NOTATION SYMBOLS Proportional Rhythmic Notation Much of the score is notated using proportional notation1 (below) in which complex rhythmic events are notated across a graphic measure without specific rhythmic notation symbols. This form of notation is used to give the performer a simpler representation of complex, non-metrical timings within a timed measure. This notation is intended to give a certain degree of rhythmic freedom to the performer in order to support a simpler representation of complex timings. These events are to be played while maintaining relative but somewhat flexible beat-to-beat synchronization with the meter (indicated by brackets above the first measure). Notation Details Accidentals are given for all notes regardless of octave with the exception of repeated notes. Grace-notes should be played immediately prior to the metrical timing of the note that they ornament. Following a fermata, the tempo should immediately revert to the last indicated unless a new tempo is indicated. 1 In order to simplify the production of this form of notation, the composer commissioned Tobias Giesen to create a Finale software Plugin that converted complex rhythmic patterns into simplified, proportional, beamed notation. This plug-in is now part of the TG Tools plugins for Finale software available from Tobias Giesen (www.tgtools.de). 4 4 > ss # œ œ> > > >œ b >œ œ n >œ # >œ >œ n >œ >œ b>œ œ &N œ 78 Fl. 16" >œ ss bœ 3 4 1" ss > > œ œn œ # >œ n >œ ss >œ b >œ 79 b>œ >œ n œ > bœ > ss n œ œ 4 6" 4 ss œ b >œ # >œ > #œ >œ > n >œ œ ® > >œ > œ >œ bn>œœs >œ > bœ b >œ œ Maintai >œ >œ # >œ > #œ 6" q»ª™ B1-103 # œÓ b œÓ F1-162n œ œ B1-105 œÓn œÓ œÓ œÓ œÓ œÓ b œÓ œÓ with extension indicatorsœÓ œ # œÓ œÓ Play figures b œ œ b œ œ œ Ó Ó Ó Ó Ó Ó Ó b œÓ œÓ n œÓ œ̈ b w œ œ œÓ œ̈n œÓ 42" so that tones sustain until Ó > n œÓ œÓ notated tone Ó Fl. œ̈ b œÓ œÓ b œÓ œÓb œ Ó n œÓ œÓnext œÓ Through b œÓ , , œ œ œ œ œ œ œÓ measure 55 Ó Ó Ó Ó Ó Ó œ œ b œ b œ # œ b œ œ n œ œ# œ œ œ œn œ œ Maintain œ œ energyœœ n œ ¨ ¨ ¨ ¨ ¨ ¨ ¨ # œ# œ œ 3" œ n œ b œ P n œ œ œ œ œ œ b œ >œ s œ Œœ> œ œ# œn>œœ >œ n œs >œb œ > œ œ œn œ œ œ ss > wÓ ! ! ! ! ! ! ! ! ! ! œn >œ 2" #&>œ œnœ>œb œss >œ b >œœ b>œ n œssœn >œ œ œœs œ œ # >œ # œ>œbœClar >œ œFl. s œ œ b>œ œ > œ > > > 2" s œ ! b ˙>Ó > & œ œ > > b nœ œ œ œ œ œ œ œ bœ nœ œ b œ œ œ œ > > > > > > œ #œ nœ œ #œ SS bœ œ breath pulse: timbral trill without intensity œ & & Clar œÓ œÓ b œ œ b œÓ ÓÓ Free, non-metrical but keeping pace of tempo œ bœ wooooooooooooooooooooooooooooooooooooooooooooooooooo Ï œ " s œ œ. œ œ .Comp. œ œ. œ 32 Œ ooooooooooooooooo œ Multiphonics for clarinet are references to E. Michael Richards (2002) œ #œ bœ nœ ‰ Œ 35 88 Clar œ œ œ œ bœ œ œ bœ # œ œ bœ q»§º œ B1-105 œ œ #œ S œ b œ œ Sœ S S & bw w ! 2 4 bn ˙˙ & Record Fragment #1 Clar w w # ww &w , œœ b ˙!n b œœ b œœœ œœ Comp. F2-251 K-248 E1-124 K-248 q»ª™ bœ œ œ œ bœF ‰ n œ œ bœ ƒ p n ˙˙ ˙ bœ œ œ #œ nœ 3 œ bœ 90 - 15 - 202 & ! œ. trill b˙ Œ Comp. G-77 bœ œ b 88 œ œœ b œ œ œ œ œ U bw 36 32 2R œ 81 œ ‰. b wb ˙ w! ! H-110 œ œ b ˙˙ œ ˙ b˙ ˙ !91 5 K-247 U K-248 E1-124 K-248 b œœ bœ ,œ œ- ˙˙ ˙ ˙ n b œœ b œœœ œœ œ œ œ 3 b œ¨86 œ# œ œ œ œ # œ SS œ œ J-222 ƒ 35p b b ˙˙ 4 ˙ œœ n ˙˙ œ ˙ 32 19 89 œ œ S b œ¨ œ b œ ss œ SS >œ 27 1 4 œœ 37 > F #œ 34 b >œ œÓ bw p 33 œ ‰. trill b œ¨ œ œ # œ # œ SS > b Ÿ~~ œ >n œ # œ n œ >œœ Trill vigorously between these notes trill Mai >œ n>œs > >œ œ œ b œ œ b œ >œ #>œ > n >œ 16 b >œ >œ f œ 199 ® 3"200 œ # #bwœ Ÿ~~~~~~~~~~~~~~~ nœ # œ œ œnœ œ œ 10 H-110 who present its K-247 first performance on this program. œ b œ œ̈ >œ >œ #œ ‰ SS C-20 36 William Kleinsasser œœ b œ œ œ œ b ˙˙ œ 38 R b œ¨ 90 œ 203 œ SS 82 b œÓ œ. ! P ‰ . " œ #œ bœ œ œ P f œ ƒn œ bœ nœ ˙ b œ n œ computer music present real-time ˙ uses Max/MSP" softwareto ˙ processing b œ of music played by the flute b ˙The b ˙ b ˙ œ and clarinet during the performance.œ In this way the computer can be considered analogous to fluid, aware architecture—variablyœ resonating, what the acoustic ƒ diffusing, echoing, filtering, andthereflecting instruments play. This resonant and responsive role is also expressive of ƒ object/relationship notion at p !the piece. œSmooth Wood, Flash Metal was composed the heart of for Lisa Cella and E. Michael Richards G-77 œ # œœ#Óœ trill #œ "! " !œ ! " b œ œ ‰ œ # œ ‰ œ ! ! œ ¨ œ œ œœ ˙ n œ n œp b ˙f ˙F b œœ b œœ ˙ 3 #œ Un œ œ œ b œ œ œ- ƒœ œ b#œ>œ 4 b4w Íœ œ Smooth Wood, Flash Metal, for flute, clarinet and computer, is in three large sections: an extended flute solo 86and clarinet which evolves into a duet with the computer, a duet with flute that s is augmented by computer œ œscomputer transformation,trill and a clarinet solo which forms its own contexttrillthrough œ transformation of the œ œ œ live performance. The flute solo is based on alternation ofœcontinuity and discontinuity. The Clarinet solo is based on alternation of spectral focus and diffusion. œ The duet combines these alternations with its own œ metaphor of entwining and fusion. The nature of the flute’s acoustic character, how it differs from the 5 and how these differences can be projected and clarinet, how the two can combine and intersect, transformed through the computer ‘s particular idiom, are examples of how objects and relationships 5 5 3 breath pulse: this music. permeate 5 85 C-20 92 28 -8- œ ss n > œ œ œ b œ # œs b œÓ œÓ nœÓœÓœ œÓ Ó œÓ NOTE: nœ ˙ œ b œ bbœœ¨˙ ˙ 3 n n˙f œƒœb ˙ bœ ‰ œ bœ ƒ p nœ ƒ œ bœ " ˙ 3 Record Fragment #1 trill trill b œ¨ œ SS œ # >œ - n14>œ -ss >œ b >œ b>œ >œ n œ > b œ 1985" Trill vigorously between these notes 4 b ˙4 ˙ ˙ 5" Multiphonics for clarinet are references to E. Michael Richards (2002) 89 Fl. 10 # œ ¨ œcomputer œ œ to start and end recording9b œ ! ! ! ! ! œ! ! œ nbkeyboard bœ œ breath pulse: 18 87 >œ œan ˙ b to&be recorded # œ Counterpoint R-BOX indicates aClar section Fusion into b œ Ÿ~~ œ buffer q»§º automatically incrementing œ# œbnthe œn œ#computer œ "r"œ key on the b œduring performance œ œby pressing ¨ 85 trill F2-251 bœ 33 ss > > œ œn œ R-BOX use is optional. Pre-recorded excerpts can also be used trill J-222 œ 3 7 Sœ 3 10"Absolutely q»ª™ q»¢§ static trill 84 ¨ ¨ multiphonic ˙ œ œ œ œ !œ œ 3 ‰ œ œ œ œ Comp. 28 U œ. bœ >œ b œss > & Fl. # ss œ > # >œ >œ n >œ >œ b œ b>œ >œ œ> > b > œ ƒ1527 N œ œ 3" n œ &196 197 Fl. Fusion Counterpoint B1-103 ƒ ƒœ œ nœ œ œ 80 b œ forms of signal processing. In general, 3 the computer records the live performance and applies various cascaded 2" 4 Fl. 4 84 œ bœ . ƒ #œ #œ #œ œ œ œ . œ œ œ œsoftware œ S cues indicate the advancing of theœMax/MSP œ . to eachbnext œœ. sequential œ b w presetbprogram. Computer R 83 œœ 1 bœ . œ œ œ w P 4 œÓ w œÓ œ 1 # œ Ó Ó œ Ó b œÓ b œ Ó œÓ œÓ œÓ b œÓ b œÓœÓ # œÓ œo œb œÓoœÓ œ b œ4Ó œÓ F wb œ n œÓ 4œÓ #b œwwÓ b œÓ # œÓ Comp. œÓ œÓ œÓ Ó œÓ # œÓ b œÓœÓ b œÓ œÓ n œÓœ œœ œÓ œÓ œ !œ. Ó b œÓ n œÓ œÓ b œÓ b œÓ # œÓ œÓ n œÓ œÓ œ œÓ Ó b œÓ & b œÓ b œÓœÓ # œClar Ó b œÓœÓ Comp. P œÓn œÓ œÓ œÓ œÓ œbbœÓœ Ó Ó œÓ œÓ n œÓ #œ nœ ® œ 0 bœ ˙ b œœ bœ œ b œ¨ 91 œ SS - 5b œ- ˙˙ ˙ ˙ Barely audible -8b b ˙˙ ˙ 39 20 # 37 33 trill trill b Ÿ~~ 92 œ n œ #œ n œ œ Trill vigorously between these notes trill œ bœ 204 œ # œ# œ œ b
© Copyright 2026 Paperzz