16 ∑ 16 œ œ 16 œ œ™ 16 ∑ 16 œ œ œ™ l.v. p mf mp ff medium friction mallet large friction mallet U 12 æ 9 ∑ 12 ∑ 15 æ j 6 ¢ / 16 œæ™ œæ™ œ™ 16 16 16 ˙æ™ œ™ 16 mp ff mf fff

e. = 54 43 ppp pp p mp j °? 6 j 9 œb ™ 12 œn ™ ™ 9 œ œ œ œb œ™ œn ™ 16 œb œ œ# œ™ 16 œ œ 16 J œ# œ œ 16 An suz- An - suz An ---suz An ----- a a a a Lyre j j j 6 œ 9 œ™ œ™ 12 ∑ 9 œ œ™ ¢ / 16 œ™ 16 œ™ œ™ 16 16 œ™ œ™ p mp J Violoncello sempre simile ? 6 ≥≥≥ 9 12 9 12:9 16 œb œ œ œ œ œ 16 œb œ œ œ œ œ œ œ œ 16 œb œ œ œ œ œ œ œ œ œ œ œ 16 œb œ œ œ œ œ œ œ œ œ œ œ ppp crescendo poco a poco ° 6 9 12 9 / 16 16 ∑ 16 ∑ 16 j œ™ l.v. œ™ œ™ ppp pp 6 3:2 9 6:9 12 9:12 9 ¢ / 16 œ™ œ™ œ™ 16 œ œ œ œ œ œ 16 œ œ œ œ œ œ œ œ œ 16 œ œ œ œ œ œ œ œ œ ppp crescendo poco a poco

47 mf f sempre j œb ™ œn ™ œ™ œb ™ °? œb ™ œ œ# œn œb œ™ œ 12 B œb ™ œ™ 9 J 16 16 suz An ------suz An -----3:2 suz a a j œ ™ œ™ œ™ œ™ ™ 12 ˙™ 9 ¢ / œ™ œ™ J 16 16 J mf 3 s.t. s.p. 15:9 ≥ √¶¶≥ 2:3 ? j 12 œb ™ µœ œn jJœ œ œ B 9 œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œb ™ œ™ 16 16 œ™ œ™ 9:12 (cresc.) f fff f sempre ° j 12 9 / ∑ œ™ œ™ 16 ∑ 16 p

12:9 15:9 œ œ œ œ œ œ œ œ œ 12 œ œ œ œ œ œ œ œ œ œ œ œ 9 ¢ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 16 16 2:3 4:3 (cresc.) f sempre 6

50 6:9 4:3 ° 9 2:3 4:3 6 18 ? 16 œ œn jJœ œ œn œ 16 œn Bœ œb kKœ œ œ œb 16 An ------suz An ------suz a a 9 ∑ 6 ∑ 18 ¢ / 16 16 16

œ Bœ œ jJœ œ œ œ# œ# œ œn œ œ 9 œn 6 µ jJ œ œ œ# ? 18 B 16 œ# 16 œ# œn 16 2:3 4:3 œn œb 4:3 9:6 5:3 ° 9 6 18 / 16 ∑ 16 ∑ 16

9 œ œ œ œ œ œ œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ 18 ¢ / 16 œ 16 œ œ œ 16 4:3 5:3 4:3 5:3

52 pp p ° j ? 18 ‰™ ‰™ ‰™ œb œ œn œb œ œ™ œn ™ œb œn ™ œb ™ r 16 œb œb œb œ œ œ Al ------giz Al ------y y (Lyre) j j j 18 ™ œœ™ œ™ ∑ ¢ / 16 œ™ œ™ œ™ mp

sempre simile ? 18 ≥≥≥ 16 œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ ppp subito, crescendo poco a poco

° 18 / 16 ˙™ œ™ ˙™ œ™ ppp ( ppp ) 18 12:18 ¢ / 16 œ™ œ™ œ™ œ™ œ™ œ™ œ œ œ œ œ œ œ œ œ œ œ œ ppp subito, crescendo poco a poco

mf 54 mp ° r ? j œb œn œ œb œ™ œb œn ™ œ™ œ™ œb ™ œn ™ œ œb œb œ --giz Al ------y j ∑ œœ™ ¢ / ˙™ œ™ mf

21:18 24:18 ? œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ (cresc.)

° / ∑ ˙™ œ™ pp

¢ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ (cresc.)