UCLA Contemporary Music Score Collection Title Lug Permalink https://escholarship.org/uc/item/8x66771x Author Boneh, Oren Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Lug for septet Oren Boneh 2017 Written for Ramón Souto and the Vertixe Sonora Ensemble for performance at the Galician Centre for Contemporary Art Performance Notes The score is transposed (saxophones, crotales, piccolo). Duration: approx. 15-16’ Accidentals carry until the next bar line. Instrumentation (one instrument per part in all cases): Piccolo, doubling Flute Soprano Saxophone in Bb, doubling Baritone Saxophone in Eb Percussion (see below for instrumentation) Prepared Piano with lid off (preparation explained below); equipped with two guitar slides (bottlenecks) Violin Viola Violoncello Percussion Instrumentation and Setup: Setup: The percussionist should arrange their setup such that they have very easy access to the low strings of the piano. There are many instances in this piece in which the percussionist is asked to perform various techniques inside the piano. For this reason, the piano lid should be removed. Instrumentation: 2 Crotales (see below), Tam-tam (with superball mallet and metal beater), 2 guitar slides, a plastic jewel CD case (or similar – a thick metal object would also work) Crotales (sounding two octaves higher): Piano Preparation: Performance Instructions per Instrument: Microtonal Notation: ¼ flat: ¼ sharp: ¾ sharp: ¾ flat: Piccolo/Flute: Pizzicato (percussive) Close the lips on the mouthpiece, covering the hole. The range of harmonics is obtained with extremely light pressure. To ascend in pitch, increase pressure. Blow air through the instrument. “ss” indicates to produce a hissing sound into the instrument. This should result in a violent and noisy air sound. Mostly air, some high pitch is audible; hissing wispily Clusters of natural harmonics; turn the flute outwards to produce a full and dirty sound. Use a violent attack. Clusters of natural harmonics; same as above, but tighten the lips, reducing the sound to a whistle. Soprano Saxophone/Baritone: Slap tongue. Blow air through the instrument. “ss” indicates to produce a hissing sound into the instrument. This should result in a violent and noisy air sound. Some air should leak outside of the mouthpiece in order to achieve the proper volume. The circle with a dot in the middle indicates to use the voice. Create a noisy, rough and distorted sound by using the voice. Sing an approximate pitch in order to create dissonance with the played pitch. Create a distorted sound by singing a pitch in the voice’s middle range. The pitch is approximate and rather than trying to create dissonance with the played pitch, pick a pitch in the middle range that leads to a noisy sound. Percussion: Strings: Percussion Setup: The percussionist should arrange their setup such (Boxed notehead): Overpressure. that they have very easy access to the low strings of the piano. There are many instances in this piece in which the percussionist is asked to perform various techniques inside the piano. For this reason, Special overpressure: Perform an overpressure while fingering the piano lid should be removed. the highest note possible on the fingerboard of the highest string and bowing no more than one centimeter away from the finger. This produces a high and thin scratchy sound. Using the guitar slide, violently strike the given string in the piano (A in this case). Move gradually from overpressure to normal bow pressure in the same beat. Slide the guitar slide vertically up the length of the piano string. Using a plastic jewel CD case (or a metal object), Dampen the strings and rapidly bow along their length grind down the length of the string of the piano from tasto to ponticello (windshield wiper, spazzolato) to produce a very rough sound. while using high bow pressure. Airy, icy and pitchless; stop the string about 1 in. (2.5 cm.) from the bridge. The bow should touch the finger in order to create the most airy and icy sound possible. Piano: *See preparation instructions. Lid should be removed so that the percussionist has access to the inside of the piano. Pianist must two guitar slides. Using the guitar slide, violently strike the given string in the piano (A in this case). Slide the guitar slide vertically up the length of the piano string. Tap the guitar slide on the top part of the extremely high strings inside the piano to produce a high-pitched knocking sound. for Vertixe Sonora Full Transposed Score Lug Oren Boneh 2017 q=80, very sharp 4 air, hissing ("ss") 2 > 4 f>lu™tter >™ >™ >™ >™ >™ >™ 6™ >™ >™ >™ >™ >™ 4 ° œ œ œ œ œ œ œ œ œ œ œ œ Piccolo & ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ ≈ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ (sounding an 8va higher) æ æ æ æ æ æ æ æ æ æ æ æ f (f) air, hissing ("ss"), some air leaks outside of mo>6uthpiece ∑ ∑ ∑ Œ ‰ Ó ∑ ∑ Soprano Saxophone ¢& f Whiskey glasses (or guitar slides) (in the lower part of the piano), in both hands, perform a tremolo on the tuning peg using guitar slides or whiskey glasses æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ RH Δ™ Δ™ Δ™ Δ™ Δ™ Δ™ Δ™ Δ™ Δ™ Δ™ Δ™ Δ™ LH Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Δ ™ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Percussion / ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ æ æ æ æ æ æ æ æ æ æ æ æ f œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ & ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ æ æ æ æ æ æ æ æ æ æ æ æ Piano (see notes on preparation, f lid off) {? ∑ ∑ ∑ ∑ ∑ ∑ q=80, very sharp 4 2 4 >œ™ >œ™ >œ™ >œ™ >œ™ >œ™ >œ™ >œ™ >œ™ >œ™ >œ™ >œ™ 4 ° & ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ Violin æ æ æ æ æ æ æ æ æ æ æ æ f sul pont., icy, very little pitch œO Viola B ∑ ∑ ∑ & Œ ‰ Ó ∑ ∑ p sul pœOont., icy, very little pitch ? ∑ ∑ ∑ Œ ‰ Ó ∑ ∑ Violoncello ¢ & p 2 (q=100) 2 4 2 4 blow air into 7 4 >œ™ short 4 the instruemnt (flutter) 4 œ œ 4 ° U æ æ æ æ æ " & ≈ Œ æ ≈ Œ æ ≈ Œ æ ≈ Œ æ ≈ Œ æ ≈ Œ ‰™ æ æ ‰ Picc. æ 6™ 6™ 6™ 6™ 6™ æ æ f fff blow air, some leaks œ œ outside of mouthpiece short (flutter) (senza vibrato) U æ æ æ æ æ " & ‰ ‰ æ ≈ Œ æ ≈ Œ æ ≈ Œ æ ≈ Œ æ ≈ Œ ‰™ ‰ Sop. Sax. ¢ œ œ 6™ 6™ 6™ 6™ 6™ f ppp fff æ æ æ æ æ æ in the RH, with the guitar slide or glass, æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ æ ≈ violently strike the strings in the ™ ™ ™ ™ ™ ™ piano of t>he given range (D-F) Δ Δ Δ Δ Δ Δ fff ‘ ™ shUort ™ ™ ™ ™ ™ > > Δ Δ Δ Δ Δ Δ ? ‰™ ® ‰™ " / Œ Œ Œ Œ Œ Œ / Perc. ≈ ≈ ≈ ≈ ≈ ≈ ‹ ‹ ‹ æ æ æ æ æ æ ‰™ ‹ ‰ f ‘ in the LH, slide the guitar slide vertically up the fff œ™ length of the piano string œ œ shUort low clusters, approx. pitches ? ™ " & ≈ Œ Œ & ‰ æ æ ‰ æ @™ @™ @™ @™ @™ Pno. p fff {? ∑ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ∑ " @™ @™ @™ @™ @™ (q=100) 2 4 sul pont., airy, very little pitch 2 ord., solo 4 >œ™ œO œO >œ™ 4 short 4 4 4 ° U " & ≈ Œ Ó Œ ‰ Œ ‰ Ó ∑ ≈ Œ Vln. æ æ p fff suOl pont., airy, very littleO pitch sul pont. œ œ short overpressure senza vibrato U sul pont. " B ‰ Ó Œ ‰ Œ ‰ Œ B ‰ Œ ‰ ‰™ 6 6 ‰ Vla. bœ œ & bœ bœ 6 6 p p p p fff sul pont., airy, very little pitch sul pont. O O short œ œ overpressure senza vibrato U sul pont. " ? ‰ Ó Œ ‰ Œ ‰ Œ ? ‰ Œ ‰ ‰™ 6 6 ‰ Vc. ¢ œ œ & œ œ 6 6 p p p p fff = 4 q=100, quicker 2 4 4 > 4 4 °12 b˙ œ >œ œ #>œ œ bœ ˙ œ æ æ æ æ æ ‰ Œ Ó ∑ ∑ ‰ æ ‰ ∑ Picc. & æJ æ æJ æ æ æ f 3 3 > > > f> œ œ œ œ œ#>œ œ œ œ œbœ œ J ‰ Œ Ó ∑ ∑ ‰ J ‰ ∑ Sop. Sax. ¢& 3 3 f f Perc. / ∑ ∑ ∑ ∑ ∑ ∑ “” bœ & ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ Pno. fff {? ∑ ∑ ∑ ∑ ∑ ∑ q=100, 4 quicker 2 4 > 4 b>œ >˙ œ 4 4 bœ œ œb>œ b>œ ° æ æ æ æ ‰ Œ æ ‰ Œ Ó ∑ ∑ ‰ æ æJ æ ‰ ∑ Vln. & æ æ æ f 3 fff solo f b>O flaut., sul tasto, senza vib. b œ hollow, distant ™ ™ ™ œ™ bœ™ bœ œ™ œ Vla. B ‰ Œ Ó œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ Ó ∑ fff p solo flaut., sul tasto, senza vib. hollow, distant œ™ ? ∑ ∑ ∑ ∑ B Ó œ™ ≈ Œ ≈ Œ œ™ ≈ Œ Vc. ¢ p 3 2 3 2 4 2 4 4 4 4 4 18 >œ >œ œ >œ ˙ ° æ æJ æJ æ æ Picc. & ∑ ∑ ∑ ∑ ∑ æ æ 3 3 >œ œ f ∑ ∑ ∑ ∑ ‰ ‰ ∑ Sop. Sax. ¢& f 3 æ 3 æ æ Δ Δ ‰ ‰ Δæ Δ / ∑ ∑ ∑ ∑ ∑ æ Ó Perc. æ ‰ ‰ f 3 w> æ & ∑ ∑ ∑ ∑ ∑ æ Pno. {? ∑ ∑ ∑ ∑ ∑ ∑ 2 3 2 4 2 >˙™ œ > 4 4 4 >œ b>œ œ 4 bœ 4 ° æ æ æ ∑ ∑ ∑ ∑ æ æJ ‰ ‰ æ æ æ Vln. & æ 3 3 f sim. - B ∑ ∑ ∑ Œ œ- Œ ‰ œ ‰ Œ œ™ ≈ Œ œ™ ≈ Ó Vla. J 3 3 ™ p œ™ bœ bœ™ œ™ B ™ B bœ™ ≈ Œ ≈ Œ ≈ Œ ≈ Œ ≈ Œ bœ ≈ Œ Œ ∑ ∑ Vc. ¢ = 2 4 2 3 4 4 4 4 4 4 > °24 œ #>œ œ > œ œ >œ œ æ æ æ ∑ ∑ Œ ‰ bœ ‰ ∑ Œ ‰ æ æ æ Picc.