Richard Barrett. eiszeiten horn, trombone, tuba, electronics. performing score

Transcription

1 Richard Barrett eiszeiten 0-1,,, electronics erorming score

2 eiszeiten (0-) or,, and electronic commissioned by Zinc & Coer Works in memory o Konrad Boehmer duration: aroximately minutes All instruments are to be aliied. The is a double in Bb and F, the is a tenor-bass instrument with F attachment and the a bass in Bb. intonation Eiszeiten is based on the inconsistencies between, on one hand, the (almost) justly-intoned harmonic series o artials roduced by the embouchure o brass instruments, and, on the other, the equal chromatic teerament rodiced by the valve system. Thereore all ingerings and slide-f attachment ositions should be tuned to the notated equal-teered requencies, and the harmonics on the given undamentals should be as close as ossible to just intonation. The numbers above the main stave indicate the artial to be used (1=undamental/edal-tone). Arrows above or below the accidentals are used or itches which vary most strongly rom equal teerament, although very oten two instances o the same itch will vary microtonally rom one another because o being roduced as dierent artials o dierent undamentals, even when their accidental is the same. The lower stave contains the ingering or slide/f-attachment osition, the requency o the undamental in Hertz (based on equal teerament at a =440Hz) and the itch o the undamental. It is assumed that any necessary adjustments will be made to ensure these undamentals have the notated requency values. other notations à = exhaled, ß = inhaled ; = unitched -, = tongue-ram The is notated a erect ith higher than it although its undamentals on the lower stave (see above) are notated at sounding itch electronics The electronic art consists o a stereo soundile in our sections which are triggered and stoed at the indicated oints in the score, using a Max atch sulied with the soundile. Each section o the soundile is at a constant (maximum) volume level the notated dynamics in the electronic art are intended to be realised at the mixer, to take account o the erorming situation and the instrumental dynamics with which they usually crossade. Each section begins with a ade rom silence excet cue 4, and each ends with a ade to silence excet cue 1. Cue 1 has accordingly been made slightly longer than the given in the score, so that at recisely (according to the timer in the Max atch) the erormer o the electronic art cues the instrumentalists and simultaneously stos layback.

3 electr. e=4 4.Hz I 4.Hz Ø 4.Hz (exhaling) sere eiszeiten all instruments: unitched - with the valve-slide ositions as shown so that the undamental itch o the tube is as notated, onsets with recise tongued attack, accented cross-headed notes (tongue-rams) with a slight suggestion o itch z :4 : (exhaling) sere : z z : z 4: (exhaling) sere :4 : 4: z z z z : :4 :4 : z z z z z z Richard Barrett 0-1 : :4 : : z :4 :4 z z z : electr. 1" z z e=4- indeendently e=4- indeendently e=4- indeendently (tongued attacks on both exhaled and inhaled ) exhaled and inhaled ) (tongued attacks on both cue 1 (tongued attacks on both exhaled and inhaled ) crossade gradually with instruments 0" cue 1 sto (abrut end) m

4 1 e= The undamental requencies given on the lower stave or each instrument corresond to equal-teered itches based on A=440Hz. The sounding itches on the uer stave are intended to be unaltered natural artials o these undamentals (the artial numbers are also given), and will thus vary in requency to a greater or lesser extent even when notated as the same itch. m sere (these undamentals.hz are notated at concert itch! m sere 4.Hz : m sere 4.Hz (m) (m) 4.0Hz.Hz FI.0Hz F 4.Hz (m) 4 0.Hz (m) Bb 4.00Hz (m) F 4.Hz (m) FI.1Hz Bb 4.00Hz : : : III 1.1Hz FII 41. :4 F 4.Hz III 1.1Hz :4 :4 : FI 4.Hz : :4 (m) :4 (m) I 4.00Hz :4 (m) 4 : :4 (m) : (m) (m) 4.Hz :4 FI.0Hz : :4.Hz.00Hz (gradual transition to 1/ stoed) : (m) (m) : 1 (m) (m) :4 F :4 F 4.Hz 4: 4: FI.1Hz : :4 4: 0.Hz (m) 4.0Hz 1 (m) 4 4.0Hz 4 0.Hz :4 :4 :4 1.1Hz : (m) : (m) II : 1 (m)

5 1 0.Hz (m).hz 4.Hz (m) I 4.Hz (m).1hz.0hz FIII.Hz FI.0Hz 4 (m) (m) F 4.Hz (m) 4.Hz 1" irregular wavering in itch, sometimes but not oten as raid as vibrato, u to one semitone above and below rincial itch m : : : II.00Hz 4 : (m) (m) (m) 4.Hz F.1Hz :4 0.Hz : (m) : :4 :4 (m) 4.Hz : (m) 4 4.0Hz : : 4.0Hz.Hz 1"." 4.Hz.1Hz.1Hz irregular wavering in itch, sometimes but not oten as raid as vibrato, u to one semitone above and below rincial itch m irregular wavering in itch, sometimes but not oten as raid as vibrato, u to one semitone above and below rincial itch m electr. cue m cue sto

6 4 4 1 e= F.1Hz I 4.00Hz 4.Hz 4.Hz F 4.Hz.0Hz F 0.Hz F 4.Hz 4.0Hz F.1Hz FI.0Hz 0.Hz m F 0.Hz m m m 4. : F 41.0 FI.1Hz 4.0 F 4.Hz :4 FI.0Hz etc..1 4: 4.Hz 4: 4.0Hz 4.Hz FIII.Hz Ø 4.Hz etc. F I.Hz 4 4.0Hz F 4.Hz m II 41.0 : 4. III 1.1 etc. 4: 1.Hz (as beore).00hz FI.1Hz 4.Hz : : : m.1hz : 0.Hz :4 : :4 :4 4.Hz 4 4.0Hz 4.Hz : : 4. etc. 4 F F 4.Hz :.Hz

7 40 Bb 4.00Hz FI.1Hz 4.0Hz : 4.Hz 1 m F.1 4 m 4. :4 : m. F 4.Hz F.1Hz F : : etc. 4.0Hz : II :.0Hz.Hz m F 4.Hz I.Hz (4) 4.Hz.00 : 1.Hz : Bb : 1.1 : 4.Hz :.00Hz FI.1Hz.1Hz m FII 1 FIII. I.Hz 4.Hz :4.Hz 4.Hz :4 F.0Hz FI 4.Hz : Hz : : m F 4 4.0Hz.00Hz 1 FIII.Hz. III m F FI 4.Hz F 4.Hz m I.Hz III 1.1Hz.Hz FI.1Hz FII here (as elsewhere!) dierentiate as clearly as ossible between the various durations by concentrating on their ends as much as their beginnings!

8 4 F.0Hz 4.Hz 1 Ø 4.Hz 4 4 : m m FII 41.0 m :.00Hz FI II 41.0 etc. F :4 : : :4 II etc. Ø 1 etc. : : : FI I :4 4 4 : F F 4.Hz : (I) FI I F 4.Hz m III 1.1Hz.Hz (4) 1 4.Hz :.00Hz m 4.Hz Hz m m FI 4.Hz. m 1.1Hz m FIII.Hz Hz.00

9 4 electr. sere F 0.Hz sere I 4.Hz sere 4 4.0Hz : FIII.Hz 1 :.Hz 0.Hz " 4.Hz : : raid and irregular harmonic glissandi between these two artials FI.1Hz 4.0Hz 1 raid and irregular harmonic glissandi between these two artials raid and irregular harmonic glissandi between these two artials cue 4.0Hz : : F 4.Hz :4 F.0Hz III 1.1Hz : : " " 4.Hz : hold itch as stable as ossible (with circular breathing) F 4.Hz II.00Hz hold itch as stable as ossible (with circular breathing) hold itch as stable as ossible (with circular breathing) 0.Hz cue sto

10 e=1 4 sere.00hz use circular breathing as necessary or longer sustained 1 legato ossibile sere III 1.1Hz : I 4.00Hz 4 1 FI.0Hz legato ossibile sere 1 : 4 : 1 : 4.0Hz.Hz 0.Hz 1 legato ossibile 1 () Bb 4.Hz :.00Hz.Hz 4 : () II.00Hz () 4: :.1Hz 0.Hz

11 () 4.Hz : Bb 4.Hz : 1 : Bb 1 : 1 () FI.0Hz 4: 1 4: 4: 4 F 4.Hz 4: FIII.Hz : 1 4 () 4.0Hz.00Hz 4 : 1 : II.00Hz 4.Hz I 4.Hz 1 1 : 1 : : 4 4.Hz 4 4.0Hz 4.Hz

12 F.1Hz 1 : 1.1Hz Bb 4.00Hz : FII 4: FIII.Hz 1 1 : I.Hz : 4 4.0Hz 4 4.Hz F.0Hz 1 1:.Hz II.00Hz 1 : 4 : 4 0.Hz 4.Hz.1Hz

13 1 1.1Hz 1 1 : : : F 0. 4.Hz m : m I. FI.0Hz m m m 4.0Hz 1 1 : 4 F 4.Hz m.00hz Bb II.00Hz m m m 1.Hz :.

14 4 m m.00hz 1 m 4.Hz : 1 II m 4.0Hz Ø 4.Hz 4 m : m " " e=1- indeendently each sound dierent in timbre and/or microtonal inlection (u to 1/4 tone either side o C#) - reely alternating between oen, hal-stoed and stoed sound e=1- indeendently each sound dierent in timbre and/or microtonal inlection (u to 1/4 tone either side o C#) e=1- indeendently each sound dierent in timbre and/or microtonal inlection (u to 1/4 tone either side o C#) electr. cue 4 cue 4 sto

15 1 e=. 4. Bb Bb (li trill /) m 4.Hz II 1/ (very slow constant glissando with intermittent sound!) I 1/ m () (valve ) 4 (valves &, indeendently) m (4) m F 1/ (raid random activity on all three valves while holding itch as close as ossible to A ) (Bb division) m () m 1 Bb 41.0 FI 1/..00 Bb 4.00 I 1/ - 1/ m 1.. (raid slide vibrato ± 1/4 tone) Bb m (4) m m m (valves 1, &, indeendently) 0 Bb (raid slide vibrato) F - FIII. Bb 4.00 Bb (li trill /) / Bb (4)

16 1 F sere sere I.Hz : F.1 F F 4..0 F 0.Hz (uward gliss. o harmonics, downward gliss. o slide) sere 4 4.0Hz II (all 4 valves, indeendently) F :.00 : 4 1 Ø Hz III I Hz II : II 4: 1 I. Beograd 4 January 01