Twilight Language. David Rosenboom. for. Solo Piano. David Rosenboom Publishing (BMI)

Transcription

1 Tilight Language David Rosenoom for Solo Piano David Rosenoom Pulishing (BMI)

2 Tilight Language David Rosenoom for Solo Piano comosed for ianist Vicki Ray Coyright D. Rosenoom 2004 All rights reserved. rint date: 5/0/10

3 Performance Notes The Tilight Language score includes four rinted anels laeled I, II, III and IV, each of hich is comleted y joining a set of to ages, Ia ith I, IIa ith II, IIIa ith III and IVa ith IV. Musical lines are read straight across these sets. Each hole anel corresonds to a section of the comlete comosition and resents a musical configuration sace, a form of notation in hich time-sace does not exist a riori. Particular time-sace extensions of the music emerge hen the erformer collases the many otential musical relationshis contained in the notation into those of each articular hearing. The configuration saces contain collections of musical units delineated y solid lack ar lines. Suunits are marked ith dashed ar lines. Note that the oundaries of musical units shon on uer and loer staves (usually left and right hands) are not alays coincident. Each of these units is thought of as a self-contained musical hrase, gesture, or sequence. They are constructed in such a ay that hen comined and/or sequenced in orders chosen y the erformer, various coherent cominations and connections contained in the underlying material ill emerge. The notation of many of the musical units is intended to invite creative interretation, and some gently lead to imrovisation ith their materials. In these ays, the erformer is also invited into the creative rocess of the comosition. Each configuration sace contains 84 cells or musical thoughts. Some, not all, of these are occuied y visile notations. These visile notations are thought to exist inside a field of surrounding sound sace images. The erformer may, if she ishes, exercise the otion to interret and realize these images through sounds or actions enclosing the ritten iano music. Ten of these sound images are derived form common states of nadam, a yoga of sound. To these are added the sound images of the erformer s hearteat and a Tietan ol gong that can roduce sustained ringing. Each section also gives a seed focus for musical meditation. The seeds are exressed through secific visual images and the section sutitles: I Devotion and Restless Heart Indistinguishale, II Simultaneous Asence of Silence and Sound, III Leaing from Eye of Wildest Imagination and IV Imerishale Jeel of Adamantine Mind. The origins of the visual images are descried in the accomanying rogram notes. Texts imedded in the notation should e taken as another form of communication ith the erformer aout musical or dramatic orientation, image for musical mediation, attitude aout musical time-sace, symolic associations or creative stimulation. The configuration saces contain overlaing circles of musical materials ith individual identities. They can e identified through the markings a1, a2, a,, 1, 2,, and c1, c2, c,. In the manor of a mandorla, these overlaing circles highlight ays in hich the materials may e merged and contain interdeendent, doule meanings. Particular athays through the musical notations are suggested in each section. In section I, the layer may enter the notated orld through horizontal athays a1 or a2 or a. on arriving inside the center area in hich the a and materials overla, she may continue to travel horizontally or move u and don the age, comleting each musical unit or suunit chosen and connecting it smoothly to another musical unit or suunit aove or elo. When desired, she may leave the center area via one of the horizontal athays extending from 1, 2, or 4. The hole rocess may e reeated at ill until the material is exhausted. In Section II, each musical unit is layed through fully. The end of any unit may e connected to the eginning of any other. In three of the musical units, the uer and loer staves change musical identities at different times, overlaing and comining their materials. In Section III, each musical unit is layed through fully, and the end of any one may e connected to the eginning of any other. Again, different musical identities in the uer and loer staves are sometimes overlaed and comined. Section IV contains three musical identities, ith a and c overlaing in the left half of the configuration sace and shon searately on the right. Again, each musical unit is layed through and may e connected smoothly to any other. inally, the Tilight Language (Theme) may e treated as a searate comosition or integrated into a erformance ith the materials of the musical configuration saces. Other secial notations: Individual notes or grous of notes that are enclosed in rackets, [ ], may e reeated in any order at ill. Moving Windo [Reeated Pattern] Imrovisation choose a grou of contiguous notes of any length (indo size) from hich to make sontaneous atterns. Proceed through the material y moving the indo, i.e. dro a note or notes from the eginning of the grou and add a note or notes to the end. Continue this scanning rocess through the material until its end is reached. Accidentals carry through each musical unit or suunit, ut only in the same octave in hich they are first introduced.

4 Program Notes A magical reository of doule meanings, Sandhyahasa (Sanskrit) or Tilight Language is the symolic idiom of the Eighty-four Siddhas of Tiet, mystics ho, after the Mohammedan invasion of India, are said to have imedded their knoledge of universal rima materia and miraculous oers of transmutation inside a corus of orks aearing mundane on the surface, though ultimately transformational for those ale to enetrate rinciles of unity ithin themselves. Analogously, the Tilight Language score, a rinted environment here comoser and erformer meet in emergent realization, is filled ith musical materials carrying multile meanings. Delineated arts often overla in their grahic resentation alloing multile athays through the material to e discovered in the erformer s exloring. Being simultaneously highly structured and exile, gentle invitations to oen interretation are offered along ith oortunities for the erformer to imed her on realizations of a lexicon of symolic sound images racketing detailed assemlages of notes, harmonies, and forms of time. Tilight Language is ritten in four distinct arts lus a timeless harmonic form, the Tilight Language (Theme), to e used searately or integrally as the erformer ishes. Each art resents a musical configuration sace, a form of notation in hich time does not exist a riori ut is collased y the erformer into a articular manifestation for each individual hearing. Each art gives a seed focus for musical meditation and is associated ith a secific visual image. The seeds are in the sutitles: I Devotion and Restless Heart Indistinguishale, II Simultaneous Asence of Silence and Sound, III Leaing from Eye of Wildest Imagination and IV Imerishale Jeel of Adamantine Mind. The visual images for arts I and II are y Tenth Century, Ch an (Zen), Chinese ainter, Shih K o, (sometimes also referred to as Shi Ke, Shiz Ge, Shi K o, or in Jaanese, Sekkaku). Shih K o ainted in a manner knon as the i style characterized y ildly free gestures so refined as to inexoraly convey fundamental forms of nature. The first image is of a monk sitting, resting on his right arm erhas missing his left. A folk story may accomany it. A young monk Hui Heo ent to the most famous Shao Lin (young forest) monastery hoing to follo the monk suerior Da Mo, ut as refused. He then cut off one arm to rove his devotion. Later Da Mo took him in as a discile and taught him the secret method of smoothing the heart (or soul, mind) that led him to ecome the second monk suerior. (Story rovided y comoser, Insook Choi.) A dream of an encounter y the comoser ith a mountain lion reresenting essential tension in the universe that must e oth contained and free also underlies the score s narrative. The second ainting is variously titled Patriarchs Harmonizing Their Minds, To Minds in Reose, Zen Monk and Tiger or other names. A scrit in the original ink ainting translates ord-for-ord as, In the year of Qian De, eighth month, eighth day, dran y Shiz-Ge of the est Si-Chuan city, the second monk suerior smoothing the heart." A folk interretation may also aly, A monk catures a tiger to free the villagers. A monk is shon leaning on a tiger; oth are aslee. The sujects of oth aintings are thought to e suerior monks around the time of the Song Dynasty (A.D. 964) in northern China. There are also stamings of famous eole on left side of the ainting intended to indicate that this ainting is seen (enjoyed) y all these kings and eole. A rominent, large one is the stam of a king from the Ching dynasty. The image for art III is a encil draing y Lindsay Claire Rosenoom shoing a tiger leaing from the iris of a large, ide-oen eye, the eye of Wildest Imagination. inally, art IV is associated ith a diagram shoing the canonical geometries and roortions of Tietan Buddha figures. These roortions aear in the musical constructions of Tilight Language along ith numerical comosites of the secial numer, 84. Each art contains 84 cells or musical thoughts. Notations for musical units, entities that stay intact hile eing ordered in various ays, occuy some cells. Others contain symols for surrounding sound sace images dran from ten states of nadam, a tye of yoga sound meditation, lus the sound images of the erformer s hearteat and a Tietan ol gong.

5 Tilight Languange Legend of Surrounding Sound Sace Images gentle high frequency; hum of ees; reainfall; histling (cin nadam) roaring of aves of aterfall (cincin nadam) ell ringing (ghanta nadam) conch shell; calling (sankha nadam) zinging like ire string (tantri vina) small tight drum (tala nadam) itched ind; utelike (venu nadam) ig lo ass drum (mridamga) echoing (heri nadam) rolling rumle; distant thunder (megha nadam) heart eat of the erformer sustaining ell; Tietan ol gong

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7 Tilight Language I Devotion and Restless Heart Indistinguishale

8 the unconscious roars heart time heart time a2 long ô ö the unconscious roars Ï a1 restless heart/soul/mind long interfering consciousness ô ö restless heart/soul/mind a ast suito Ï cresc. ast suito interfering consciousness # restless heart/soul/mind long ô ö Ï Tilight Language (Ia) Devotion and Restless Heart Indistinguisale # # accel. interfering consciousness ast suito cresc. n # accel. n accel. # # # # # # # Ï - Theme > > # # # 2 - n Theme inverted 4 1 Mountain Lion's Plea ô> ò òô > Ÿ Ÿ y f Ÿ > ó > ô holding energy immoile fiercely holding tension cresc. f l.v. ~~~~~~~~ ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ reeat material as desired - # Ï - Theme - emracing threat dissolving tension É É É É É emracing threat holding energy immoile Ñ decresc. caturing Coyright David Rosenoom All rights reserved.

9 Tilight Language (I) # Ñ Ñ Ñ Ñ Ñ É l.v. smoothing üõ ## tones in any order Hui Heo's Devotion n ## n > > " " Î sla lo strings l.v. 'til collase releases # -,, g ô P ö free areggio u/don villagers (unconscious) freed ast # # n # cresc. # accel. # # n Ï long ó ö # - caturing decresc. -,, 47 erformer's hearteat rhythm in the moment egins transformation cycles gru-tho du-t'ho 'til collase releases, Ï -, # P g free areggio u/don villagers (unconscious) freed ast cresc. n accel. n Ï long smoothing # # tones in any order ó ò # NoTime é ê é ê ê Mountain Lion's Rest # ë è é ê é not music stillness ë é ô ò 84th Siddah Coyright David Rosenoom All rights reserved.

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11 Tilight Language II Simultaneous Asence of Silence and Sound

12 Tilight Language (IIa) Simultaneous Asence of Silence and Sound Tones Emerge from Clouds a1 P Wakeful Sleeing n n # é - simile é - ë- - # - 2 ncoordinated, Out of Time. #. # leggero adjust to heart eats ó ô #ò # # n Big Mind ree 7 a2 Tones Emerge from Clouds f Stillness Action a # # ê - simile Tones Emerge from Clouds # # é - # í - n # simile n # n n # é - é - 4 # n # Heart Soothing Trick Too Slo to Think Aout Time - 5 #- ê æ -. Ñ molto Ñ P Ö n leggero adjust to heart eats # n n n ncoordinated, Out of Time. ó ö. molto #... ô ò Heart Soothing Trick Too Slo to Think Aout Time æ Ü # Ñ P - É # - n # ó ö. # ncoordinated, Out of Time π leggero adjust to heart eats Coyright David Rosenoom All rights reserved.

13 Tilight Language (II) 1 Resting Tiger π # P doule meaning # êê è é #è ê # # #.... # ó ò. öóö ó....,., ô ò n n æ n molto nñ É Ö decresc. n n n ô ò doule meaning ó ôò ó ö.... doule meaning. #.. æ..... molto ô ò ó ö Ü.. Ñ né.... #. n # # #. decresc.. #...,,. n. #. n.,, nn n # # ó ö 7 Resting Shih K'o π # n P ó ö 84th Siddah Coyright David Rosenoom All rights reserved.

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15 Tilight Language III Leaing from Eye of Wildest Imagination

16 action ainting irrational sontaneity sketchily grasing the natural (tzu-jan) exaggeration 7 action ainting electrifying exerience a2 a Very ast Very ast Tilight Language (IIIa) 4 Regular Time, Moving Windo [Reeated Pattern] Imrovisation # f Leaing from Eye of Wildest Imagination a1 n # Raid Leaing alling - ff # n n ast tones inside rackets in any order n ast n # imrovisation in the "i" style # Blinding Seed Ü É Ü Ö Disarate, ncoordinated 1 - ff n # n Ö> Lea of Courage É É É É É Ö Ö Disarate, ncoordinated - ff # # n Disarate, ncoordinated - ff # Blinding Seed Ñ Ö É É Ñ Sitting on Tiger's Head Ö É Ö Ü É ashes of linding illumination a4 Regular Time, Moving Windo [Reeated Pattern] Imrovisation # f # # n Disarate, ncoordinated 7 # - ff # Coyright David Rosenoom All rights reserved.

17 Tilight Language (III) # n # n exlosive energy of the rush Slo ä ä f ä â # # # # ä ä Thousand-oot-High Cliff # Siezing Tail Slo ä ä f â â ä Blinding Seed â n Ö Ñ n # É Ö Ñ # Ü É É > É Ï Very ast # n n # # Very ast n n # # ast #Ö É Ö # É Ö # Sloing Ö Ü #Ö # Ü Ñ laughing jester shock insult satire demon queller jolt into aareness of the incommunicale jolt into aareness of the incommunicale 84th Siddah # n Coyright David Rosenoom All rights reserved.

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19 Tilight Language IV Imerishale Jeel of Adamantine Mind

20 revolution union a2 a1 Regular ast Walking Thinking # # n n Regular ast Walking Thinking yugnaddha/ya-yum revolution union 7 a revolution union a4 f # f # n Time Emergent Regular ast Walking Thinking # n # # n # Regular ast Walking Thinking # # # n c2 # # # n # # n 7 # # ## 2 c1 Time Emergent # # cresc. # cresc. n # # # # # 2 7 # # n # 7 c # # Time Emergent Tilight Language (IVa) Imerishale Jeel of Adamantine Mind # # # 2 # 2 # # # # # # # # # n 2 2 # 7 # # # # # # # n # # # # 2 # # n # # 7 # n n n # # 2 7 # # # # # # # # 2 7 # # # # # # # # 7 # # # # n n # n n # # 7 # # ^ ç ^ # # ^ ç # n # 2 v # # # # # # # # # Coyright David Rosenoom All rights reserved.

21 Tilight Language (IV) 1 NoTime æ make drone, tremolo as needed æ # Kalacakra ast > > > 2 ast f asṫ > > ast legato gestures seeing legato ind # n seeing legato ind n # # ast f > legato gestures n 5 - n - - n n # ind into light # 1 n 19 n. # # n # # # # n # # 12 f # # # 5 8 # # # let ring 7 NoTime æ # make drone, tremolo as needed æ Paradoxes Alchemical 84th Siddah Coyright David Rosenoom All rights reserved.

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23 Tilight Language (Theme) David Rosenoom Piano Œ Too slo to think aout time and ith free ruato 4 4 n # π # Œ n n n P nñ Ü Ñ nñ É Ö n # # # P decresc. Œ P decresc. n n Ñ Ñ n Ñ Œ Ö Ñ Ñ P n # nn n # # n # n n n π n n n Coyright David Rosenoom All rights reserved.