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Like Speaking Into Each Other's Mouths, 2018

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Like Speaking Into Each Other's Mouths, 2018 like speaking into each other’s mouths for clarinet in Bb and cello marcus jackson [2018] programme note like speaking into each other’s mouths acts as a display of intimacy and awkwardness. It presents a situation where the performers attempt to unify their sounding actions, only to be betrayed by their physicality. The work exists at the point of departure between cause and causality, where each performer is simultaneously the initiator and receptor, suspended in a feedback loop in a constant effort to adapt. performance notes s.v./p.v./m.v. – senza/poco/molto vibrato ord./norm. – cancels any previous performance direction e.g. vib. norm. calls for regular vibrato style mst/pst/st – molto/poco sul tasto (near the fingerboard) msp/psp/sp – molto/poco sul ponticello (near the bridge) overpressure – using a large amount of downward pressure on the bow in order to create a sound with high noise content dynamics throughout should be performed such that the performers achieve maximum blend between the two instruments – it is desired that, as much as possible, it is not clear which instrument is playing which line. where there are hairpins with no indicated target dynamic, a nuanced swell should occur up one dynamic degree, then returning to the previous dynamic indication. the performers should not attempt throughout the piece to adjust their tuning to a perfect unison with the other performer – there are many instances where either a different fingering or playing style results in a slight detuning, and this is intended. it is, however, desired that the performers are in tune before the piece, as is standard. emotive/performative guides are given throughout in [square brackets]. these are used to denote a style of playing, and in some instances are used to define the approximate rate of vibrato, or approximate detuning from the perfect pitch of a fully stopped note. indications in (parentheses) denote a detuning from the perfect pitch where the detuning occurs due to the playing technique (mostly harmonics). circled numbers in the clarinet part indicate alternate fingerings. these fingerings are shown below: #w & & w & & #w w · ‚ „ · ‚ „ · ‚ „ · ‚ 11f 1fd fdsa 11t 1tf tfd 11rbfdskv 1bvfdskl bvfdskl. 1vfdsk 1vfdskl tempo is fluid throughout. this is shown by upward- and downward- trending lines connected the various tempo markings through the piece. where the line is straight, there is no change in tempo. there is no line throughout the last page, as there is no change in tempo (although the performers may rubato as they see fit). performers may contact the composer at any time at: [email protected] like speaking into each others' mouths 1 for Bb clarinet and violoncello marcus jackson e = 5 2 subtone 3 ‚ „5 · ‚ · Clarinet in Bb 5 j j 4 j 7 5 & 16#œ™ œ 8 œ #œ œ œ œ œ #œ™ œ œ œ™ 16 œ µœ#œ -œ -œ 16 ppp poss. < > < > IV IV psp m. flaut. (-14¢ of perfect pitch) (-14¢) o e ™ 3 5 O Violoncello ? 5 4 - 7 R 5 j j ® 16 8 ‚fi 16 16 O™ O O O *) O O ‚ O ‚ O O™ O O ‚ pJpp poss. - - 3:5 e = 5 4 [to feel like a bend] e = 5 2 5 3:2 3 ‚ „ · ‚ · ‚ 5 fij j j j j 3 j j 4 & 16#œ œ œ œ œ œ µœ œ œ #œ™ œ œ™ œ 8 œ #œ œ 8 pp ppp poss. [slow trill; more an undulation] IV h.gl. psp II poco vib. vib. norm. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (IV) [c. 5 Hz] [+20¢] Ÿ o œ o O œ O O œ O™ O O O œ œ œ™ œ œ µœ 5 3 4 ? 16 J J 8 8 pp 3:5 ppp poss. poco a poco cresc. e = 5 4 3 e = 4 8 9 5 Ÿ~~~~~~~~~~ [very pure, pale tone] 1dsavb nœ 4 · ‚ „ 3 ·j 4 j „ & 8 # ˙ #œ œ œ 16 #œ µœ 8#˙ œ #œ #œ #˙ ˙ ˙ < > p™ ppp poss. ™ 3 [catch the harmonic with the bow and hold it until it fades] st ord. s.vib. vib. sp pst 5 II gl. I [very pure, pale tone] II Ofij œ j œ <µ>œ nœ œ œ ˜ÆJ œœ™ ˙ ˙ ˙ œ ˙ ˙ 4 ˜ 3 ™ 4 ? 8 16 J 8 J 5 3 p ppp poss. *) half-stopped note (between harmonic and stopped pressure) **) slap-tongue ***) almost completely inaudible 2 e = 5 2 16 [a somewhat warmer tone] nœ 4:3 Ÿ~~~~~ nœ 7 · „ #œ 5 & 16 #œ 16 <#>˙ ˙ œ µœ #œ µœ #œ œ Jœ ™ œ I gl. 3 I st II I gl. I II vib. O O O I j ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œœ œœ œfi #œ #œO œ œO ##œO ™ œO ™ œ 7 ˜ ™ 5 ? J 16 J 16 6:5 p:ppp p e = 5 6 [a quiver] 20 embouchure gl. 3 Ÿ~~~~~~~~~ 5 ‚ · ‚ „ ‚ „ · 5 j 3 fi r ‚ 2 r 5 & 16 ‰™ 32 œ#œ œ œ 8 µœ œ œ œ œ œ #œ 16 #œ œ œ ™ #œ œ œ ™ fij#œ 3 #¿ p ppp mp **) fff:pp [a quiver] sp st I gl. s.v. s.v. p.v. OfijŸ~~~~~~~ p.v. œ ™ œ œ- œ- -œ O œ O œ ™ ‚ Ÿ~~~~~~~~ 3 #O ? 5 J J 3 R 2 ® œ ™ & œ œ 5 16 3:5 32 8 #œ ™ Bœ #œ 16 mp ppp 5 e = 5 2 25 3 3 · #‚œ ™ œ œ œ ™ œ bœ 5 œ œ œ 2+ 3 bœ r 2 7 J ‰ µJ 4 & 16<#>œ #œ B #œ 8 32 µœ œ ˜œ ™ 8 16 8 3 f:pp o o sp Ÿo~r~d~.~~~~ II Ÿ~~~~~~~ 3 5 m.v. I j 5 œfi nO 2+ 3 r 2 7 j 4 j & 16<#>œ ™ nœ ™ œ œ Bœ 8 32 #œ #œ œ nœ ™ #œ 8 16 O 8 O 3fi O #O #O #œO œO f:pp 30 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ · ‚ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 5 bœ #œ · œ ™ œ œ µœ #œ ‚ „ · < >J ‰ #œ œ #œ œ œ œ 3 œ µœ #œ 9 R µR ™ #œ ™ 4 j & 3 J 5 8 32 R 8#œ œ œ œ œ ppp mp ppp 4 3 5 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 Ÿ~~~~~~~~~~~~~~~~~~ 3 9 Ÿ ? 4 - j j O O O j & O O O O O œ O œ œ 8 œ O œ O 32 r nO r r 8 ‚fi 3 3 3 3 3 #œ œ œ œ ##œO O O O O pp mp™ #pœ ™ #œ ™ #œ - - 3 35 3:2 3 ‚ · ‚ „ · j œ œ- 7 5 œfi - B œ #œ œ œ 1 & <#>œ#œ™œ œ œ™ 16 œ µœ#œ œ œ 16#œ œ œ œ œ µœ œœ #œ œ - œ nœ 8 - - 3 < > < > pp sub. mp IV [slow trill; more an undulation] m. flaut. IV h.gl. Ÿ~~~~~~~3~~:~5~~~~~~~~~~~~~~~~~~ II 5 5 o o ? 7 o 5 œ 1 16 ® & r 16 O œ B- bœ #-œ œ œ 8 O ‚ O ‚ O O™ O O ‚ O O œ O œ œ œ œ 3:5 pp s-Oub. mp e = 5 4 e = 4 8 3 39 „ · 5 3 „ #œ œ#œ œ- œ- ‚ „ ‚ ‚ · 1 j 7 µ 4 3 5 & 8µœfi#œ œ œ œ 16 8#œ œ œ œ œ œ œ œ œ #œ œ œ œ 8#œ #œ œ 16 sub. ppp mp p [as much as possible, catch the harmonics with the bow where no harmonic is indicated] 3 IV (quasi gliss.) II gl. I gl. 5 p.v. 5 - - - - - Ÿ~~~~~~~~ 3 o 1 j ? 7 œO œ- œO œ- œO œ- œO œ- œO 4 r 3 5 & 8 œ 16 & 8 œ œ 8 ≈ 16 œœ 8 œ #œ œ œ œ œ œ µœ O ˜ J sub. ppp mp . p e = 5 6 3 5 43 3 j 5 œfi ‚ · ‚ · bœ 5 œ 3 r 2 j œ#œ 4 2 µœ 3 4 & 16 œ #œ ™ œ™ 32 œ™ 8 œ#œfi œ 8 œ#œœœœœ œ œ#œ œ nœ 8 œ 8 8 3 pp œ œ œ (IV gl.) I 5 IV s.v. m.v. o o o o Ÿ~~~~~~~ 3 o o 5 j 3 r 2 O 4 j j 2 µO O 3 4 & 16 O BbO O 32 O™ O 8 O™BbO™ 8 ≈ œ#œ nœ 8 ‰ 8 8 O pOp™ œ œ œ œ -œ œ- œ- 3 49 nœ f. gl. ‚ · ‚ · #œ™ œ™ œ #œ‚ œ „œ ·œ œ 4 ‰ ‰ 3 5 4 ‰ 2 œ & 8 j j 16 #œ œ œ #œ 16 J J 8 3 5 J#œ 8 #œ œ#œ œ œ œ µ ™ n n pp #œ™ [warm tone; cover p.v. s.v. I gl. clarinet absence] 3 3 3 4 3 µœ 5 œ™ j 4 2 O ? & 8 16 16 J 8 #O O 8 O™ œ nœ œ™ ˜œ™ µœ™ œ nO O O O O œ œ#œ œ™ œ œ œ ˙ œ™ #œ 4 5 3 56 #œ œ nœ #œ 3 œ nœ œ 4#œ œ µœ 5 & nœ 32 8 8 fij #˙ nœ #œ #œ #˙ m>f p œ 5 n mf ppp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ I r III Oo Oo #œ #œO œ II nO O o ™ O O ≈ n œ œ Ÿ~~~~~~~~~~~~~~~ ? nO 3 R 4#œ O œ O œ O œ µµœ œ œ #œ #O 5 32 8 6 8 mf p IJI mp ppp e = 7 0 > [embouchure bend + colour trill] 60 3 #œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‚ · ‚ œ #œ œ µœ #œ #œ 5 ‚ „ · 3 #œ‚œ·œ‚œ œ œ·3 œ Bœ B #œ 4 & 8 œ#œ œœœ œbœ œœœœ 16 8 8 #œ œ 5 œ œ œœ œ 5 #mœp f m.v.
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