KARAGATAN / YUVAL AVITAL

Transcription

1 KARAGATAN / YUVAL AVITAL Massive sonic comosition or gong & metal ercussions, bamboo & ooden ercussion, drums, lutes, soloists & 2-4 conductors

2 Karagatan /Yuval Avital Massive sonic comosition or gong & metal ercussions, bamboo & ooden ercussion, drums, lutes, soloists & 2-4 conductors 1 General : Karagatan in a massive sonic comosition, comosed or a large and heterogeneous ensemble o musicians mainly comosed o ercussions and lute layers The comosition as ritten esecially or the 1st international Gongs & bamboo estival Tunog Tugan in the island o Mindanao in the hiliines, and as thought as a conclusive erormance or the entire 150 articiating musicians, arriving rom 9 countries o South East Asia The challenge o this ork as to rite a comosition that could be erormed by musicians o both estern classical tradition and non-estern erormers, unamiliar ith riding music Moreover, This comosition needed to overcome the obstacle o using instruments rom various tuning systems simultaneously, ithout the creation o clashes beteen them The basis o Karagatan is the searation the musicians involved to our main instrument grous, divided into 4-8 sections ositioned in a 360 ambient, ith an addition o 4 soloists or soloists ensembles and 2-4 conductors The instrumental sections ithin Karagatan are the olloing ones : 2 Karagatan - Instruments list, and instrumental sections detail : A - 8 gongs & metal disks ormations (1-4 individual layers till comlete ensembles); could include gongs (lat or bossed, itched or unitched), tam-tams & cymbals B - 8 bamboo & ood ercussions (1-4 individual layers till comlete ensembles); includes both itched and unitched ooden or bamboo idiohones, should include both tuned ercussions idiohones such as marimba or ooden/bamboo xylohones and untuned idiohones such as buzzers C - 8 bamboo or ooden lutes ormations (1-4 individual layers till comlete ensembles); could include various lutes, recorders and resonators, ith various tuning systems D - 4 drums / membranohones ormations (1-4 individual layers till comlete ensembles); could include all tyes o traditional membranohones or orchestral tom-toms, snare drums, timani in various diameters E - 4 bo instrumentalists or instrumentalists grous, laying the bo on the gongs / cymbals - Soloists (amliied) : 1 - choir or vocal soloists 2 - Sheng/s, Accordion/s or other ree reed instruments (1-3 musicians) 3 - Dan Bau, zither/s, har/s or other lucked strings & boed instruments such as the Vietnamese Ko-Ni or the estern strings (1-3 musicians) 4 - Taeyeongso, or other double reed oboes (solo) G conductors The erormers are organized in circular diameters around the conductors, hile the ublic should be sited beteen the erormers and the conductors In the olloing diagram is the lacing o the erormers and conductors

3 3 Karagatan - instruments ositioning in a 360 ambient 1 A1 C2 B1 C3 A2 C1 E1 D2 C4 D1 E2 C16 E8 G1 G2 D3 C5 4 C15 B4 C14 D8 E7 COND 4 COND 1 COND 3 COND 2 E3 D4 C6 B2 C7 2 C13 D7 G4 G3 E4 C8 E6 D5 D6 E5 C12 C9 A3 A4 C11 C10 B3 3 A - seakers - or amliied soloists; B - drums / membranohones; C - gongs & metal disks D - bamboo & ood ercussions; E - bamboo lutes & inds; - boed instrumentalist laying on gongs G - soloists: G1 - choir or vocal soloist/s; G2 Sheng/s, Accordion/s or other ree reed instruments; G3 zither/s, har/s or other lucked strings; G4 Taeyeongso, or other double reed oboes; COND - conductors

4 4 Karagatan - duration : The general duration o the ritten arts ithin the score is beteen minutes Karagatan is a ritten in one movement, comosed o various eisodes hich has a lexible timing and could be erormed longer or shorter according to the conductor's choice These arts ill have a time rame indication ritten in the timeline system 02:30'' - 05:00'' many variations :enter and exit arts & sections, change satial movement, vaiate dynamics beteen sections create general stos or e beats, etc iù mosso q = 92 last three cycles dim oco a oco 00:30'' ad lib dim oco a oco 5 Karagatan - ossible cadenza arts: Since Karagatan can include numerous erormers and ensembles o dierent traditions and genres, there are 8 otional sections o ossible cadenza that the chie conductor o the erormance could choose to use These sections could be erormed by either one chosen musical ensemble, a soloist or a multimedia source (audio &/or video) In these arts the chosen erormer/s could be able to exress themselves searately rom the other ormations, but at the same time they carry a structural role o conclusion o a erormed eisode or an introduction o a ne one There are 8 oints ithin the score in hich a ossible cadenza mark is ritten - including the very beginning o the iece D ossible cadenza 00:30'' - 01:00'' Examle : a ossible cadenza that could be erormed beore sction D Solo choir 1 1 canto: the ocean, lungo, dolce It is very imortant that the chie conductor o Karagatan ill choose careully hich ossible cadenza arts to use and to guide the chosen erormers o the cadenzas in the choice and rearation o the musical materials ithin these sections Even though the ossible cadenza arts has no time limit, it is requested by the comoser not to exceed the total time o 75% in roortion to the ritten art o the score (ex i the ritten art is 40 minutes the maximum duration o the entire sum o the ossible cadenza art chosen to be erormed should not exceed 30 minutes)

5 6 Karagatan - notation: There are to main notation methods ithin the score : A) Indicative verbal instructions, ritten ithin a text box mid Distant storm, agitato lontano, ind & ocean sounds Ad Lib B) traditional notation, reerring to relative heights, rhythm & dynamics Bmb Bmb rc2 Bmb rc3 Bmb rc3 Bmb rc7 E q = 75 Buzzers only Buzzers only Bmb rc4 Bmb rc5 Bmb rc6 Bmb rc7 Bmb rc 8 Gng 1 Gng 2 Gng 3 Gng 4 Gng 5 Gng 6 Gng 7 Oten in the ork various textures indicated or a single art or a grou o arts are requested to continue or an amount o time that exceeds the barline, indicated ith an arro or the entire duration q = 50 ritmico Bmb attern 1 : q =50-60, ill little by little, indeendent Since the comosition is ritten also or erormers that don't read musical notation, the various systems in the score contain only limited inormation hich could be exlained orally, memorized and then indicated during the erormance ith simle ùhand gestures by the conductors The notation ritten in Karagatan is ritten in a very easy grahic mode that could be understood by the conductors almost intuitively Due to the dierent nature o the various instrumental sections, there are diverse methods o notation or each art or instrument grou

6 I) SOLOISTS : The soloists have in the score only text boxes, ith a verbal indication o the tye o erormed material, ith the excetion o the three inal bars in hich a simle notation indicate materials or 3 o the soloists (see later) The indications aearing or the soloists are the olloing ones : 1 canto: the ocean, lungo, dolce (soloist 1 - choir) : choose a chant related to ater, the ocean or the sea, or create one should be slo, ith long notes, and tender relect soloist 1 recitative solo, many aves, tense Solo, lungo, cantabile; a volte ritmico In dialogue ith sheng; trill & short hrases (soloist 3 - zither/strings) : create a reaction to soloist indicated - could be an imitation, an accomaniment or a variation (soloist 3 - sheng) : tense and recitative, dramatic, many dynamic contrasts (soloist 3 - sheng) : a ide melodic solo, sometimes ith a rhythmical elements adated to the rhythm o the other instruments laying (soloist 4 - reeds) : reerring to the music erormed by the sheng, create decorations and ill-us (short hrases on stos or long notes) ithin its solo 2 canto: the ocean, ritmico, mantrico (soloist 1 - choir) : In this quite long section is needed a vocal material hich could alternate mantric, rhythmic and melodic materials The chant could be stoed and continue according conductor's indications aving harmonic ields (soloist 3 - sheng) : strong dynamic alterations o harmonies ith rich timbers such as clusters ecstatic short hrases (soloist 4 - reeds) : very ast, decorative short exclamative hrases Solo - nostalgic oceans (soloist 3 - zither/strings) : A sot but strong section, nostalgic but abstract section, rich in timbers and techniques art Whiser nostalgic oceans (soloist 1 - choir) : a sot hisering section, could be based on a song, a text or vocal eects relect soloist 3 (soloist 3 - sheng, soloist 4 - reeds) : create a reaction to soloist indicated - could be an imitation, an accomaniment or a variation hold long notes, create aves (soloist 1 - choir) : create a cluster o long notes soloist 3 - sheng & soloist 3 - zither/strings) : hold a trilled grou o notes á Ÿ (soloist 4 - reeds) : holt a trilled note

7 II) WINDS : ind arts are mostly indicated through text boxes, reerring to each single ind grou or to the entire 8 grous as a hole There are also some traditional notation indications reerring to relative itch, rhythmic division and dynamics The indications aearing or the inds are the olloing ones : imitate ind, using sounds ithout a clear itch, variating intensity ø similar to revious indication, but an imitation o ocean aves dynamic range o the section lay the highest notes ossible zig zaged line indicates dynamic variations ( aves ) 2 lines strong variations ( very avy ) hal note / hal air sound (similar to eolian sound technique o concert lute) lz (lazzertunge) ast tongue tremolo technique Distant storm, agitato lontano, ind & ocean sounds Ad Lib Indication or the entire ind instruments : using ind & ocean imitations as exlained above, hal notes, trills and lz, create a texture that imitates a storm heard rom ar aay sot ast melody cloud ith a lot o air dierent ast melodies o ragments layed simultaneously by the dierent erormers ith a hal notes (eolian sound) in a quiet dynamic sot melodies cloud create aves similar to recedent indication, but ith regular sound, not ast, ith a lot o dynamic variations semi breve misurato breve misurato use rhythmic atterns in the range o dotted quarter note till eighth note (barline has no imortance) similar to recedent indication, but ith ast division o the bar : sixteenth note and 32nd notes (barline has no imortance) Ÿ cloud a cluster o diverse notes trilled, chosen by the erormers

8 III) BAMBOO / WOOD ERCUSSIONS : Bamboo / ood ercussion arts are indicated both ith text boxes, reerring to each single ind grou or to the entire 8 grous as a hole, as ith standard notation The standard notation don't indicate absolute itches but general or relative heights In some instances it is indicated only or the non deined itch instruments to lay The Notation instances and verbal indications or the Bamboo / ood ercussion arts section are the olloing ones : lay highest notes ossible (only or instruments ith deined itch) harm only or instruments ith deined itch : each layer o ithin the grou is to lay a dierent note/s i order to create together a harmonic cluster ast, unmeasured tremolo zig zaged line indicates dynamic variations ( aves ) 2 lines strong variations ( very avy ) 3 notes recitative atters each musician (in case o xylohones) or a grou o musicians (in case o a one note ercussions or buzzers), create a variant attern o 3 chosen ixed notes Sot gliss xylohones only - lay sot glissandi u & don continuously lay loest notes ossible (only or instruments ith deined itch) Buzzers only attern 1 : q =50-60, ill little by little, indeendent attern 2 : q =75, more energetic only instruments ith undeined itch based on the given beat, start orming a collective attern, in hich each musician enters one at a time, ignoring the material layed by the other sections similar to recedent but aster and stronger Bmb Bmb rc2 Bmb rc3 :12-19 lay notes in rhythm In case this art ould be too diicult to study, a simler but similar version (or a more aleatoric version) could be created by the chie conductor together ith the erormers, maintaining the order o entrances and exits o the voices in the section continue, variate ritmico lay reely, using variations o the recedent material ithin the section relect inds create an imitation o the art o the inds section buzzers & resonators : ocean aves; tuned instruments : rarely short unisons in staccato & tremolo harmonies ith cres<dim non itched instruments, imitate ocean aves (ith dynamics on long tremolos); itched instruments - short staccato o very high / very lo notes (ith a hand indication o the conductor), or tremolo harmonies (as exlained beore) This art should be erormed according a series o hand gestures o the conductors

9 VI) GONGS / METAL ERCUSSIONS : Gong / metal ercussion arts are indicated mainly ith standard notation and in some arts ith text boxes The height indication o the notes is very simle (lo, middle, high, cymbals) and could be indicated easily ith hands by the conductors during rehearsals and erormance These indication are valid or both itched instruments (such as nile gongs) and non itched instruments (such as tam-tams) in case o non itched instruments, the itch ill be, naturally, a relative to its timber high mid cymbals only lo All indications bello are valid to both gongs and other metal disks, even though that in the exlanation they reer only to the gong Notation o hight or gongs / metal disk : scratch harm lay long notes indeendently, aiting until the ading o sound to start a ne sound Scratch cloud using a coin or a scre, scratch the borders o the gong, creating a continuous sound ast, unmeasured tremolo only or instruments ith deined itch : each layer o ithin the grou is to lay a dierent note/s i order to create together a harmonic cluster lay long notes indeendently, aiting until the ading o sound to start a ne sound - only or long sustain gongs scratch - each layer using a coin or a scre, scratch both borders and back o the gongs, alternating short and long sounds Together ill be created a cloud o scratch sounds á lungo misurato only lo gongs; lay in rhythm very long values (4/4-12/4) creating a marking o a ide time rame, demarcating larger hrase structure (similar to the role o gong aging in the gamelan) medio misurato semi breve misurato breve misurato or lay in rythm medium rhythm values such as 2/4 & ¾ (barline has no imortance) use rhythmic atterns in the range o dotted quarter note till eighth note (barline has no imortance) only mid high to high gongs similar to recedent indication, but ith ast division o the bar : sixteenth note and 32nd notes (barline has no imortance) lay on the border o the gong Scratch aves (imitate ocean) cloud create aves Similar to scratch cloud, but all toghether, creating dynamic contrasts, as ocean aves Continue, using long notes, harmonies, & sot scratch according conductor's indications harm á This aleatoric art should be erormed according a series o hand gestures o the conductors, using comonents already used reviously in the score harmony o all gongs (also non itched) laying in tremolo

10 V) BOWS ON GONGS / METALS : Gong / metal ercussion arts are indicated mainly ith standard notation and in some arts ith text boxes The bos on gongs/ metals section could be comosed by the gong & metal ercussion layers, but since this technique is not requent at all outside the classic contemorary music genre, it is highly recommended that this section ill be given to bo string instrumentalists The basic technique is quite easy, and the only thing that should be controlled is the amount o rosin to use and the tension o the bo hair The bo should lay on the edge o the gong/metal disk The notation o this comonent is extremely simle, but it is advised to ork on dierent sonic results or this element, by alternating instruments on hich the bos are laying, angles and intensity Notation o hight or gbos on gongs / metals : long note ith tremolo or one bar long note or one bar 탚 very long notes (ignore barlines) zig zaged line indicates dynamic variations ( aves ) 2 lines strong variations ( very avy ) Sot long lines create dynamic aves obtained through a musical dialogue beteen the layers, that by using dierent tuned & untuned gongs and metal disks create a king o a sot olyhony VI ) DRUMS / MEMBRANHONES ERCUSSIONS : Drums / membranohones ercussion arts are indicated mainly ith standard notation and in some arts ith text boxes The dierent heights in the notation is ust a general indication in case o having more then one ercussion er layer (such as a set o tom toms) or tone variations ithin the instrument (laying in the center o the drum or near the border) Secial indications or the drums section are the olloing ones : recitative solo in the given bar 1 or more soloists rom the drum section should burst ith a strong unmeasured recitative solo solo recitative anser the sections indicated should anser musically to the solo, by imitation or comletion o the erormed hrase attern 2 : q =75, more energetic : based on the given beat, start orming a collective attern, in hich each musician enters one at a time, ignoring the material layed by the other sections zig zaged line indicates dynamic variations ( aves ) 2 lines strong variations ( very avy ) in the given bar 1 or more soloists rom the drum section could burst ith a strong ast solo, only hen indicated by conductor (according his choice)

11 VII) GENERAL SATIALIZED NOTATION MARKS : Since the erormers are organized in sace in circular diameters, there are some extremely simle satialization indications ithin the score, regarding the movement o a motive beteen the erormers : All these elements ill be done ith simle gestures o the conductors, ointing at the musicians, moving their arms, to indicate the nature o satialized movement slo slo anti-clockise movement o the motive slo slo clockise movement o the motive mid middle / medium seed clockise movement o the motive mid middle / medium seed let to right (continuously) movement o the motive ast ast seed let to right (continuously) movement o the motive Dedication : Karagatan means in Tagalog (the main language in the hiliines) Ocean The Ocean or the iliino eole carry strong contrasting meanings - it is a border, a horizon, a nourishing source, a territory o antasy and legend It is connected ith memory o cruel invasions and ith multicultural dialogue and eaceul interactions In December 3rd 2012, ust to and hal month beore the beginning o Tunog-Tugan 1st International Gongs & Bamboo music estival, The horrible Tyhoon Boha attacked the coasts o the island o Mindanao, taking the lives o more than one thousand eole, and living many other thousands ithout roo and shelter I dedicate this comosition to the memory o the men, omen and children lost in this great tragedy, and to the sirit o the iliino eole, hich ill alays ind strength to overcome diiculty ith hoe, courage and great humanity Milan, Italy, 20/01/2013

12 Score ossible cadenza Karagatan Massive sonic comosition or gong & metal ercussions, bamboo & ooden ercussion, drums, lutes, soloists & 2-4 conductors Yuval Avital line A Adagio rubato = 8 sec 00:30'' B Winds 1 Winds 2 Winds 3 Winds 4 Winds 5 Winds 6 Winds 7 Winds 8 slo ø Ÿ Bamboo ercussions 1 Bamboo ercussions 6 Gongs 5 Gongs 8 Gongs 12 Gongs 16 scratch scratch scratch harm harm Drums 1 Drums 2 Drums 3 R R Drums 4 Û R Û R Û R 18 00:20'' C Wnd 1 Wnds 2 Wnds 3 Wnds 4 Wnds 5 Ÿ ø slo Wnds 6 Wnds 7 Wnds 8 Bs gng2 Ÿ ø Ÿ ø Bs gng4 Gng 1 Gng 4 Gng 7 Gng 8 Gng 9 Gng 11 Gng 13 Gng 15 Gng 16 Yuval Avital 2013

13 2 Karagatan Wnd 1 23 mid Wnds 2 Wnds 3 Wnds 4 Wnds 5 Wnds 6 Wnds 7 Wnds 8 Bmb Bmb rc2 Gng 1 Gng 2 Gng 3 Gng 4 3 notes recitative atters Gng 5 Gng 6 Gng 7 Gng 8 Gng 9 Gng 11 Gng 13 Gng 15 Gng 16 Drm 1 Drm2 Drms 3 Drms 4 Yuval Avital 2013

14 Karagatan 3 Wnd 1 28 oco iù mosso = 6 sec Wnds 2 Wnds 3 Wnds 4 Wnds 5 Wnds 6 Wnds 7 Wnds 8 Ÿ ø ø Ÿ Ÿ ø Ÿ ø Bmb Bmb rc2 Bmb rc3 Bmb rc4 Sot gliss Bmb rc7 3 notes recitative atters Bmb rc 8 Gng 1 Gng 2 Gng 3 Gng 4 Gng 5 Gng 6 Gng 7 Gng 8 Gng 13 Gng 14 Gng 15 Gng 16 harm harm harm harm harm harm harm harm Drm 1 Drm2 Drms 3 Drms 4 Yuval Avital 2013

15 4 Karagatan 33 Wnd 1 Wnds 2 Wnds 3 Wnds 4 Wnds 5 Wnds 6 Wnds 7 Wnds 8 Bmb Bmb rc2 Bmb rc3 Bmb rc4 Bmb rc5 Bmb rc6 Bmb rc7 Bmb rc 8 Sot gliss Gng 1 Gng 2 Gng 3 Gng 4 Gng 5 Gng 6 Gng 7 Gng 8 Gng 9 Gng 10 r r r r Gng 13 Gng 14 Gng 15 Gng 16 Drm 1 Drm2 Drms 3 Drms 4 Yuval Avital 2013

16 D ossible cadenza Karagatan 5 oco iù mosso q = 60 00:30'' - 01:00'' 01:30'' Solo choir 1 Wnd 1 1 canto: the ocean, lungo, dolce mid Wnds 2 Wnds 3 Wnds 4 Wnds 5 Wnds 6 Distant storm, agitato lontano, ind & ocean sounds Ad Lib Wnds 7 Wnds 8 Bmb Bmb rc2 Bmb rc5 Bmb rc6 Bs gng1 Bs gng2 Bs gng3 Bs gng4 Gng lay long notes indeendently, aiting until the ading o sound to start a ne sound lay long notes indeendently, aiting until the ading o sound to start a ne sound Gng 6 Gng 7 lay long notes indeendently, aiting until the ading o sound to start a ne sound lay long notes indeendently, aiting until the ading o sound to start a ne sound lay long notes indeendently, aiting until the ading o sound to start a ne sound lay long notes indeendently, aiting until the ading o sound to start a ne sound Gng 8 Drm 1 Drm2 Drms 3 # lay long notes indeendently, aiting until the ading o sound to start a ne sound 0 0 # # # lay long notes indeendently, aiting until the ading o sound to start a ne sound # # # Drms 4 # 0 0 Yuval Avital 2013

17 6 Karagatan 43 Solo choir 1 Wnd 1 mid Wnds 2 Wnds 3 Wnds 4 Wnds 5 sot ast melody cloud ith a lot o air Wnds 6 Wnds 7 ø Wnds 8 Bmb Bmb rc2 Bmb rc3 Bmb rc4 Bmb rc5 Bmb rc6 Bmb rc7 Bmb rc 8 Bs gng1 Bs gng2 Bs gng3 Bs gng4 Gng 5 Gng 6 Gng 7 Gng 8 Drm 1 Drm2 Drms 3 Drms 4 Û Û Û Û Yuval Avital 2013

18 Karagatan :30'' ad lib dim oco a oco Solo choir 1 Solo 3 zthr Wnd 1 Wnds 2 Wnds 3 Wnds 4 Wnds 5 Wnds 6 Wnds 7 Wnds 8 relect soloist 1 Bmb Bmb rc2 Bmb rc3 Bmb rc4 Bmb rc5 Bmb rc6 Bmb rc7 Bmb rc 8 Bs gng1 Bs gng2 Bs gng3 Bs gng4 Gng 1 harm Gng 5 Gng 6 Gng 7 Gng 8 Gng 9 Gng 12 lay long notes indeendently, aiting until the ading o sound to start a ne sound harm Gng 13 Gng 14 Gng 15 lay long notes indeendently, aiting until the ading o sound to start a ne sound lay long notes indeendently, aiting until the ading o sound to start a ne sound Gng 16 lay long notes indeendently, aiting until the ading o sound to start a ne sound Yuval Avital 2013

19 8 Karagatan E q = 75 Reeat 3-5 times, silencing little by little voices till ust one remains Bmb rc3 Bmb rc7 Buzzers only Buzzers only Gng 1 Gng 2 Gng 3 Gng 4 Gng 5 Gng 6 Gng 7 Gng 8 Gng 9 Gng 10 Gng 11 Gng 12 Gng 13 Gng 14 Gng 15 Gng 16 U U U U U U U U U U U U U U U U ossible cadenza q = 50 ritmico Bmb attern 1 : q =50-60, ill little by little, indeendent 63 Bmb Bmb rc3 attern 1 : q =50-60, ill little by little, indeendent Bmb rc5 attern 1 : q =50-60, ill little by little, indeendent Bmb rc7 attern 1 : q =50-60, ill little by little, indeendent 68 Bmb Bmb rc2 attern 1 : q =50-60, ill little by little, indeendent Bmb rc3 Bmb rc4 attern 1 : q =50-60, ill little by little, indeendent Bmb rc5 Bmb rc6 attern 1 : q =50-60, ill little by little, indeendent Bmb rc7 Bmb rc 8 attern 1 : q =50-60, ill little by little, indeendent Yuval Avital 2013