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For Vibraphone and Electronics Written for SPLICE Institute and Shaun Cayabyab

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For Vibraphone and Electronics Written for SPLICE Institute and Shaun Cayabyab Nathaniel Haering for vibraphone and electronics written for SPLICE Institute and Shaun Cayabyab Resplendent Shards Performance Notes -Accidentals do not carry through un-metered measures -If a specific duration is not shown in a free time section, the rubato pacing is completely at the discretion of the performer. -Assume feather pedaling when specific instructions are not given -Requires 4 average cord vibraphone mallets with rattan handle, a Bass Bow, and a hard mallet for pitch bending. Malletech Bob Becker BB34 suggested for pitch bending. ​ -Piece begins with 4 mallet stevens grip, transitions to holding bow in right hand and a cord medium hard rubber mallet in the 1st and 2nd positions respectively. The piece ends with a return to normal 4 mallet grip. -Arrows suggests a smooth and incredibly slow transition from one technique to another. This is used to show movement from dampened to open pedaling over the approximate space shown and to move on to and off of nodes on pitches marked with a dot inside a hollow note. When traditional pedaling is implied the notation “Ped” will be used. -Downward arrows require the performer to use the hard mallet to add density to the bar and move from the center node outward to lower the pitch -Up bow symbol alongside a staccato and accent asks that the bow be pulled quickly and viciously across the bar. At peak volume, stop with the hairs of the bow remaining in contact with the bar to instantly halt the sound. This creates a loud staccato burst with no residual resonance -Down bows suggest traditional bowing, allowing the note to resonate naturally -Notes with Plus Signs accompanying them suggest dead strokes; notes dampened upon hit with the mallet. -Circled Numbers and dotted arrows represent times where the pedal should be pressed on stage to initiate the next phase of electronics Program Notes In the tradition of Javanese gamelan, brass instruments are forged in a way that creates intentional tuning discrepancies between each instrument in the ensemble in order to create a "shimmering" sound. It is often nearly impossible to create this fluttering clash of intonation with only one instrument, however, the vibraphone has its own rotating resonators to rectify this. When this mechanical technique is combined with subtle controlled shifts in the tuning of the electronics accompanying the vibraphone, this shimmering effect is even more amplified. The electronics in this piece act as an extension of the instrument, intricately moving in and out of the expression provided by the live performer. The electronics and performer work together to intensify the shaping of phrases and interweave to create more fascinating undulating textures. This creates a pairing of electronic and acoustic instrument that creates not two separate entities but one more powerful malleable vibraphone with enhanced artistic capabilities. The unique timbre and nuanced changes of pitch that occur when striking the vibraphone with the damper fully in contact with the bars is a tantalizing possibility for the vibraphone that is seldom used musically. The use of this technique combined with the movement from normal striking position to playing over the nodes as well as the use of bows, harmonics, and pitch bending, results in a piece that fully explores the timbral possibilities of the vibraphone. when no timing appears q= 50-70 Resplendent Shards Vibraphone Nathaniel James Haering begin exceptionally slowly 3'' 2'' 3'' 2'' A æ & œæ œæ fæ œæ ∑ p f p closed pedal opened pedal closed pedal 3'' 3'' 2'' 1'' 2'' 2'' B + + æ æ æ æ æ >œ & œæ œæ bœæ œæ ∑ œæ bœ bœbœæ p f p æ closed pedal opened pedal closed pedal p mf sub. p f closed pedal opened pedal closed pedal 1'' 1'' 3'' 1'' C + + l.v. œ œ ˙ & ∑ œæ bœ bœ bœ nœ œæ bœ™™bœ.bœ œ p mf f p mf closed pedal ° ø ø 1/2'' D as fast as possible + nœ+ nœ + ˙™ n œ œ & bœ™™ bœ. bœ b be be be e e bœæ e e f p 3 fp ø ø building intensity 1'' 2'' 1'' 1'' 2.5'' as fast as possible as fast as possible E æ æ æ œæ œæ b œæ bœæ beebe bœ bœ ne eee e œ & bebeeee œ bœ ∑ bene e œ bœ œ æ æ æ æ æ fp f fp f mf fp f fp f 2 F delicate, lifted building, pushing agressive, drive to arrival œ œnœ œœœœ œœœœœ œœœ œœœœ œ œ œœœ œ œœ œœ œ & œœ ‰ œ Œ œ ‰ œ œœ œœ œœ œ œ nœœœœœœ œ sub. p mf p fp ° Motor On 1 5'' Arco. Get Bow for Right Hand f G ˙ q=60 ≥ œ œ œ œ œ ˙ 4 œ 4 Ó #˙ ∑ & 4 3 3 4 w w f w f ff nw pw f pw n L.H Click Track Engages Electronics 4 / 4 H ≤ >. Œ f & ∑ ∑ bw b˙™ œ w œ #˙™ w œ bw b˙ œ w œ #˙™ w f f>p f ™ pp mf p ff & ∑ ∑ ∑ {I ≥ ˙ Ó ∑ j & <#>w œ œ bœ bœ ‰ œ œ œ #œ œ w œ œ ˙ #œ <#>w Œ ‰ J 3+ + œ œ œ#œ œ w œ œ ˙ œ mf n p n f> p {& ∑ ∑ J 3 >≤ >≤ >≤. ≥ . ≥ ≥ ≥ . n˙ ˙ ≥ Ó #œ Œ ˙ œ™#œ œ ˙ ˙ & # w ∑ ˙ #œ œ n#œœ ˙ #œ < > mp f Œ™ J Œ Œ mÓp Ó f Œ™ J <#>w n + + + + mf ° & ∑ ∑ K ≥ Grab Hard Rubber >≤. ≥ ≤ ≥ Mallet for Left Hand { j Œ Œ ˙™ ≥j ≥ >œ. ≥ œ≥ œ ≥ œ ‰ ˙ œ Ó™ ‰ œ œ o o o & Œ œ ‰nœ Œ Œ #œ Ó ∑ œ œ J ‰ Œ œ w w J œ mf f mf f n + + + & L Motor Off w≥ ≥ bœ ˙ { bœ™ œ ˙™ bœ™ ˙ œ™ J & ∑ ∑ J ˙ Œ Ó ‰ ˙ mp mf mp f O & M{ ≥ w #œ œ ≥ & ‰ #œ œ œ œ ‰ nœ™ œ ˙ ‰ œ 3 J J œ œ œ f p f œ œbœ œ œ b˙ pw f ~ {& 4 N 3 + + 5 ≥ ∑ ‰ & bœnœ œ#œ n˙ #œ æ æ œbœ œbœ #œæ #œæ p mf fp mf n O #O & O with hard mallet 3 3 œ + + + + + ≥ ≥ bœ œ nœ œ œ œbœ { ‰ nœ ˙ & n˙ œ #œ œ bœ bœ œ bœ J sub. pœbœ mf pp O O #O O O & J P 3 ≥ ≥ ≥ { Ó Œ nœbœ ˙ n˙ ˙ Œ & œ œ#œ #œ œbœ œ #œ f f> p O O O & O O O accel. Q 2 ≥ ≥ j { Œ #˙™ Œ #˙ œ ‰ 6 #œ> œ œ. 3 Ó Œ™ œ œ œ œ œ œ™ . œ #œ ™ & œ™ . œ #˙ œ œ™ œ #˙ œ ™ 8 > #œ 4 pp p . mp Click Track Disengages 6 3 {& 8 4 q=75 with hard mallet Back to 4 cord mallets 4 5 3 accelerate to as fast as possible R ≥ ≥ ≥ ≥ + nœ œ≥™ ≥ ≥ œ≥™ œ œ œ œ Y 3 œœ#nœœ# œ 4 nœ™ œ nœ™ œ œ œ œ œ Y & 4 4 œ Œ Ó ∑ œ œ œ Y ff œ œ œ Y ° ff ø & 3 4 4 4 5'' 5'' 1'' n f n S { bœ bœ & Óœ œ ∑ œ bœ œ bœ œ œ œ œ n f n n f n & 5'' 2'' 2'' p f {T ‰ bœ ‰ & œ bœ œ ∑ œ bœ œ bœ œ + + pp fp n ° ø & 4'' 2'' 3'' 1'' U bœ ‰ bœ œ bœ ∑ & œ bœ bœ b œ œ nbœ { œ nœ œ œ œ œ œ + + + + + + + pp f n {& 6 8'' V accel. œ æ æ æ æ ‰ œæ œæ œæ œæ nœœ œ œ œ#œœœœœœ#œ & #œ œ nœœ œœœœ œ œœœ#œ nœœ #œ œ #œ n œ œ œ œ œ œ œ æ æ æ æ pp æ æ æ æ f p mf p f & no pause accel. W ∏ ∏ ∏ ∏ ∏ œ ∏ ∏ ∏ ∏ ∏ œ ∏ ∏ ∏ œ ∏ œ ∏ ∏ ∏ ∏ ∏ œ ∏ œ ∏ ∏ ∏ œ ∏ ∏ ∏ œ ∏ ∏ ∏ œ œ #œ œ ∏ ∏ ∏ œ œ #œ nœ œ ∏ œ ∏ #œ ∏ nœ ∏ ∏ ∏ œ œ ∏ œ { ∏ ∏ ∏ ∏ ∏ œ #œ nœ œ œ œ ∏ œ ∏ ∏ ∏ œ œ #œnœ ∏ œ ∏ ∏ ∏ œ œ œ œ ∏ œ ∏ ∏ ∏ œ ∏ œ œ ∏ & ∏ œ œ ∏ œ ∏ #œ œ œ œ nœ œ œœ ∏ œ œ œ œ œ œ œ mf f mp ff ° ø ø & 5'' q=60 Improvise hits following shown contour X 5 with expanding intervals 6 æ { æ æ æ æ æ ˙æ œæ ˙æ fæ wæ b˙ ˙æ ˙ œ 4 ˙ f w ˙ ˙ & 4 ˙ f w ˙ ˙ ˙ œ œ™ œœ ˙ f w b˙ ˙ sub. æ æ æ æ æ æJ pp æfff æ æ æ æ ø æ ° 4 & 4 free time 4'' 6'' Y{ & #˙æ œ œ™œœ #˙æ œ œ™œœ œ œ œ œ mf pp mf pp mf p mf n ø {&.
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