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Contemporary Music Score Collection UCLA Contemporary Music Score Collection Title Something Like Your Lagrangian Point Permalink https://escholarship.org/uc/item/0tf2m0z3 Author Praetorius, Emily Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Something Like Your Lagrangian Point two pianists two percussionists Emily Praetorius 2 Piano 1 and 2 Stage Setup will also each require: -1 meditation ball -1 light guitar pick -sponge window sealing tape or alternative material for muting -a heavy book -a digital timer Percussion 1 Vibraphone Crotales--see setup Snare Drum Bongos High Tom Medium Roto Tom Floor Tom High Woodblock Medium Woodblock High Cymbal Medium Cymbal * ** *** Low Cymbal Meditation Balls Practice Pad Digital timer Percussion 2 Vibraphone Crotales--see setup Snare Drum General Performance Notes for All Bongos High Tom Movement 1: The ending is not represented visually in terms of timing. Whoever finishes first will finish first and so on until Medium Roto Tom whoever finishes last ends piece. Floor Tom Medium Woodblock Movement 2: Piano 1 and Percussion 1 will play in a separate tempo and off of a separate score than Piano 2 and Percussion 2. Low Woodblock There is no synchronization between the two parts and each group should ignore the other group as much as possible (until High Cymbal Percussion 1 reaches the end and syncs up with Percussion 2 as written in score). Medium Cymbal Low Cymbal Practice Pad Movement 3: Everyone plays off of a timer. Gestures are placed approximated to the timeline unless specifically indicated by a Digital Timer vertical dashed line. Performance Notes: Piano Notation Key: Piano Performance Notes: Percussion Note Labeling Preparation: Harmonic with specified partial Roto Tom: 3 The notes below will need to be identified inside Will be rotated and played at the the piano to mute or play on the strings in some same time way. Performers may want to label all or some of Harmonic in front of damper their dampers in some way. Meditation Balls (P1): Should be played so that sound is Harmonics with specified partials: Mute with finger in front of damper consistent. Online instructional Partials should be touched on strings behind the videos can be helpul. dampers to acheive specified pitch (diamond notehead is sounding pitch) Gradually depress pedal Notation Key: Percussion Harmonics in front of damper: Mute with palm of hand Unlike the harmonics with specified partials, harmonics played with partials in front of the Gradually release pedal dampers can be touched anywhere that acheives Depress head to slightly increase pitch the greatest number of simultaneous pitches (usually closer to the metal frame/closer to the front Piano Notes for Possible Labeling of the damper). Muting for final movement: Window sealing sponge tape, weather tape, auto weather-strips, or other material may be used and in combination. Pitches should still sound but timbre will be altered to severely dull the attack and high end of the sound. The provided pictures show where mute placement should be and use a combination of 1/4" sponge window seals and auto weather strip. 4 Diagrams 1. where to hit crotales on rim 2. harmonic gliss in front of hammers hit with stick perpendicular to crotale when possible 3. where to knock piano with meditation ball (final movement only) on bridge pins on bridge pins on bridge pins on frame on inside of body Something Like Your Lagrangian Point 1. 5 Emily Praetorius q = 52 Vibes motor fast to slow motor off fast slow ° 3 3 3 bœ œ 4 Œ Œ ‰ ‰ Œ 3 Œ Œ 5 ∑ 3 ‰ j ‰ ‰ ‰ Œ Ó œ j nbœœ Œ Œ ∑ Œ Œ ‰ #œ 4 ∑ Œ Œ Ó Percussion 1 ¢& 4 #œû 4 œ 8 4 œ bœ J 4 vibes œû œ #œ … p f snare p û û meditation balls ° ø ø ° ø practice pad crotales (same mallet) crotales, l.v. 3 vibes Vibes motor slow to fast motor off motor slow (same mallet) ° - 3 3 3 nœ slow fast 4 Œ ‰bbœ Œ 3 Œ 5 ∑ 3 Œ ‰ Ó œ j œ Œ j ‰ J œ #œ nœ Œ Œ Œ ‰ j 4 ∑ Œ Œ Ó Percussion 2 ¢& 4 #œ nœ 4 œ œ™nœ 8 4 ‰ nœ #œ œ œ b œ œ 4 vibes J Œ œ œ J œ ##œœ œœ œ 5 crotales #œ # œ œ û p 5 œ snare p p f practice pad ° ° 3 ø ø ø ” q = 52 - - - “ ™ ™ 3 œœ œ œ #˙ ˙ #œ 4 bœ J 3 5bœ-™ œ 3 J ˙ ˙™ œ™ 4 & 4 Œ œ Œ ‰ Œ 4 ∑ 8 4 ‰ ‰ Œ ∑ Œ J ≈ Œ Œ 4 ∑ ∑ -œ 3 Piano 1 p p 5th partials # œ 5th prartial r {? 4 Ó ‰ j Œ 3 Œ œ Œ 5 ∑ 3 ∑ Œ Œ ##œ ‰ ‰ œ ˙ œ ‰ Œ Œ Œ Œ ≈ #O ‰ 4 ∑ ‰™ #OOŒ Ó 4 4 8 4 J J 4 -œ b-œ ° Una C. p 3 mp œ bœœ ° ø pluck pluck - “” 3 h> h>™ œ h h 4 3 5 - 3 J 4 & 4 œ Œ Œ Ó 4 Œ Œ 8 Œ œ™ 4 ‰ Œ Œ ∑ ∑ ∑ Œ Œ ≈ ‰ 4 ∑ ∑ -œ mp p Piano 2 mp p bœ- 3 4th partials ? 4 3 5 3 j 4 r { 4 bœ Œ Œ ‰ ‰ Œ 4 ∑ 8 ∑ 4 ∑ Œ ‰ œ œ ‰ Œ ∑ ∑ 4 ∑ ‰™ bOOŒ Ó œ œ œ Una C. bœ °3 ° bœœ ° ø ø Copyright © Emily Praetorius 2018 snare drum, on motor off œ at very edge 1 6 11 œû 3 œ œ r j œœ ° œû bœû û 3 ™ 3 4 3 j j 4 Perc. 1 & Ó œ 4 ‰ œ œ ‰ Œ Œ Œ Œ 4 Œ Œ 4 ∑ 4 ‰ / ™ ≈ ∑ ‰ 7 7 7™ ≈ ∑ 4 ¢ û bœ œû œ œ œ œ œ œ f mp p 7J 7 7J ° ø ø ø ° pp crotales 3 snare stick Œ Œ on rim* snare drum, on motor off bœ bœ bœ at very edge ° œ 3 œ bœ œ Œ bœ œœ bœ œ œbœ Ó œû bœû#œ 3 ≈ j Œ ≈ j ≈ j ≈ j 3 Œ ‰ J 4 J 3 ‰ Œ Œ ‰ j 7 j ≈ ∑ ‰ j 7 j ≈ 4 Vib. ¢& û û û 4 œû œ™ œ™ œ™ œ™ 4 4 4 Œ Œ / œ7 œ œ7™ œ7 œ œ7™ 4 #œ û û û û 3 3 f û mf p p pp ° ø ø ø ” 5 “ 3 ˙™ ™ ™ bœ ˙ bb˙™ n˙ ˙ 1 b œ ˙ #œ 3 œ™ 3 4 3#˙™ ˙™ 4 & ‰ bœ œ n˙ #nœ 4 œ™ ∑ 4 ? 4bww 4 ˙™ ˙™ ∑ ∑ 4 ‰ œ & ˙™ ˙™ p f p ppp** Pno. 1 mp œ œ œ œ block this cluster {? ∑ 3 ‰™ œ œ ‰ Œ Œ Œ 3 ∑ 4 w 3 ∑ ∑ ∑ Œ Œ 4 4 J 4 4 w 4 #6 4 w · “‘ 6‘ Una C. ° “ Una C. Sost. 5 œj œ 3 Œ œ #œœ œœ b n˙˙ 3 nœ™ 3 4 3 4 & #œ œ # œ œ b ˙ 4n œ™ ‰ Œ ∑ 4 ∑ ? 4 w 4 ∑ ∑ ∑ ∑ 4 œ J nœ™ #w & p mf mp Pno. 2 j ppp** b˙™ ˙™ 3 #O 43th partial 4 3 ™ ™ block this cluster 4 {? ∑ 4 ∑ Œ Œ ‰ 4 ∑ 4 4 ˙ ˙ ∑ Œ Œ 4 ˙™ ˙™ #6 #œ #w · b w b˙™ ˙™ 6‘ Una C. mp “ ° Sost. Una C. * see diagram 1 in performance notes **as quietly as possible, if a note doesn't speak it is ok vibes medium mallet motor meduim to slow 20 œ œ medium slow œ œ 7 ° 4 j j 3bœ 4 bœ bœ ™ 3 2 œ #œ 5 Perc. 1 / 4 ‰ 7 7 7™ ≈ Œ & 8 ‰ 4 Œ ‰ J Ó ‰ J Œ Œ ‰ r ∑ 4 ∑ 4#œ œ 4 bœ Œ Œ Ó ¢ œ œ œ œ. mp mf ° f ff ° pøp pø møp snare drum, off ° at very edge 4 Ó Œ ‰ j 3 7 j 4 r ≈ ‰ Œ 7 Ó 7 Ó 7 3 Ó 7 2 j ‰ Œ 5 ∑ Vib. ¢ / 4 œ7 8 œ œ7 4 œ7 ˙ ˙ ˙ 4 œ 4 œ7 4 pp hphluck 4 3 4 3 2 5 & 4 ∑ 8 ∑ 4 ∑ ∑ ∑ 4 ∑ 4 ∑ 4 Œ Œ Ó gliss partial from end of string mf Pno. 1 (closest to body) toward damper*** O gliss. dOamper 4 3 4 3 2 5 {? 4 8 ≈ ≈ Œ 4 Ó Œ Œ Ó Œ Œ 4 ∑ 4 ∑ 4 ∑ Œ Œ œ Œ œ Œ œ œ œ œ œ R 3 3 ° pluck h 4 3 4 3 2 5 J & 4 ∑ 8 ∑ 4 ∑ ∑ ∑ 4 ∑ 4 ∑ 4 ‰™ Œ Œ Ó 5 gliss partial from end of string mf Pno. 2 (closest to body) toward damper*** O gliss. dampOer 4 3 4 3 2 5 {? 4 8 ∑ 4 Œ Œ Ó Œ ∑ 4 ∑ 4 ∑ 4 ∑ Œ Œ Œ mf œ œ œ œ œ œ 3 3 ° ***see diagram 2 in performance notes 8 motor fast to off fast off 28 b œ snare drum, on 2 vibes, soft mallet bœœ œ bœ motor off 3 o o o3 o o o 3 o ° 4 at very edge 3 4 2 3 4 6 4 Perc. 1 & Œ nœ Œ Ó 4 Ó / 7 4 Œ 7 4 Ó Œ Œ 4 8 j 4 Œ Œ Ó 4 Œ Œ ∑ 4 Ó Ó ¢ n˙ ˙ & bœ nœ#œ œ œ œ œ p 3 ø pp ° mf p p møf vibes medium soft mallet motor slow gliss over tubes crotales or brushes? 3 3 3 with fingertips nœ™ ™ 5 5 "q "q "q "q "h "q "q "h "q "h ° œ™ œ 4 œ #œ™#œ™œ œnœ™ œ œnœ™ 3 #œ œ œ œ#œ 4 5 ™#œ™#œ 2 3 4 6 4 œ Vib.
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