Lecture Note
Advanced Composition. Aventures
-
University:
California State University, Northridge -
Course:
MUS 421 | Advanced Composition Academic year:
2009
-
Views:
38
Pages:
33
Author:
Jace Trevino
A VENTURES
COMlvIENTS:
* The singers use megaphones at the passage indicated in
the score.
•*The horn player employs the following mutes: 1) normal; 2) a soft cloth pushed tightly into the bell;
3) a round vase, as large as possible, with narrow neck or small opening.
***The percussionist performs on the following instruments:
1) the strings of the piano (stroked with two soft kettle-drumsticks);
2) four elastic bands of various thickness and tension , so that they produce four sounds (n<>ises) of
different pitch (high, less high, middle, low). The elastic bands are to be mounted on a suitable resonator for example on a side drum or similar - so that they can vibrate freely and still be clearly audible by means
of the resonance. The sound can be amplified electrically, if desired,
3) a large, thick book - for example a piano score of an extensive work (not an old copy, nor one with pasted
or too thin pages). By no means should it have a hard cover,
4) a tightly-filled cushion (struck with a carpet-beater),
5) a :;Jitable, resonant piece of wooden furniture - for example a small cupboard or chest of hard, elastic
wood (struck with a hard stick or cudgel),
6) a paper bag, the size and shape so chosen that as high a pop as possible is produced when the bag is in
flated and exploded. The pop should be clearly audible, but it must not be too loud or have too naturalistic
explosive an effect,
7) a suitcase made of pasteboard or vulcanised fibre or similar material, with rough surface. The surface
of the case is stroked with two pieces of emery paper, one in ,·ach hand. ( It is recommended that the emery
paper be glued onto wooden blocks with handles),
8) a Cuero (stroked with the fingernails).
9) a side drum without snares (stroked with two cloths),
10) a third piece of emery paper fastened at a suitable sp,
in 7).
, rubbed with one of the emery papers mentioned
11) a xylophone,
12) a glockenspiel.
NB: As only two percussion instruments at the most a,
played by � performer without complication. This is
players.
The percussion instruments are arranged in two grou1
I) elastic bands, book, cushion, wooden furniture,
II) puper bag, suitcase, guero, side drum, emery pa
The performer is at the piano when the piece begins
and finally to the second group (6 to 12).
*** • At the passages indicated in the score, the ha
At the first such passage {bar 10) two soft kettle-di
* * * * * The piano top is removed.
.1yed simultaneously, the percussion part can be
.utely preferable to a division among several
xylophone, glockenspiel.
'.le then moves to the first group of instruments (2 to 5)
·•10rd player also plays on the strings of the piano.
• cks will be necessary. 2
N B : A s to the arrang ment of harpsi chol'd, piano 2 1 1'1 ce]{'i=:ta, i t must he r c m f' mhered that
n ) Un• p i n n i Fl t IIIUA\ qu k k l y chnn�t' frn111 pl nnn t.o cc> l (' fl la ,
h) the ha rp Ri rhorit player and the pti r r us s i on i s t a hw play on the s t r i ngs of t l 1 p i a no . I t i s best t o place
the pi u n n b e tw t'C'II tl1<' c f•lt'Rtn nml harps i rhord. The c f'lN1tn I H pln 1•f'd i-;o t h : , , • l w k t•j hon r l" ! hf' pi nno n u d Rn hwnh•d t l m t thr hnq,A i c· hnrd l H l h n A on l y f n H l :1 1 1 1 1 i n o r1hi r to rrnd1 the
Interior or the piaw, lt11111edlu trly .
N O TA TI O N :
C ele sta A n d � l nc k�n s p l e l s ound nn octave h i ghe r than notated.
l l nn1 nncl xy lo1•h11111• Hound OH 11nl n t r d ,
Double h a A B s ounds an octave low e r than nn tnte l i m• n t l on i s c n t-riNl nut I n a ccor·dn n {" r w i t h t h e hori zontal propo rti ons of t h e s core w ithin the
lotn l d11 rnt ln11 ol" 1 1 1 1• Hc•d i n11 I n qtH• H l l on ( r, l v f'II 1 11 Ht•1·111 1 d n ) .
� ------• 1 1 1.t l • · n h• H n RIIRtn l iu• d fonr ( Roun d ) . f l 1 1 n1 t i o11 p rnpn r l i m i n l t n t h r l rllf! l h o r t h f' h n r\ ?.ontnl l l n f' ,
d[ r J
t nd i rnlf' R v r ry R h n r t tnn(' R ( R n11111I R) , r a p i d i t y or H 1 1 c•cf• R H l on ,: 1 1 n grd 1u·1· o r d l n g to thf' c l i Rtnth ' ('R
hetwet.• 11 the nule>s .
llt• H LH n rc 1 1 1 I H H l 11 � I n tlw "�1 c 1 1 ;,.u k rn po 1 1 tH ! l' l i 1 111 H . Tl1t• l u c k of nol u l i 1 111a l 111urkH t n t!UIIH o l'(i H I , lht\ d u r u t l(m
of w h i ch is p roportional to the space b etw een the s i gn s . Short rcHtS a r e oceasion.t l l y pr e s c r ibed by 9
v e ry Mh ot·l J'f•H lH hy [tt]
l > Y N J\ M ll " H :
I n th r 1'11 l l rr 1 , i 1•1•f' l l u� dynn m h- 1 1 1 11 1·k l t1 i;( R n t'r t o hC' cn11R l dc• rc•d 1t H rel nHvl'i mp 11 1111 1 1 1 r l n d i c n lP lilt• 1 n h l d l c•
d y 1 1 u 11 1 l l' h • v t• I H of ll J.! I V L'II l n H t l'll lll('llt, PPP u1 1tl fff the cx lJ'C l l l ! ' !'l , The H ll ll l C clymun l c rnnt·ld n� llll'UIIH, lht• r c
fore, v a rious thiuge to various i n s t ruments : an ffr in the h arps i c hord ( full rC'R i s trat ion) can t.: orrespond.
f1 1 1· 1•xa 111pl ,· , lo 11 11 1nr In t h e• pl nnn. pppp n ud fHf 1 h• M l 1111nt i• t•H p• • • · i rd l y r x u n,.p• 1·11 t,•d ho11ndr1 r l P H ! thf' fl n1t IH
inteq, rc teJ as u s carccly nudiblc", the s e cond ne> ces s italcs an e x t re me e x e r t i o n .
l >.)•n:1 1 11 \ r nHt l"ld n � H ln li rn«·k<'tH rrfr r t o t h e l nt«.)nR lty or thf' h r c n th in u n v ni c c>tl Rnu rn l R ( w hi fq w d n g) ; nn ( rf)
c a n therefore be hnla nc <'d by a voiced p or even pp. W h i spering should in genera l he ex en1ted ve ry i n
tcnsivdy ( " Atn J!c w h i s pC' r1 1 ); w h (' r e ( rff) , ( ff) o r (r) i fl pr('B<' rihcd, a strong s tren m o r b r eath i s to b e uF;cd;
o t ( p) nnd ( pp) th<• l n lc11Hl ty of the hrcntl1 dcpcndH on two fado1·,:, :
1 ) I f v o i c e d BO\mds occur s i m u ltaneou s ly in another voi c e , t h e unvoiced s ou nd s m u s t he suffi c iently i nten sive
fin n fl not lo he <'n mph,tC'ly cov C' rcd,
2) Th C' acousti c H of the room and the noise level or t h e a u d i ence are decisive; ( p) and ev e n ( pp) must sti ll he
" 1 ,· nt· l .v 11 11tl i l 1 l t• . I )n 1 y nt lh<' drH l �1i:1 t inn ' 1 11 1 f' n t r 1 1 Hlmuld 11 11• w h i H p<•r· i n � hr,•0 1 1 w l nn u d l hl f',
NB: Two di fferent dyna m i c markings can appe ar si m11l ta1wou �ly, for e xa mple in th(• soprano, bar 1 1 3,
p and ( ff) . H ere p refers to the intensity or the voice, { fr) to the intensity of t.�e s i m ultaneou s s tream of breath.
l i l-:N l-: Ili\ L l'Ell FO lt MA N CE INS T H U C T I ONS :
T h e ent ire pi ece shou ld be p (' r ftlrmed v e ry expre s s ively, at pla ees w i th exagge rated expressivene s s and
(' t 1 1' 1'<' RIHH 1tl i ng l y h (' i ,� h t f' 1H'tl 1111 111<' n n ,I J( P H tllr(' ( th i s n ppl i r H nhov(i n i l lo th(' H i tq�e r H ) . Tiu) hn lTPd nml 1 1H('n;,.u
tempo" sect ions arc p <"rfo r med i n an equally free manner; s i nce tl?c h a r li1ws S C'rve on ly to ori entate the s yn
chronisati on, no e s s ential di ffe rentiation should be made between the character of the 11 senza tempo 1 1 and that
o f the 1 1 n tempo" .
To 1·t-ul l s e fu l l y th C' c xprc s H i v c n nd drnmnti<' nnh1 1·e of lht• p! Pt·e, It ! H rcc o 1 1 1 1 1 1 c 1 u l c d tha t the s l ng f•rH J H' l'fonn
the i r partA Crom memory. Ii• �[
SPECIAL INSTRUCTIONS FOR THE VOCAL PARTS:
, at "senza ten1po 11
, at
11
senza tempo' 1
singing voice
speech-song ("Sprechgesang") with fixed pitches
�
, at
.
fll
UJ
ffl
senza tempo"
11
senza tempo"
fl
,, il
11
1
, at 1senza tempo
speech-song with changing, but not definitely
fixed pitches. (The horizontal line corresponds
to the middle register of the singer. )
speaking voice with changing pitch
speaking voice without especially specified pitch
(change of pitch ad lib. but not within too large
a range) or with other sounds according to speci
fic instructions in the score
= speaking voice, as high as possible (falsetto
in baritone)
, at "senza tempo0
.)()<'11-1
speaking voice, as low as possible
, at ''senza tempo"
murmuring ("mezza voce") as high as possible
1
, at 1 'senza tempo'
murmuring, as low .as possible
11
ffl 11
-E
X
at "senza tempo"
, at
ID
11
, at senza tempo"
murmuring, at various pitches
, at
unvoiced sounds (whispering)
11
senza tempo"
denotes breathing (unvoiced but very intensive). ( ►
inhaling,
◄
exhalingi
denotes an inhaling sound : speaking voice simultaneously with inhaling. NOTES ON THE PRONUNCIATION OF TJIE TEXT:
o
a Rn111l1 circle nhove or below nn otliE"rwiRe voiced Round indicatf'R Umt the Rmmd iR unvoiC'C'd.
deRonoriRatlon: A vnlcrd sound becomes unvolc:ed.
NB 1: desonorisation does not involve a change in intensity;
unvolc(•d Hn1111dA 1thoulrl In J(l•ncrnl he produced with nn inlf'nAivc Rlr<'lltn nf hrenth.
2
V--->V
NB 2: in desonorised vowels the resonance is imparted to the breath; the vowel colour le
then bt·rnlhrd nr whiAper<'tl rnlher thnn soundlnR.
V
• ---+V = sonoriRatlon: an unvoiced ROtmd bcr.omee voiced throu�h the vihrntlon of the vocal chorrlR .
~
., nasalised
= the Amnll, rnii.;cd vowel Hy1nhol nC'xl lo a t·1nn;or1a11t !ndl(·nleA that tlll' vowl'I ,-;omul iH hPard
nll11Hlv,·l _y foll11w\111! thr full nr·tif-11l11!1"11 of lht• 1·rn11-;11111111t.
� Ill'
➔ ➔ '" ,·011lim1011R lrnnRiti"n, fn1· r:i1nmplr e-.. __.( (thr f!(•r•nml ,i:o1111tl iR no1 ,-;rpnrnh•ly nrticulatr-d).
"' P.intlnl Afnp
!
nnd � nrr- not phnnf'tir A\ j(llR, Tlwy nr·r ohR(•f·vrd nR 1•11F1t11rnnry Jl11!11'\11nti1111 rnarltR.
NB: ThC' I,•nJ�tl• of f'IOIIIHIR Is nnt ('RfWC'inlly prcRrrih('d, RFI tll(> y nrl' clrt1•rminNJ in t'nd1 c·nRC' hy tlu• note valu<',
(n)
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(vi
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as in bed
(b)
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-
(/\ )-coloured hr<'nlh
(cE)-coloured breath
" as in £B&t - unvoiced ( b)
(c)
•
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comhlnatlon or(t) and (r.) • as in German MHdchcn Gyorgy Ligeti, 1962
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Advanced Composition. Aventures
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