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Heteroglossia for Chamber Orchestra (2019)

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Heteroglossia for Chamber Orchestra (2019) Heteroglossia for chamber orchestra (2019) Sponsored by the National Culture and Arts Foundation (Taiwan) instrumentation 2 Flutes , Flute 1 with piccolo 2 Oboes , Oboe 2 with English Horn 2 Bass Clarinets, Bass Clarinet 1 with Clarinet (in Bb) 1 Bassoon 1 Contrabassoon 2 Horns 1 Piccolo Trumpet (in Bb) 1 Trumpet (in Bb) 2 Percussionists Percussionist 1: 1 Vibraphone, 1 Timpano (30" -32"), 1 Snare Drum, 1 set bass drum with foot pedal, 1 Large Tam-tam, 1 Suspended Cymbal, 1 Xiaoluo (small slide gong), 1 Flexatone, 1 Car Spring, 1 Styrofoam Percussionist 2: 1 Marimba (4 and 1/3 octave, to the A), 1 octave Crotales, 1 Bass Drum, 1 set bass drum with foot pedal, 1 Sizzle Cymbal, 1 Xiaoluo (Large slide gong), 1 pair of Caomaobo ( a kind of Chinese cymbals, the shape like a straw hat; can be instead by another kind of Chinese cymbals), 6 Violins I, each musician with a Styrofoam and a small binder clip 6 Violins II, each musician with a Styrofoam and a small binder clip 4 Viola, each musician with a Styrofoam and a small binder clip 4 Violoncellos, each musician with a Styrofoam and a large binder clip 2 Contrabasses, each musician with a Styrofoam and a large binder clip Score in C duration: about 14 minutes and 18 seconds" 1 setting of percussion instruments Percussion 1: Percussion 2: abbreviations and symbols for All Instruments = change gradually = nothing = lowest note (short / long) = highest note (short / long) = Improvise over and over again the materials within the box until the marked end of the horizontal line. = play notes ad lib (must be atonal) norm. = normal way of playing or normal sound p.o. = play (position) ordinary gliss. = play slide sounds with any possible technique. s. gliss. = play chromatic or mixed scales rapidly (2 lines staff) = the pitches are ad lib. or approximate 2 for Voice = breathy sounds ( long / short) = normal sounds (short, long) the voices are notated with KK phonetic. for Woodwinds air = pure breathy sound 1/2 air = mix almost half air sound ands normal sounds = harmonic M. = any possible multiphonics = double tonguing ○t = any possible percussive sounds: slap tonguing, helicopter tonguing, tongue pizzicato or tongue-ram (tongue stops) alt. fing. = alternate fingering (play the same pitch with different fingerings) rip = an arpeggiated glissando = growling (make a guttural sound) or singing while playing = speaking into the instrument squeak = playing with the wrong voicing to produce squeaking sounds (for oboe, English horn, clarinet, bass clarinet, bassoon and contrabassoon) bite = bite the reed by teath to achieve a fairly random high pitch (for clarinet and bass clarinet) Jet = Jet whistle (for flute) S.M. = spectral multiphonics (for bass clarinet) h. gliss. = moving the tongue while playing spectral multiphonics to make the glissando sounds for Brasses air = Pure breathy sound = Mouthpiece pop (Hand pop) alt. fing. = alternate fingering (when play the same pitch with different fingerings) rip = an arpeggiated glissando = growling (make a guttural sound) or singing while playing = speaking into the instrument shake = making vibrato sounds through the slight movement of the hand on the instrument (for trumpets) 3 for Percussion the sticks, mallets and beaters used by Percussionist 1: = super ball mallet, rubber or plastic heads of mallets (hard, medium), yarn-wound head of mallet (medium), snare drum stick, bow, thick triangle beater, tam-tam beater, large size rute, xiaoluo beater and finger nails the sticks, mallets and beaters used by Percussionist 2: = rubber or plastic heads of mallets (hard, medium, soft), yarn-wound head of mallet (medium), bow, thick triangle beater, large size rute, daoluo beater, a caomaobo Upside-down stick symbol means to play with the handle of the specified mallet = play with the part near the tip of the snare drum stick(s) / play with the part near balence point of the snare drum stick(s) = pluck the protruding head of a mallet lay on the drumhead to produce “saltando” effect (sometimes need to slide the mallet to produce “glissando” as indicated on score). = play near the rim . = play on the ball of the cymbal top = play on the ball's top of the cymbal low = play on the ball's low part of the cymbal = play on the edge = play on the rim r.s. = rim shot [Resonators] = play on resonator [Keyboards] = play on keyboards ○b = play on the body of drum. = use snare drum stick to rub tam-tam with a specific angle to produce sharp and rough sound. = damp Setting 2 duct tapes on the drum head of timpano and 1 duct tape on the drum head of bass drum, then according to the instructions by score to make the sound with remove the duct tapes drastically. 4 for Strings Each musician should install a binder clip on the specific string or bowing the Styrofoam according to the instructions by the score. = the note is make by the string with binder clip s.p. = sul ponticello e.s.p. = extreme sul ponticello s.t = sul tasto clb = col legno battuto cls = col legno saltando = bow behind the bridge h. gliss. = touch string lightly and play glissando to produce nature harmonic series Seagull glissando = artificial harmonic glissando played with fixed width between fingers = Bartók or snap pizzicato = slapping the strings, and let the strings strike the fingerboard = slapping the body of instrument = Bowing on one or two open strings while the left hand muffles the strings. = Scratch tone: By placing the bow hairs flat against the string, pressing down into the string, and drawing with a continuing downward pressure, a very raspy, coarse tone called a scratch tone is produced. (quoted from Alfred Blatter's " Instrumentation and Orchestration ".) = Twisting the bow while playing scratch tone by lowest bow. U.T. = play any possible undertone Undertones: Undertones (or subharmonics) are pitches below the fundamental frequency of a string. The pitch is usually a minor seventh below the fundamental but can vary. Several different pitches might be possible. Undertones require high bow pressure and a very consistent bow speed at the lower end of ‘normal’ playing. In general they are easier to produce when the point of contact is not very close to the bridge. It is very difficult to sustain the tone, which often has a high noise component. There has been some research into violin undertones by Mari Kimura. Moving the point of contact towards the bridge sharpens the pitch slightly but also makes the tone less stable. ( quoted from the " Cello Map " web site.[http://www.cellomap.com/] ) = vertical bowing clef: The bow parallel to the bridge and bowing vertically from bridge to fingerboard or opposite way for making noises. = bridge to fingerboard = bridge to fingerboard = tremolo by vertical bowing = muffling string(s) while bowing vertically 5 eflz. Piccolo = c 66 œ œ. (Voice) " " @ f ˘y Flute 1 &3 R ® R ‰‰ ‰ ≈. ‰ 4 ∑ 7 with Piccolo ÔR ß p f [sa] (2019) 8 flz. ..´ rip (Voice) 8 16 œ# œ# œ " " @ f ˘y Flute 2 & R ≈. ÔR ‰‰ R ≈ ≈. ‰ ∑ Heteroglossia ÔR ß ß ß [sa] for chamber orchestra vib. (Voice) œ# œ œ ~~~ "f "˘y score in C Oboe 1 ≈ & ‰ ≈. ÔR ‰ ≈. ‰ ∑ ÔR English Horn ..´ p f .. [sa] ´ œ# œ# ´ œ Oboe 2 ≈ & ≈. ‰‰ ≈ ≈ ≈ ‰ ∑ with English Horn ÔR R3 R 5 ß 5 sim. K K Clarinet r r (Voice) " " (play) bite #œ œ œ œ f ˘y # Bass Clarinet 1 ≈ & ‰ ‰ ‰ ≈. ‰ with Clarinet (in B ) voice M M M M R b [sa]Ô 5 p f p 5 f M. rK rK (Voice) " " (play) bite f ˘y # ? Bass Clarinet 2 ≈ ‰ – – – – ‰ ‰ ≈. ‰ voice M M M M R [sa]Ô s. gliss. p f p (Voice) " " (play) f f rK Bassoon ? ˘y j ≈ ≈ r j j ‰ ≈ r K ≈ ‰ Œ R ~~~~ ~~~~~~ r œb œ œ [sa]Ô ~~~~~~~~~ ~~~~~ œb F s. gliss. p f (Voice) " " (play) f f ˘y j Contrabassoon ≈ ? ≈ ‰ ≈. r ® ‰ Œ r j j ~~ rK ÔR ~~~~~~~~~~ . œb œ œ œ [sa] F ~~~~~~~~~~~~ e = c 66 p cuivré f ..´ f rip 1 œ 3 ≈ & ≈. ‰‰ œ# ≈ ® ‰ 4 ∑ 7 ÔR R œ œ Horn â 8 pedal tone ß ß s. gliss.P f 8 16 r 2 ≈ ? ≈ ‰ ≈ j rK ≈. ‰Œ r j j rK ~~~~~~~ ~~~ œb F ~~~~~~~~~~~~ ~ p f shake cuivré f œ œ œ ~~~~~ µœ äœ Piccolo Trumpet ( in B b ) ≈ & ‰‰ ‰ ® ‰ 3 R 3 ∑ p f .. .. P ´ f µœ´ µœ´ œ Trumpet (in B b) ≈ & ≈. ‰‰ ≈ ≈ ≈ ‰ ÔR R3 R ∑ ◎ sim. r s ß scrape S. D. p.o. rub r.s. Car Spring s ◎ œ g 1 œ – yœ. ã @ ≈ ‰ ® ‰ R ∑ R R R 3 sim. f p f f X Crot. X XXX 3 Percussionist XXX 5 p.o. K r ≈ ã ® ‰ ‰ ≈ ≈. r ‰ & œ# ∑ 2 B. D. b œ œ œ œ œ œ œ f PPP f ≈ ã ¿ ¿ ric./jeté s.p. gliss. (Voice) (play) e = c 66 " " ······ œO œO. œ œ f œ 1 - 3 . R ˘y 3 ≈ & ® J ≈ ® R ‰ 4 ∑ 7 sub. ÔR O [sa] ß Violin I ß p f f (Voice) ric./jeté 8 s.p. gliss. (play) ······ 8 16 O O. œ œ " " œ 4 - 6 œ# œ. R f ˘y ≈ & ® J ≈ ® R ‰ ∑ sub. R O [sa]Ô ß ß p f f rK div. s.p. s. gliss. œ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ arco ~~~~ œ# œ œœ# œ œœ –– ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ µœ ~~~~~~~~ 1 - 3 ≈ & ≈. ‰ ~ ≈ J J J J ÔR æJ 3 O Violin II ß p f sÍ f f f div. s.p. rK s. gliss. œ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ arco ~‹ # œœ ‹#œœ œœ –– ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ œ ~~~~~~~ 4 - 6 ≈ & ≈. ‰ ~~~ ≈ J J J J ÔR æJ 3 O ß p f sÍ f f f change to the styrofoam (Voice) " " Styrofoam arco ˜œ f ˘y 1, 2 ≈ B ≈. ‰‰ ‰ ≈. ≈ – . ÔR R [sa]Ô R J Viola ß O change to the styrofoam (Voice) " " Styrofoam arcop f π f œ# f ˘y 3, 4 ≈ B ≈.
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