Newton Armstrong. unsaying (2010) for violoncello and voice

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Mitchell Anthony
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1 Newton Amstong unsaing (2010) fo violon and v

2 ERFORMANCE NOTES V Wee an open staff is used, pitc is not stictl detemined Sounds wic ae notated ige ave a bigte tone, and sould be poduced wit a geate tension in te toat Convesel, lowe sounds sould ave a dulle, moe elaxed tone t[e] ts[ ] S[u ] Wee vowel sounds ae notated in paenteses, te ae not vd, but indicate te esonance of te consonant; ie te vocal cavit sould be saped as toug te vowel wee to be vd nvd Te sound sould be aticulated as a single impulse, and need not be sustained fo te specified duation nvd, sustained Te sound sould be eld fo te specified duation Vd, single impulse Vd, sustained Cello Wee a 2-line staff is used (alwas in conjuction wit muting of te stings), te notation indicates te position at wic to activate te sting, between te left and (bottom line) and te edge of te fingeboad (top line) Wee a 3-line staff is used, te ange is extended fom te edge of te fingeboad (middle line) to te bidge (top line) Scodatua: I sould be tuned pecisel an octave below te t amonic of IV Te pat is witten at sounding pitc Mute all stings wit left and at te point at wic te fingeboad meets te bod of te instument Release left and muting gip Stop bow dead on sting Wen notated ove a est, te bow sould be used to silentl mute an esonating stings Battuto Sound poduced wile inaling Te vocal pat sould not be pefomed in an expessive o declamato manne Rate, te effect sould alwas be pecise and macine-like Snap battuto: stike wit sufficient foce fo te wood of te bow to make contact wit te ai, poducing a esonant pop Reuies a loose, sping wist action

3 unsaing Newton Amstong 1 = 48 :5 :5 :5 æ t[e] ts[ ] S[u ] t[a ] be t[e] ts[ ] t[e] ts[a ] f da T[u ] t[ ] 1 = 48 3:2 3:2 3:2 4:5 ÿ ÿ ÿ ÿ f f p f f f p f 2 :5 :5 :5 t[e] dza C[u ] t[a ] de t[e] ts[å] T[] dzq f 2 balz balz ÿ ÿ ÿ > ẏ ÿ Ï p f p f f p f p f Ï p f p f 3:2 3:2 3:2 4:5 4:5 1/2 IV 3:2 CC-BY 2010 Newton Amstong

4 3 :5 :5 :5 4:5 4:5 t[e] ts[ ] S[u ] t[a ] t[e] dza C[u ] t[a ] de t[e] ts[å] 3 aco 3:2 4:5 3:2 :5 ÿ ÿ f f f p f f f p p f ÿ 4 :5 :5 4:5 :5 æ æ k[e] t[ ] dze t[ ] be ts[a ] N f da T[] dzq ta de t[e] tså 4 f 3:2 3:2 1/2 balz IV > ÿ > (bidge) f Ï f p f Ï :5 3:2 3:2 4:5 4:5 aco f p ÿ p f p 2

5 5 :5 :5 x T[] f dz ta de t[ ] tså S f t[ ] T[] f 5 aco 1/2 4:5 3:2 3:2 IV balz ÿ > ÿ ÿ ÿ balz > ÿ Ï f p f $ Ï $ :5 :5 :5 t[e] ts[ ] S t[a ] be t[e] ts[ ] f ts[a ] be t[e] ts[ ] C[u ] ts[a ] 3:2 3:2 3:2 3:2 3:2 1/2 aco (aco) aco IV ( ) > $ $ p $ $ p f $ 3

6 :5 :5 f ts[ ] s p[ ] T[u ] b[ ] aco > 3:2 4:5 f $ $ 4:5 4:5 aco 8 t[e] dz[a ] S[u ] 8 5: aco aco aco % % %? J t t J t t J t f $ f $ f $ IV I 2 IV t 4

7 9 $ t[a ] b[e] t[e] 9 : 5: I 2 IV pizz I 2 aco aco aco % % %? J t t J t t J t f $ f $ f $ t 10 :5 :5 :5 b ts[ ] ta de t[ ] tså N ts[å] f 10 IV aco %? J t f $ 3:2 3:2 3:2 4:5 3:2 4:5 ( ) aco IV o $ $ t b 3:2 $ f IV $ 5

8 11 :5 :5 :5 :5 :5 S t[ ] f t[e] f ts[e] 11 IV 4 aco? b t f $ $ t 3:2 5: 3:2 4:5 3:2 :5 aco 3:2 12 :5 :5 :5 :5 :5 :5 k[e] dze N S t[a ] T[u ] t[ ] C[u ] ts[å] 12 f Ï 3:2 3:2 3:2 3:2 3:2 3:2 > > f $ f $ f $ aco >

9 13 4:5 :5 J Z dzq ta de t[e] tså v N 13 :5 3:2 3:2 IV o > o o 9 III 5 IV aco II 3 III8 I 2 II 5 m Jn $ f f f p $ f $ f $ 4:5 4:5 14 :5 :5 B m S f t[ ] dz S f t[ ] v 14 aco 4:5 3:2 3:2 II o > > o o 3 aco aco III III IV IV > ÿ ÿ 11 II K B I 4 bn $ f f p f $ $ f $ $ f

10 15 :5 :5 :5 b t[e] dza S[u ] t[ ] be t[e] ts[ ] N Za 15 p I 2 J f o o aco II III IV o 8 aco IV o n b b5 p f :5 : 1 B :5 :5 :5 :5 :5 J K m t[e] v k[ ] N m dze m v Z t[e] K l 1 o o o o o o o o III o 5 III III IV 12 I 3 IV 8 IV 11 IV 10 III IV 5 III II 5 III IV 13 aco IV 10 III bn B Kn J K m Kl $ f $ f $ f $ f f $ $ f : : : :5 3:2 3:2 8

Texas Bandmasters Association 2016 Convention/Clinic

Texas Bandmasters Association 2016 Convention/Clinic Pefomance echniques of the Contempoay Maching Pecussion Ensemble CLINICIANS: Roland Chavez, Steve Wessels DEMONSRAION GROUP: Ceda Pak High School Pecussion exas Bandmastes Association 2016 Convention/Clinic