Bruno Ruviaro. Têmpulo (2004) percussion trio

Transcription

1 Bruno Ruviaro Têulo (2004) ercussion trio

2 1) All instruments are l.v. (let vibrate) throughout the iece. A few exlicit l.v. signs aear in the score sily as "courtesy" signs. and vibrahone follow their edal indications for that matter. To kee a sense of continuity and avoid an excessive alternation of notes and rests in the score, even the marimba's single attacks are written as long notes, even though their sound obviously decays much earlier (for ex., mm. 3-5 are single attacks, not tremolos). 2) Differentiation between 16th-note and 32nd-note rhythms should be as accurate as ossible. 3) Many sustained notes in the score have "echo" signs on them: as the sound naturally decays, the layer should hit the same note again VERY SOFTLY (ranging from iano to ianissimo, no matter what the original dynamic was). The number of new soft attacks is indicated above the bracket; these "echoes" can be layed at any moment within the time san also indicated at the bracket. They do not need to be regularly saced in time. Such echoed events should sound as much as ossible as mere "continuations" of the original note, like an attet to kee the note close to its minimum (audible) vibratory state. It is NOT necessary to wait until a note coletely disaears to start with its echo. 1-2 echoes = one or two new attacks; 2-3 = two or three new attacks; 3-4 = three or four new attacks; 4+ = four or more new attacks. 4) If layers decide to read from the score instead of using the arts, it should be arranged in a way that no age turn is needed. 5) If ossible, the stage lights should be slightly dimmed for this iece (in relation to the overall lighting of the concert). Players may use small individual las in order to read the music. 6) Trills are to be made to the notes given in arentheses (see bar 8) 7) Tremolos on the same note are always raid and unmeasured (see for exale bars 1-2, 6 etc.) * sounding one octave higher ** sounding two octaves higher Player 1 Mallets Medium Yarn Hammers Beater Player 2 Mallets Brass Rubber Beater Player 3 Mallets Medium Yarn Beater Têulo by Bruno Ruviaro Stanford, October 2004

3 Strict teo, but not aarent q = 60 Têulo 5 1 Bruno Ruviaro October 2004 q = 60 medium yarn mallets sub. Strict teo, but not aarent ff () quasi f Glockensiel brass mallets q = 60 Strict teo, but not aarent medium yarn mallets ff sub. f f ( )

4 hammers always l.v. (edal remains blocked down) (*) (brass mallets) Glockensiel (*) Player 2: all echoes with rubber mallets (glockensiel and crotales) niente

5 3 Glockensiel Here echoes can be layed 20 with the 25 () (*) (*) Player 2: all echoes with rubber mallets (glockensiel and crotales) [2-3 echoes] medium yarn mallets f (short) sub. ff f sub. sub. (medium yarn mallets) [2-3 echoes]

6 F and Ab echoes can be layed simultaneously (as the original minor third) OR searately as individual notes; in any case, total sum of events should not exceed 4 f meno f () [3-4 echoes] Glockensiel, (not l.v.) [3-4 echoes] 3 ff [4+ echoes] f

7 5 40 motor on (very slow vibrato) 3 () () Glockensiel () Here, echoes on C# only [2-3 echoes] ( always)

8 6 45 hammers () (*) Glockensiel (*) (*) (*) At any moment within the first 6 seconds of the fermata, lay the last triangle note. Players should not look to each other nor attet to coordinate this attack in any manner.