Keichu's Wheel. for flute, two harps, marimba, stone chimes and percussion. Andrew S. Allen

Transcription

1 Keichu's Wheel for flute, two hars, marimba, stone chimes and ercussion Andrew S. Allen htt://

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3 Instrumentation Flute Har I & II Marimba* Stone Chimes (Bianqing)* Percussion* 4 tom-toms, turned on side and struck on the shell log drum (very lg.) 2 bamboo chimes (sm. and lg.) 2 congas mokubio (or other high, iercing woodblock) tam-tam (very lg.) sm. bamboo sticks wraed together (or wire brushes) * 2 ercussionists total Instrument-Secific Notes - Flute - Notes with x heads indicate to breath through instrument w/o roducing itch. Pitch-bends are done by rotating the instrument front and back only and all quarter-tones are aroximations only. - Har - T. = rès de la table = fingernail izz. (sna string with nail) = bartok izz. (lay at the lower end of the strings, letting the finger slide immediately and vigorously to the body of the instrument.) = slide finger down the string lightly, from to downward for the entire duration of the note. In order to facilitate the itch-bends, slowly change the edal immediately after striking the note. Har harmonics sound at itch indicated.

4 - Stone Chimes - The stones should be of decent resonance and tuning ability. Limestone, Slate and Jade are all very fashionable for such a urose, but limestone is robably the most easily adatable because of its soft and orous comosition. There should be six stones of equal starting density and area, referably with a itch around F#4 before carving and the ratios of itch above the fundamental should be: 16/1, 4/, /2, 9/, and 2/1. (For a more indeth look at tuning theory, lease consult Genesis of a Music by Harry Partch.) These ratios can be realized with aroximation, as stone density will vary from stone to stone. The itches of the six stones should attemt be as close as ossible to the following: The stones should be suorted by a stand at least 6x6x4 and the stones should be strung on hooks by a single roe sectioned with single knots. Every other hook should be turned 180 degrees to ensure the roe cannot accidentally fall off. A /8 hole should be drilled at the corner node of each stone (Be sure to test all ossible nodes before drilling, it may change much after carving). The stone should hang with a slight angle, with the bottom of the stone hanging out towards the erformer and the erformer should attemt to strike either the middle-bottom or middle-center of the stones with a hard yarn mallet for the most resonance. To the right is a diagram of an examle of a sturdy, feasible stone chimes and stand: - Percussion - = scrae indicated instrument with bamboo sticks or coin (will be indicated in art)

5 General Concerns All soken words should be ronounced in a natural, un-self-conscious manner, so that the seech is smooth and remain on a single itch with a slight di at the end through the duration of each and every syllable. Dis at the ends of a sentence can be larger. A great deal of concern must be given to not only what a layer does, but how she does it. The erformers must have a clear mental image -- a kinetic imulse -- for all musical sounds. The layer should otherwise be inclined to enhance visible theatrics, esecially when laying slower and less comlicated assages. These actions should be unique and sontaneous to each individual. Stage Layout Program Notes Getsuan said to his students, Keichu, the first wheel-maker in China, made two wheels having fifty sokes each. Suose you took a wheel and removed the nave uniting the sokes. What would become of the wheel? If Keichu had done so, could he be called the master wheel-maker? Keichu's Wheel, from The Gateless Gate

6 Flute Har I Har II Freely drifting, slowly swooing q=72ca. D C B / Eb F# G A# fl.t., with much breath-noise D C# B / Eb F# G A# 6 Commissioned by Ossia New Music Keichu's Wheel for flute, two hars, marimba, stone chimes and ercussion n F#-F C#-C, G -G# B -Bb, A#-Ab fl.t. Andrew S. Allen (ASCAP) n G#-G A#-A C#-C, F#-Fb lontano E -Eb 6 A -Ab F -F# Percussion I tom-toms on side, wire brushes/wound bamboo sticks slowly scrae conga's head with wire brushes n Percussion II bamboo chimes (lg.) n mokubio, hard mallet

7 2 H. I 9 whiser tones, mostly breath non vibrato ord., grad. to breath only n n Eb-E E -E# B -Bb C -C#, E#-E 7 6 H. II Bb-B, Fb-F# Eb-E# gliss. C -C#, E#-E D#-D, E -Eb n I toms (on side), struck with bound sticks 4

8 1 A grad. to breath only E -Eb Db C Bb / E F# G A softly soken Eh ees myne Db-D H. I H. II B -Bb, Ab-A C#-C, F#-Fb softly soken Myne ees knot Bb-B, A -A# stone chimes m bamboo chimes (sm.) softly soken (clas together) m "shh" Knot, Eh ees I m n

9 4 21 breath only C -C#, F#-F Bb-B, G -G# F -F# D -D#, F#-F C#-C H. I m H. II Fb-F m G -G# Eb-E A#-A C -C#, F -F# D -D#

10 27 6 non vibrato, soft but still iercing H. I D#-D, G#-Gb C -C# B -Bb C#-C, E -E# Bb-B, F -F# H. II B -Bb, F#-Fb D#-D, E -E# C#-C, Fb-F# Bb-B, G#-G 6 m D -Db, A -Ab E#-Eb mokubio mokubio I conga (sm.) n conga (lg.), with snarestick m

11 1 B ord. sfz sfz 6 6 H. I D# Cb Bb / Eb F# G A D#-D, A -Ab H. II B -Bb, F#-F Bb-B, Ab-A# Db-D, G -Gb D -D#, Eb-E C -Cb, A#-A D#-D, Gb-G 6 Cb-C, A -Ab E -Eb n I 2 stone chimes

12 7 H. I H. II sfz 7 sfz m 4 C -C# D -D#, F -F# Bb-B, E -E# m m f grad. breath only F#-F Cb-C# m C#-C Bb-B, F -F# A -A# F#-F m A -A# D#-D m C#-C m scrae coin on tam-tam Glock. to marimba

13 C with unaeasable yen 8 4 H. I Eb-E D# C# B / E F# G# A# D#-D G#-G H. II ff soft mallets Mar. n n bamboo chimes (sm.)

14 9 accel. 48 H. I Bb-B C -Cb, E -Eb D -Db, A -Ab B -Bb, F#-Fb G -Gb Cb-C#, Ab-A H. II C#-C A#-A 4 F#-F (D C B / E F G A ) B -Bb F -F# C -C# F#-F F -F# Mar. tom-toms

15 4 sfz n 10 fluttering away... grad. breath only H. I Db-D Bb-B#, Gb-G# D -D#, G#-G 6 B#-B, Fb-F# Eb-E A -Ab E -Eb Bb-B, F#-F B -Bb, F -F# H. II Mar. 4

16 11 D q=88ca. oco rit. soken m 8 Frantic whiserings dissiate Eh eas knot bu - ta H. I H. II soken D C B / Eb F# G A# m Eh ees knot myne m soken D C# B / Eb F# G A# m Eh ees knot theens 6 m to congas Mar. I together, soken Eh ees knot Eh ees stone chimes tam-tam, l.v. very soft mallets

17 64 A bit slower again q=68ca. 12 C -Cb, Eb-E A#-A rés la table H. I m T. H. II m I 6 7 7

18 1 67 D -D#, G -G# G#-G gliss. G -Gb gliss. B -Bb, F#-F D#-D, E -Eb f H. I f m Cb-C, A -Ab Gb-G H. II A#-Ab Eb-E# f C#-Cb m D -D#, Ab-A with snaresticks 6 I 6 6

19 70 14 H. I F -F# f Bb-B, A -A# G -G# f F -Fb m B -Bb Cb-C# Bb-B, E#-Eb H. II f f m I m 6 6

20 1 7 oco accel. H. I ff G#-Gb ord. B -Bb, Gb-G A#-Ab dying do not sto notes after fermata H. II Mar. ord. D#-D B -Bb C#-C dying ff A -Ab do not sto notes after fermata mokubio wandering with reckless abandon I 6 7

21 81 E Slightly faster again q=76ca. wandering with reckless abandon 16 H. I H. II Mar.

22 17 86 H. I Ab-A H. II Bb-B Mar. 6

23 91 18 H. I D -D#, Fb-F C -C#, Eb-E 4 H. II C -C#, G -G# D -D#, F#-F Ab-A Eb-E Mar. m

24 19 96 f 6 rall. H. I H. II 6 Mar. 6 6 m tam-tam very soft mallets l.v.

25 mostly breath H. I H. II softly soken, semre constant itch deyr tey - chin I softly soken, semre constant itch Ees ah noh

26 21 10 F a distant, waling moan q=60ca. in a grave, somber singing style H. I Db C Bb / Eb Fb Gb Ab H. II D# C Bb / Eb F# G A meh - stah wirebrushes, \sliding across congahead, with slight auses between slides n I ehv - eh reesh beh - hor?

27 oco rit. Gb-G Db-D Fb-F# H. I Bb-B E -E# Ab-A H. II Eb-E B -Bb Bb-B very soft mallet Mar.

28 2 119 m The tranquil and treacherous eye q=2ca. Suddenly much faster q=88ca. subito sfz H. I B -Bb, G -G# A -Ab ord. T. m ff ord. H. II D C B / Eb F Gb A# A#-Ab Gb-G# ord. T. m ff Mar. subito I m

29 H. I H. II Mar. I 126 f B -Bb ord. D -D# Eb-E# m ff m to mokubio ff G#-G E#-Eb Bb-B, Ab-A C -C# m ff stone chimes; with a very smooth flux of seed 24

30 2 11 H. I C#-C B -Bb D -Db m m H. II I

31 16 softly soken, semre constant itch 26 Et ees knot theens Et ees knot H. I H. II softly soken, semre constant itch Etees knot F#-Fb myne softly soken, semre constant itch Et ees knot bu-ta Db-D, A -A# Bb-B Et ees knot f * theens * reattack irregularly, molto accel and then oco rit on indicated I

32 myne with building agitation wah eet D -Db, G -Gb A#-A Fb-F, B -Bb H. I f H. II f f I ""

33 H. I 14 f ees? Eb-E D -D# C -C#, G#-G D#-D, F -F# Bb-B, A -A# sub. C#-Cb, G -Gb F#-F Eb-E 6 28 H. II Mar. ff sub. f I "" to marimba

34 29 10 G ceremonial q=64ca. ff Db Cb B / Eb F G Ab B -Bb Ab-A F -Fb H. I ff slide down the indicated string for entire note's length H. II Mar. fff ff I "f"

35 0 H. I H. II I H. I H. II I 18 Db-D A -Ab Cb-C, Fb-F# 164 Db-D Db Cb B / Eb F G Ab slide down the indicated string for entire note's length D -Db F#-F Bb-B, Ab-A B -Bb Ab-A F -Fb Db-D