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Contemporary Music Score Collection UCLA Contemporary Music Score Collection Title Modulations Permalink https://escholarship.org/uc/item/5b74k1m2 Author LaRosa, Christopher Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California modulations for percussion trio Full Score [2017] Christopher LaRosa www.chrislarosa.com modulations for percussion trio [2017] duration: ca. 6” Christopher LaRosa www.chrislarosa.com 2 Percussion 1 timpano (28") 2 bongos 2 woodblocks triangles sp. coil large suspended cymbal timpano bongos woodblocks sus. cyms. medium suspended cymbal œ œ large triangle œ œ œ medium triangle ÷ œ œ œ spring coil with sizzles œ œlow high low high large med. large med. 4 crotales 2 stick/hard felt combination mallets double bass bow crotales (low octave) large superball mallet small superball mallet bœ triangle beater & bœ bœ wire brush bœ plastic mallet Crotales should be placed on the head of the timpano drum, near the edge closest to the player. When directed to bow a crotale, move that crotale to the edge. Percussion 2 timpano (32") triangles sp. coil timpano bongos woodblocks sus. cyms. 2 bongos œ 2 woodblocks œ œ œ œ large suspended cymbal ÷ œ œ medium suspended cymbal œ œlow highœ low high large med. large med. large triangle medium triangle spring coil with sizzles crotales (low octave) 4 crotales œ 2 stick/hard felt combination mallets & œ #œ double bass bow œCrotales should be placed on the head of the timpano drum, large superball mallet near the edge closest to the player. When directed to bow a small superball mallet crotale, move that crotale to the edge. triangle beater wire brush plastic mallet Percussion 3 timpano (26") triangles sp. coil timpano bongos woodblocks sus. cyms. 2 bongos œ 2 woodblocks œ œ œ œ large suspended cymbal ÷ œ œ medium suspended cymbal œ œlow highœ low high large med. large med. large triangle medium triangle spring coil with sizzles 4 crotales crotales (low octave) 2 stick/hard felt combination mallets œ double bass bow & œ œ œ large superball mallet Crotales should be placed on the head of the timpano drum, small superball mallet near the edge closest to the player. When directed to bow a triangle beater crotale, move that crotale to the edge. wire brush plastic mallet 3 Instrument Assignments woodblocks lowest highest Between the three players, the relative pitch of the woodblocks should be graduated. Exact pitch does not matter. The œ œ œ œ œ woodblocks should be assigned to the players as following: Player: 1œ 2 3 2 1 3 Set-up Set up according to the diagram below. Players 1 and 3 should set up at the extremes of the stage, with percussion 2 slightly back and center. This set-up will facilitate the spatialization effects used throughout the piece. Percussion 2 Percussion 3 Percussion 1 Audience u 4 General Notes All grace notes occur BEFORE the beat. All bongo rolls should be buzz rolls. Timpani pedalings are shown below the staff with the numbers 1-5. 1 indicates the highest position and 5 the lowest position. 2-4 are equally spaced intermediary postions between these two extremes. Exact tunings for these pedal indications are not important. Indicates a gliss between two states over the entire given duration. Used for pedal states ÷ and vowel states. œ 1 5 o Indicates a random fluctuation between pedal states ad lib. & bœ ÷ Ped. u large superball 6 Triangle noteheads indicate a fast friction rub in an arc shape around the head of the ÷ ≈ timpano. The sound should be rich and unstable. Increase the pressure and speed of — . — the superball mallet to crescendo. p f Square noteheads indicate a slow, continuous friction rub in circles around the head of ÷ the timpano. The sound should be a stable, mid-range tone. ¬ ƒ P ƒ > Vocalizations are notated in two layers. The top layer indicates a fricative, ÷ Œ ‰ . œ œ œ . œ. and the bottom layer indicates the vowel shape of the mouth. R ts shh [i] = close-high front unrounded vowel, as in “deep.” This vowel [i] [u] [i] should be exaggerated by pulling the corners of the mouth as wide as possible. [u] = close-high back rounded vowel, as in “moon.” b = strike bell of cymbal. b s c s = rapidly scrape cymbal as rapidly as possible with triangle beater from ÷ œ œ bell to edge. œ c = strike dead center of timpano head. modulations Hammer and Nail 2017 Indiana University Jacobs School of Music Christopher LaRosa q = 72 WB sticks, edge of blocks 1 3 2 ≈ > > 3 4 ÷ 4 ≈ œ œ ∑ 4 ∑ 4 ≈ œ œ œ œ 4 ∑ 4 > > > > f ß F f ß Bongos sticks buzz, sempre 2 > ÷ 4 . 3 j 2 . 3 4 4 ‰ œæ wæ 4 œæ. œæ œæ 4 œ ‰ ‰ œ 4 ∑ 4 π P π f WB sticks, edge of blocks Bongos (sticks) 3 4 > 3 2 > 3 j 4 ÷ 4 ‰ œ ∑ 4 Œ ‰ œ ‰ œ 4 ‰ œ ‰. œæ 4 œæ. œæ œæ 4 f P F π P 5 1 ÷ 4 ‰ œ œ ‰ œ œ ‰ œ œ ‰. 2 3 ‰. ≈ œ œ ≈ œ œ 4 ∑ 2 4 3 3 œæ 4 ˙æ 4 œ 4 4 > > > > > > > p P F Í F ß ß 2 4 2 3 > 4 2 ÷ 4 Ó œ œ ‰ œ œ 4 ∑ 4 ‰ œ Œ ‰. æ 4 æ 4 > > > > œ w F f f π 3 2 3 4 2 ÷ 4 æ Œ ≈ œ œ 4 ∑ 4 ≈ œ œ ‰ œ œ œ 4 ∑ 4 ˙ > > > > > > > π f ß f © 2017 Christopher LaRosa. All Rights Reserved. 6 Timp. Bongos sticks 9 hard felt (dampen on rests) Crot. bowed buzz, sempre o 1 2 4 3 4 ÷ 4 ∑ 4 ‰. ‰ ≈ ‰ Ó Œ ‰ ∑ 4 æ. 4 œ œ œ. œ œ 1 bœ ˙ fl Ped. u p1 F f f Í 2 3 5 (sticks) 3 3 2 ÷ 2 4 ‰ œ 3 œ 4 4 ˙æ 4 wæ œ œæ. ˙æ. œæ Œ Œ ‰ œ œ 4 Œ Œ ‰ œ œ 4 > > >>> >>> molto Íp ß Íp f Timp. Bongos sticks hard felt (dampen on rests) buzz, sempre 3 2 3 ÷ 4 ∑ 4 ≈ ‰ ‰. ‰ ∑ 4 ‰ Œ Œ 4 œ. œ œ œ œ wæ œæ p1 P f fl π F 2 3 5 bowed 14 hard felt Crot. 3 3 1 o ÷ 4 ‰ Œ Ó ≈ ‰ ‰. ‰ 2 ‰ j 4 Ó Œ & 4 œ œ. œ œ œ œ 4 œ œ œ 4 ‰ bœ F p1 P f p 1 f 2 3 3 2 5 Timp. (dampen on rests) stick hard felt 3 2 4 4 ÷ 4 ∑ ‰. ‰ ≈ ‰ 42 4 ‰. œ œ œ ‰ Ó œ œ œ. œ œ œ œ œ > p1 F f p 1 F 2 2 3 3 5 3 ÷ 4 2 4 4 œ œæ. œæ œæ. œ œæ wæ 4 ˙æ 4 œ œæ. œæ œ œæ ˙æ > > > > > > > > f Í P f Íp f Í f Í 18 Bongos sticks 1 ∑ ÷ ‰ ‰ ≈ j ∑ & ˙æ. œæ œ œæ œæ œæ œæ œæ . > > > > Ped. u π f Í Í Í Crot. bowed o 2 ÷ j ÷ Œ & ‰ Ó ∑ Ó ‰ œæ œæ. œæ œæ. œæ œæ Œ nœ > > f Í Í P π Ped. u WB (sticks) 3 3 3 ÷ ‰ Ó j wæ œæ ‰ œ œ œ ‰ œ œ œ Œ ˙æ Ó œæ. œæ > > > f Í π P 7 22 1 2 3 4 3 ÷ wæ 4 Œ 4 æ æ œæ. æ 4 œ Œ Ó 4 œ >œ œ > œ > π ß Í Í ß 3 3 3 3 3 3 2 4 ÷ ∑ 42 ‰ j 43 ∑ 4 ‰ j j j 43 œ œ œ 1 œ œ œ œ œ œ œ P2 1p f f 2 2 f 3 3 3 5 5 5 3 3 3 3 ÷ æ Œ Ó 2 3 ∑ 4 3 œ 4 œ œ œ 4 4 œ œ œ œ œ œ 4 π f1 P f1 p f 1 3 3 3 4 4 4 5 5 26 3 3 1 ÷ 3 4 Ó Œ ‰ ‰ Œ 4 œæ œ œæ. œ œæ. 4 œæ œ œ œ œ œ œ œ & > > > > > > > Í f Í f Í f Í ß f Timp. 3 3 large superball 2 ÷ 3 ∑ 4 Œ ‰ œ œ œ ‰ œ œ œ Œ Ó Œ & 4 4 —. ≈ f > > p1 f 5 3 3 3 3 4 ÷ 4 ∑ 4 æ Œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ ‰. œ & ˙. > > > > > > Í f f ç small superball, slow Sus. Cyms. wire brush, mandolin roll 29 Crot. brass friction rub in circles; s stable mid-range pitch 1 ‰. œ w ˙. Ó Ó Œ ÷ æ ‰ & ≈ bœ. œ bœ æ – > > tri. beaterß π f 5 P Ped. u Timp. small superball, slow Crot. brass friction rub in circles; large superball stable mid-range pitch 2 Ó Ó Œ ÷ ‰ & ‰ œ œ ‰ ‰. > —. ≈ — — –. ¬ p p 1f Ped.f u 1 f P 5 5 5 Sus. Cyms. wire brush, mandolin roll Crot. brass s 3 ≈ œ œ ˙ w Ó ÷ ∑ Œ æ æ & ‰. œ œ œ. æ > > tri. beaterß π f Ped. u 8 Tri. l.v. sempre F 33 > p 1 œ Œ Œ ‰. œ Œ ÷ 43 42 4 j 43 ¬ ¬. ¬ ¬ ¬ –. – – – 4 4 5 5 5 Tri. l.v. sempre F p P > Œ ‰ œ Œ ≈ œ. œ 2 3 2 3 ÷ 4 4 4 j j 4 ¬. – ¬. – – – ¬ – – –. –. – 4 3 4 5 5 5 F Tri. P l.v. sempre > æ Œ Œ ‰ œ Œ ≈ œ. 3 w 3 2 3 ÷ 4 4 4 j 4 Œ ‰ – ¬ ¬. ¬ – ¬ – – – – –. 4 4 smallP superball, slow 5 5 5 friction rub in circles; stable mid-range pitch F ßs 38 > p . œ . 1 œ Œ Œ ‰ ‰ œ Œ ÷ 3 j 4 4 .
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