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Transposing Score Mark Barden TENEBRAE (2011) for James Turrell
rit. moltiss. q = 54 a tempo (to x = 80) ord. (non vib.) N.B. all clarinet trills are timbre trills 12345(special fingerings are given in clarinet part) vib. Clarinet tune to in A A442 pp p mp ppp p pp sub. pp play: mp Natural tune to Horn A415 b in E pp sing: pp
T-SHEET 2 bottom RH: wood wood gliss. along Reibestock strike flat end of Reibestock with hammer (T-Sheet locked into groove of Reibestock) (sound = percussive click with resonance) RH: (handle of pitches hammer) r u h i g Percussion notated at A442 RH holds both bows! ffff ppp pp LH: Reibestock (plastic, wide grooves) (begin piece with Reibestock already locked into left side of T-Sheet both in preparation for m.2 and to stabiliize T-Sheet for bowed sound in m.1)
fingernail gliss on surface of keys (don't depress keys!) [ossia: plectrum or credit card] pp Baroque tune to pp p A415 p mp Organ colored air (no clear pitches! see notes.) ged. 4' | ged. 8' ged. 4' | ged. 8' pp p pp pp choose best 6 colored air sounds (stops set prior to performance) on instrument for beautiful contrasts
rit. moltiss. q = 54 (to x = 80) a tempo III STx IV tune to wood bow near fingers A442 legno e crini, slow bow, weak & ghostly II Violin ff pppp ppp pp
(vib.) 1 tune to wood SPx/N SP arco on front of mute +SPx (bow string and mute) ⁄2SP A430 I Baroque Viola sfpp ff pp p pp ppp
(vib.) arco on front of mute +SPx (bow string and mute) pp p pp 1 tune to wood SPx/N SP ⁄2SP A442 Cello sfpp ff pppp pp
STx bow near fingers tune to wood I legno e crini, slow bow, weak & ghostly A430 Baroque Double Bass (light pressure, no harmonic located here) pp p ppp pp sff
Mark Barden © 2011 2 accel. ------q = 80
begin m.10 after percussion finishes 67slow trill 8fast trill A 101112 Cl. pp mp p ff play: pp sing: (no voice) sing +/- quartertone for beatings pp (very slight glissando) Hn. play:p f begin m.10 after mp percussion finishes (sing +/- quartertone for beatings)
resynchronize with ensemble percussion only: no accel., maintain tempo! (use music below as a cue) Perc. p mp mf f cold, mechanical ff (Strings)
Org. begin m.10 after (this notation doesn't specify the relative pitch. i.e., percussion finishes the second note isn't necessarily higher than the first!) (crescendo results naturally)
accel. ------q = 80 III IV ppp poco 'vib.' (see notes) III (detuned harmonic sul D) (sudden bowstop on next beat) A IV Vln. begin m.10 after p pp mp ff percussion finishes ppp m e l t i n g
III IV gliss. on lower note only, 14 (portato) observe bowing! IV (sudden bowstop on next beat) sim. III Vla. 14 begin m.10 after ppp m e l t i n g 333 3 3 3 percussion finishes p pp mf mf ff
II III 14 31
(sudden bowstop on next beat) poco vib. II III Vc. 14 31 begin m.10 after ppp mp ff percussion finishes m e l t i n g
ossia: III II I 14
(sudden bowstop on next beat) II III 14 DB begin m.10 after ppp mp p mf ff percussion finishes m e l t i n g 3
B 14 15 16 17 18 Cl. pp
Hn. (pp) pp
(sudden bowstop on BELL PLATES next beat [no accent]) (mid & high) CLAY DISC Perc. weak tone with bow noise pp p non dim.
ged. 8' Org. pppp ppp (very weak pitches) pppp
B LH (damp strings in upper third) finger tap SP 77 777 no tone! Vln. simile ppp p ppp p
LH (damp strings in upper third) finger tap SP no tone! Vla. simile ppp p ppp
LH (damp strings in upper third) finger tap SP 5 5 5 5 no tone! 5 Vc. simile ppp p ppp
LH SP (damp strings in upper third) finger tap 3 33333333 no tone! DB simile ppp p ppp p ppp 4 6
with organ Hn. non dim.
"shadow" = complex noise sound on threshold of tone, i.e. just before tone fully speaks. the T-SHEET 5 side very short gestures here cut this blossoming process short and should sound "decapitated" air shadow Perc. pp p
hold each note to form cluster, (colored air) release held notes at comma 6 pp this notation Org. simply reflects with horn the held notes (colored air) non dim. (pp)
6
ST poco vib. non vib. III match clarinet's lower pitch (m.21) IV Vla. 14 ppp p
II III Vc. 14 31 ppp
(ossia come sopra) II III 14 DB ppp 5
C 28 29 30 Cl. p
(nat.) slightly lower than clarinet Hn. pp
7 side 11 side shadow shadow Perc. (p) pp mf
Org. sim.
C III (ord. sul D) IV Vln. p
III IV Vla. p
STx III noise multiphonic (slow bow, continuous sound, IV like a very gentle scratch tone) Vc. 31 31 (finger 7th partial on III & IV, damp behind on both strings with thumb to "choke" harmonic. bow close to fingers.)
IV V DB 14 (pp) 6 accel. - - - (q = 144) q = 120 subito flz. M ( = multiphonic) 31 32 33 34 35 36 15 D BASS CLARINET Cl. sfp ff
flz. 15 (air) blend with organ Hn. pp ff pp
not too fast, use heavy pressure for volume. 12 CLAY DISCS sound is as continuous as possible Perc. ff
2' (fully open) 2' (closed) 15 come (keep 4' & 8' settings) sopra
ged. 4' | ged. 8' f Org. ged. 4' | ged. 8'
accel. - - - (q = 144) q = 120 subito
III SPx N 12 IV D (ord.) distort! 14 31 Vln. slow weak bow, sound is broken and perforated but almost continuous ("fast stutter") sfp ff ppp
II N 12 III SPx 14 31 distort! Vla. slow weak bow, sound is broken and perforated but almost continuous ("fast stutter") sfp ff ppp
1 ⁄ ST FINGER SP 2 multiphonic (see notes) (bow mute) beautiful, intimate (no squeaks!) 15 air II Vc. mp f ff p mp
SPx distort! 15 air (bow mute) DB pmp mp sfp ff 7
(air) 'ç' 38 blend with organ 39 40 41 (sempre blend with organ) B. Cl.
(BASS CL.) pp p
'ç' 'ç' Hn. (sempre blend with organ) p
90° aim for very high, complex sound, THUNDERSHEET scrape quartertone dyad would be ideal knitting needle Perc. pppp ...sound comes in and out of focus...try to blend with violin & viola
Org.
(increase bow speed) ord. Vln. mp
(increase bow speed) ord. Vla. mp
ST ord., (non vib.) Vc. p f ' '
ST ord., (non vib.) DB p 'f ' 8
42 43 44 45 ord. B. Cl. pp
'ç' 'ç' Hn. (p)
Perc.
Org.
(SPx) Vln.
(SPx) Vla.
air Vc. mp pp
DB mp 9 accel. ------q = 132 q=66 accel. - - -
46 47 48 50pure 51 air sub. E (non vib.) flz. sub. B. Cl. pp mp
up and down ca. 1/6 tone very slow hand gliss. trill air (3/4 damped) Hn. ppp mp mp
heartbeat (rest one mallet on head and strike it with other mallet) BASS DRUM 5 5 5 Perc. ppp pp
palm air pp ( air) ged. 4' | ged. 8' LOWER: ged. 4' Org. palm ged. 4' | ged. 8' LOWER: ged. 8' sub. (8':) mp pp sub.
accel. ------q = 132 q=66 accel. - - -
SPx p ST sub. E (damp all strings in middle third) FL legno, flaut. (no tone) IV (pinch string and lift it away from fingerboard) 3 14 Vln. ppp f p 'f ' SPx pp p (p) (air on mute) ST brüchig III 14 Vla. ppp ppp (ppp) p
3 III II FL pizz. (pinch string and lift it away from fingerboard) (laissez vibrer) Vc. f p ff mf p ' ' ' '
(damp all strings in upper third) legno, flaut. (no tone) III N SP DB 'f ' p p mf 10 q (accel.) ------= 80 (double timbre trill) sub. noisy! (might distort 52 53 54throat flz., 55 56 ord. flz. into multiphonic) slow as possible B. Cl. ppp mp ff
p play: (p) Hn. sing: pp p
5 5 5:4 lift T-Sheet to horizontal (quiet as possible) Perc. ppp p pp mp
arm 3 3 3 3 3 3 ged. 4' | ged. 8' Org. arm 3 3 3 3 ged. 4' | ged. 8'
(accel.) ------q = 80 III IV N SP 14 31 Vln. mp ppp mp pf pp
II ST SP SPx string tremelo alternate between strings (air sound on instrument) N IV(III) BODY [ossia: at finger on bridge] Vla. mp f pf pp pp ' '
ST ord. SPx/N SP N SPx finish a beat later ad lib. Vc. " 4:3 mp 9 7 mp ppp violent molto rubato sffp ffp f fffpp ff ffff
IV V non vib. DB pp mf 11 q accel. - - - = 60 subito F 57 58 60 61 (non vib.) vib. B. Cl. ppp (loco) mp Hn.
pour rice lift and lower T-Sheet (fast, quiet) (rice slides gently back and forth) lower T-Sheet completely (rice falls soundlessly
onto cloth on floor) Perc. (ppp) ppp
rhythm of stop changes: LOWER: ged. ged. Rank. 8' 4' 8'
4' | ged. 8' (arm cluster) ged. 8' Org. chromatic, as many as possible 8' | others 3 3 minimal depression fff ppppp
accel. - - - q = 60 subito (damp in middle third of string) p p p (air) ( ) scratch tone on wound part of F any string behind bridge Vln. crini on mute, f p ppp p fff legno on strings (ppp)
BODY (air sound on body of instrument) scratch tone on wound part of any string behind bridge Vla. f p p pp mp fff [ossia: at finger on bridge] pp bow jack- subtone SPx non flautando pizz. (see notes) hammer legno, flaut. Vc. ppp 4:5 (ppp) ffffff (damp strings extremely high)
SP distort! molto vib. ST DB ppppp ff fff 12 rit. ------e- =- 116 62G 64 65 66 B. Cl. pp
Hn.
ppp sempre (TAMTAM) strike in center RH RH: RH: TAM Perc. BOWL CLAY LH: pp LH LH sim. pp sempre (BRICK & CLAY)
UPPER: choose any five notes with best contrast on upper manual (4' | ged. 8' ) 4' ord. depression (subito) pp mp
rit. ------e- =- 116 G mp III II or IV ord. Vln. pp mp sim.
mm.63-73: sounding pitches (double bass 8vb); natural harmonics and lower strings preferred. balance dynamics carefully to allow subtle variations in timbre and intonation to emerge.
II I or ord. Vla. pp mp sim.
mm.63-73: sounding pitches (double bass 8vb); natural harmonics and lower strings preferred. balance dynamics carefully to allow subtle variations in timbre and intonation to emerge.
p mp III or artificial IIor I ord. Vc. two options (ppp) p pp mp sim.
mm.63-73: sounding pitches (double bass 8vb); natural harmonics and lower strings preferred. balance dynamics carefully to allow subtle variations in timbre and intonation to emerge.
I II or artificial II or artificial Ior artificial or artificial ord. 31 14 DB ppp pp mp sim.
mm.63-73: sounding pitches (double bass 8vb); natural harmonics and lower strings preferred. balance dynamics carefully to allow subtle variations in timbre and intonation to emerge.