Un-deux-trois-quatre-cinq For 15 instruments

Diana!Soh! ! INSTRUMENTATION Flute (db. Piccolo) Oboe Clarinet (db. Bass Clarinet) Bassoon Horn in F Trumpet in C Trombone 2 Violins Viola Violoncello Double bass Piano (*prepared) Percussion (**2 players)

*Percussion list: Percussion1: suspended cymbal, amglocken (G#3), timpani (32”), bass drum (large), wood blocks (2), bongos (1-pair), temple blocks, thai gong (nippled; G5) thundersheet Percussion2: vibraphone, bass drum (large), thundersheet, wood blocks (2), bongos (1-pair), temple blocks (2), thai gong (nippled; F#5)

Additional accessories

Toy hand-bells / mini-gongs (7) (small handheld bell or metal resonant object that makes a high sound): For woodwinds and brass players to use in last section Patafix/Blu-Tack (mounting putty): For Strings and Piano preparation. Mute: For Strings and Brasses (bucket and straight mute)

All instruments are notated in C. Piccolo transposes one octave higher, whilst double bass transposes one octave lower.

*Piano to be prepared in advance (refer to preparation guide) **Percussions to be placed at opposing ends of the stage.

Un-deux-trois-quatre-cinq was co-commissioned by the Athelas Sinfonietta Copenhagen and the Klang – Copenhagen Avantgarde Music Festival and BIT20 Ensemble, with support from Arts Council Norway. The first performance was given by the Athelas Sinfonietta, in Copenhagen on 30th May 2014.

Duration: approximately 8 minutes

PERFORMANCE DIRECTIONS

Accidentals hold through the measure and are repeated only for notes of a different octave. Continue performance indications for the duration of bracket Horizontal arrows indicate transition from 1 performance indication to another Interpretative ab and flow around indicated tempo markings are allowed. Desired dynamics indicated are to be adhered to. Dynamics marked within quotation marks “ “ and brackets means as loud/soft as physically possible. *Note that ensemble balance is of utmost importance. Sfz markings indicated a short/sharp and harsh attack and can be achieved regardless of dynamics in brackets. For all flutter tongues, lines indicate the speed. (gradually getting more/less intense) ***It is preferable, whenever possible, that the instrumentalists are lightly amplified and all dynamics to be generally reduced.

NOTATIONAL CONVENTION

Woodwinds

Flute : aeolian sounds (air) : ½ air and ½ tone mix : slightly overblowing (ob)

: extreme overblowing (the numbers indicate register) flz. : Flutter-tongue. [ka] : Italics indicate airy unvoiced exhalation; usually placed over diamond shape note heads Fricative consonances include: f s ssh v Plosive consonances include: p k t Lip pizz. : Lip pizzicato notated over noteheads

Tongue pizz. : Tongue pizzicato notated over noteheads Unspecified pizzicato, player may choose lip or tongue pizz. x : Key clicks. Notated as a note head or on the stem if multiple techniques are required

Oboe : aeolian sounds (air) [t][k] : tongued (resultant sound = percussive)

: random fingering (airy + tongued sound) flz. : flutter tongue

Clarinet : aeolian sounds (air) : ½ air and ½ tone mix *flz : flutter tongue

: indicates alternation of all indicated notes (do not repeat in an orderly manner) : embourchure gliss to unspecified pitch

: keyclicks. Notated as a note head or on the stem if multiple techniques are required.

: dry slap

: resonant slap

Fricative consonances include: f s ssh v Plosive consonances include: p k t

[ka] : Italics indicate airy unvoiced exhalation; usually placed over diamond shape note heads

Bassoon : aeolian sounds (air)

: flap (hitting the reed with tongue, avoid vibrating the reed) *flz : flutter tongue

: random fingering (+ flap)

: embourchure gliss to unspecified pitch

: harmonics

Brasses : aeolian sounds (air) [ht!] :percussive attack, slight pitch [ch] : to say into instrument – (mimick machine’s air pressure release)

: tongue click into instrument; the vowels in parenthesis indicate the vowels to be held in the mouth cavity. (trumpet only) flz. : flutter tongue : embourchure gliss to unspecified pitch

Piano

: prepared notes played on keyboard muted (prepared beforehand. Refer to preparation guide)

: prepared piano harmonics to be played on keyboard(prepared beforehand. Refer to preparation guide) l.v. : slurs to nothing indicate let vibrate.

Percussion

Mallets required Hand with sewing thimbles on Superball Mallet

Hard Mallet Soft Yarn Mallet Bow

l.v. : Slurs to nothing indicate let vibrate : Mute x : Dead strokes

: arrows means to scrap/rub the skin of the percussion

Strings

Circular bowing : move from mst to msp in a continuous manner; Increase pressure when near to the bridge Mst : molto sul tasto (pluck or bow near/ on the fingerboard) Msp : molto sul tasto (pluck or bow near/on the bridge)

:Riccochet (bounce bow) 1/2clb : ½ col legno battuto (hitting with half string and half wood) : small gliss to unspecified pitch

:Bartok pizz (snap pizzicato) triangle shaped note head : as high as possible

: gliss to highest possible position

: white noise/brushing sound

Preparation of Piano The following notes need to be prepared with patafix/bluetag in the following manner :

(a) Bell-like resonance Mute the lowest 3 strings (4-5 inches away) with removable mounting putty (Patafix, en français) at the indicated harmonics – (the resultant multiphonic sounds should resemble bells) (b) Muted (stop resonances; with little pitch) (c) Harmonics (at the octave above) – if possible use insulating “rubber” (it will produce a much clearer harmonic), it can be found in a hardware store.

Preparation of Strings Prepare 2 small balls of mounting putty (patafix/blu-tack) and at appropriate moments indicated in the piece, attach to strings (IV) approximately 15-20mm away from bridge. *This creates a ring-modulation type of synthesized sound as the weight of the putty changes the spectrum of the sound. Please refer to video provided. …I was a rock, bypassable and small… -J.Currie

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