UCLA Contemporary Music Score Collection Title Form Permalink https://escholarship.org/uc/item/6rt9f2gh Author Nechushtan, Alon Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California ALON NECHUSHTAN FORM<ATIONS FOR ORCHESTRA 2020 INSTRUMENTATION 3 Flutes (Fl.1 doubling Piccolo) 3 oboes (Fl.3 doubling English Horn) 3 clarinets in Bb (Cl.1 doubling Clarinet in Eb, Cl.3 doubling Bass Clarinet 3 Bassoons (Cl.3 doubling Contrabassoon) 4 Horns in F 3 Trumpets 3 Trombones 1 Tuba Timpani Percussion (3 players) 1. Tubular Bells , Bass Drum , Hi-Hat , 3 Toms, 3 Hand Bells, Crash Cymbals, Small Gong, Sandpaper Blocks, TamTam, Glockenspiel (shared), Cowbell, Snare, Vibraphone (shared), Egg Shaker 2. Sizzle Cymbal , 5 Wood Blocks, China Cymbal, Snare, Bass Drum, Vibraphone (shared), 3 triangles, Vibraslap, Splash Cymbal, Bass Drum - with pedal, Cabasa, Xylophone (shared), Congas, 2 Wood Blocks, Tambourine 3. Swish Cymbal, Crotales , Marimba , Tambourine, Jam Blocks / Wood Blocks , Xylophone (shared), Crash Cymbal , Chinese Nipple Gong, Harp Piano (With Keyboard) Strings Formations is an ecologically oriented musing deeply concerning with the future of our planet shown through three critically important chapters in its ‘formative’ history- While it stood several horrific disasters in the past , molding its shape in an everlasting process of millions of years - several horrific events in the last century propelled an accelerated arch of hyperbolic changes that may affect our life forever : from nuclear explosions through the artificial changes in the ozone layer - all leading to our present global warming and nuclear threats. My music explores the various formations through three episodes of Earth’s history: drawing a moral of the remarkable ability of our planet to adapt to changes in temperature, climate, chemistry, biology to adapt and move forward - with the hinted obligatory question: where does that leave humanity in the broadest sequence of things ? Chemical-Musical’ elements large and small are being paired, motivic cells of pitches and temperature, and nucleus notes of rhythmic increments/ life shapes are constantly being reproduced, varied, mutated, transported and transposed as each of the three movement is evolving in a different manner: 1.Panthalassa: The Permian–Triassic extinction event, ("the Great Dying"), approximately 252 million years ago is the Earth's most severe known extinction event, with up to 96% of all marine species and 70% of terrestrial vertebrate species becoming extinct. It was the largest known mass extinction of insects. Some 57% of all biological families and 83% of all genera became extinct. Because so much biodiversity was lost, the recovery of land-dwelling life took significantly longer than after any other extinction event,possibly up to 10 million years. By the early Permian, Earth's major land masses -- Gondwana, Laurussia, and Siberia -- fused with smaller continents to form the supercontinent Pangaea, surrounded almost entirely by a massive ocean, Panthalassa. During the Paleozoic–Mesozoic transition it occupied almost 70% of Earth's surface- also referred to as the Paleo-Pacific ("old Pacific") or Proto-Pacific because the Pacific Ocean developed from its centre in the Mesozoic to our current formation of earth. 2. Chicxulub : Cretaceous–Paleogene another extinction event, also known as the (K–T) extinction was a sudden mass extinction of 75% of the plant and animal species on Earth, approximately 66 million years ago. With the exception of some ectothermic species such as the leatherback sea turtle and crocodiles, no tetrapods weighing more than 25 kilograms survived. It marked the end of the Cretaceous period, and with it the end of the entire Mesozoic Era, opening the Cenozoic Era that continues today. The Chicxulub crater is an impact crater buried underneath the Yucatán Peninsula in Mexico. It was formed by a large asteroid or comet about 6.8 to 50.3 miles in diameter by the Chicxulub impactor, striking the Earth- the accepted theory is that worldwide climate disruption from the event caused death to all life forms, including all non-avian dinosaurs. 3. Alamogordo : Trinity was the code name of the first detonation of a nuclear device. It was conducted by the United States Army at 1945, as part of the Manhattan Project. The test was conducted in Alamogordo, New Mexico and with the positive results in uranium and plutonium weapon advancement - culminating to the bombing of Hiroshima and Nagasaki. These experiments past and present are effecting our current life, impacting not only in matters of radiation, human casualties, extreme uninhabitability, forced migration, changes in climate, genetic mutations and many additional ailments which are explored till this day. Yet this is all a frequent reminder the our planet is constantly going through other crisis in its more contemporary parallel episodes, as new incidents manifest and occur in other parts of the world as in Chernobyl, Fukushima etc. CONCERT SCORE Adagio molto calmo ç =45 I.PANTHALASSA w w w w ˙ #˙ Piccolo 2 & 2 p P w #w w w w Flutes 1-2 2 & 2 medium vib. p Flute 2 #w ˙ ˙ w w w & 2 p Oboe 2 w w w w w & 2 p Oboe 2 ˙ w & 2 ˙ w w w p English Horn 2 & 2 ∑ w w w w p Clarinet in B b 2 w ˙ & 2 #w ˙ ˙ w #˙ p p π Clarinet in B b 2 Ó & 2 ˙ ˙ #˙ w w ˙ ˙ p Bass Clarinet b˙ b˙ w w ? 2 ∑ ∑ 2 p flt. Bassoon ? 2 #w ˙ ˙ w 2 ∑ ∑ @ p P Bassoon ? 2 #w ˙ ˙ w w w 2 p P Contrabassoon ? 2 2 w #w w w w p P F Horns 1/2 2 & 2 ∑ ∑ ∑ ∑ ∑ Horns 3/4 ? 2 2 ∑ ∑ ∑ ∑ ∑ Trumpet 1 2 & 2 ∑ ∑ ∑ ∑ ∑ Trumpets 2/3 2 & 2 ∑ ∑ ∑ ∑ ∑ Trombone 2 ? 2 2 ∑ ∑ ∑ ∑ ∑ Trombone 3 ? 2 2 ∑ ∑ ∑ ∑ ∑ Bass Trombone ? 2 2 ∑ ∑ ∑ ∑ ∑ Tuba ? 2 2 ∑ ∑ ∑ ∑ ∑ Tibetian Bowl Timpani „ ? 2 ∑ ∑ ∑ Ó ∑ 2 Placed on the lowest Timpani, struck by triangle mallet, while Timpani's foot has ad.lib gliss up/down Graphic sign is to be executed ad.lib at free tempo of choice, comfortable to you- Repeating as indicated. Tubular Bells Percussion 2 ∑ ∑ ∑ & l.v Œ Ó ∑ ã 2 bœ Sizzle Cymbal Ø ord. ( = with a yarn beater) Percussion ˙ w 2 Ó ∑ ∑ ∑ ã 2 *??? Scrape witho Coin around the cymbal -slowly- o@ p * Don't worry@ about the end dynamic, as loud as it gets. Swish/China cymbal Percussion w 2 sempre l.v ã 2 ∑ ∑ @ ∑ ∑ o p 2 & 2 ∑ ∑ ∑ ∑ N.B #œ #œ œ Harp 15 ? 2 #œ #œ œ œ 2 ∑ ∑ ∑ ∑ #œ #œ œ œ #œ brightœ attack on notes œ œ Sine wave / Harp patch on Keyabord p 2 ∑ ∑ ∑ #œ & N.B #œ #œ Keyboard 2 Nœ #œ œ œ bœ 17 Choke ? 2 ∑ ∑ ∑ #œ #œ Nœ aœ Œ Ó #œ bright attackœ on notes œ aœ #œ 2 p Adagio molto calmo ç =45 #œ Violin I 2 ∑ ∑ ∑ #w w & 2 circular bowing: playing by moving the bow back and forth at your own pace between M.S.P and M.S.T ∏ Violin II #w w w & 2 ∑ ∑ circular bowing: playing by moving the bow back and forth at your own pace between M.S.P and M.S.T 2 ∏ Viola B 2 ∑ Ó #˙ w w w 2 circular bowing: playing by moving the bow back and forth at your own pace between M.S.P and M.S.T Flautando ∏ Cello ? 2 bw 2 bw bw bw bw πFlautando p π p P Contrabass ? 2 bw bw bw bw bw N.B2 π p π p P * The composer wishes the musicians sub-group large subdivisions of rhtyhms as they feel natural to them. Thus for example the 17th figure at Mm. 4 for the keyboard Does Not have to be thought as 4+8+5 if the performer wishes otherwise. ** There is no specific keyboard model that is mandatory. For the patches Sine or Harp can be succesfully found in various models, {the composer recommends the KORG Triton as an excellent source of sounds} *** accidentals apply to all notes within the same measure. Picc. w w w & molto vib. ∑ ∑ 6 F w w w Fl. 2-3 ∑ ∑ & wide vib. medium vib. secco (no vib) Fl. w w & w ∑ ∑ Ob. w w w & ∑ ∑ Ob. & ˙ ˙ w w ∑ ∑ p E. Hn. & ˙ #˙ w w ∑ ∑ p B Cl. b & w w w ∑ ∑ p B Cl. b ∑ ∑ & w w w Bass w w w Cl. ? ∑ ∑ Bsn. ? w w w ∑ ∑ Bsn. ? w ˙ #˙ w ∑ ∑ p C. Bn. ? w w ˙ ˙ ∑ ∑ π Hn. ∑ ∑ ∑ ∑ ∑ 6& Hn. ? ∑ ∑ ∑ ∑ ∑ Tpt. 1 & ∑ ∑ ∑ ∑ ∑ Tpt. 2/3 & ∑ ∑ ∑ ∑ ∑ Tbn. ? ∑ ∑ ∑ ∑ ∑ Tbn. ? ∑ ∑ ∑ ∑ ∑ Tbn. ? ∑ ∑ ∑ ∑ ∑ Tuba ? ∑ ∑ ∑ ∑ ∑ (ord.) Timp. ? ∑ ∑ ∑ ∑ Œ Ó 6 bœ barely∏ ∏audible. more air than sound\. Perc. ∑ ∑ ∑ bœ Œ Ó ∑ 6& ∏ Sizzle Cymbal (ord) ˙ œ Perc. ã Ó ∑ ∑ Œ sempre l.v Ó ∑ o @ With Coin p Perc. ã ∑ Ó Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ #œ 6& #œ œ Hp. 15 ? ∑ ∑ ∑ ∑ #œ #œ œ œ #œ #œ œ œ Sine wave / Harp patch on Keyabord #œ œ œ œ p ∑ ∑ ∑ #œ 6& #œ #œ Pno. Nœ #œ œ œ bœ 17 Choke #œ Nœ ? ∑ ∑ ∑ #œ aœ Œ Ó #œ œ œ aœ #œ p #œ Vln. I ˙ ˙ w w w w & (Continue at your own pace) 6 o π P Vln. II w & (Continue at your own pace) w w w w π P o Vla. #˙ w #w ˙ B w ˙ (Continue at your own pace) Ó π p P o Vc. ? b˙ ˙ b˙ ˙ bw slow 1/4 ton gliss upward Nw slow 1/4 ton gliss downward œ {continuteœ flautando) œ œ p p Cb. ? ˙ œ œ b˙ b˙ ˙ bw w {continute flautando) œ œ p p Picc. ∑ ∑ ∑ ∑ ∑ 11& Fl. 2-3 & ∑ ∑ ∑ ∑ ∑ Fl. & ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ Ob. & ∑ ∑ ∑ ∑ ∑ E. Hn. & ∑ ∑ ∑ ∑ ∑ B Cl. b & ∑ ∑ ∑ ∑ ∑ B Cl. b & ∑ ∑ ∑ ∑ ∑ Bass Cl. ? ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ Bsn. ? ∑ ∑ ∑ ∑ ∑ C. Bn. ? ∑ ∑ ∑ ∑ ∑ Hn. ∑ ∑ ∑ ∑ ∑ 11& Hn. ? ∑ ∑ ∑ ∑ ∑ Tpt. 1 & ∑ ∑ ∑ ∑ ∑ Tpt. 2/3 & ∑ ∑ ∑ ∑ ∑ Tbn.