This is a samle of he score. To obain comlee score, lease conac: Chiyoko Szlavnics info@chiyokoszlavnics.org or chi@lainsound.org
Helioroe (for Frank O Hara) Comosed for Osravská banda Osrava Ne Music Days 2007 Chiyoko Szlavnics, erlin, 2007 Duraion: arox. 11' 08" 2 Flues, Oboe, 2 b Clarines, assoon 2 b Trumes, 2 French Horns, 2 Trombones, Tuba 3 Violins, 2 Violas, 2 Violoncellos, 2 Conrabasses 2 ercussioniss (Croales, Vibrahone, ass Drum) Sine Tone layback (sereo)
Helioroe (for Frank O Hara) Helioroe (a lan ha urns oards he sun) is a comosiion abou osiive viali. Frank O Hara (1926-1966) as an American oe ho roe abou life exeriences ih i, inellec, and assion, and ho had a rofound undersanding of visual ar and music. His oer has susained me over he as ear, a ver inense ear during hich, hile grieving m moher's deah, I have had o come o erms ih he realiies of morali, ideni, ehics, curren oliical realiies, and have been challenged o mainain m generosi of siri. This comosiion as made ossible hrough he generosi of er Koik and Osrava Ne Music Da s 2007, and as comosed for Osravska banda. Insrumenaion: 2 Flues 1 Oboe 2 b Clarines 1 assoon 2 b Trumes 2 Horns in F 2 Trombones 1 Tuba in F 3 Violins 2 Violas 2 Violoncellos 2 Conrabasses 2 ercussioniss (erc. 1: oed Croales; oed Vibrahone, erc. 2: oed Vibrahone; ass Drum rolled, ih Med/Hard malles) Elecronic layback (Sine Tones, Frequency Range: 32.6 3978 Hz, Sereo layback) Duraion: arox. 11 08 Noes on Elecronic layback: Conce of Sound Seaker lacemen: Sound Conce: he sine ones comlee he comosiion b roviding an ouer conour o he highes and loes regisers, as ell as filling ou iches in he middle-uer regiser. The are no mean o be roeced ino he erformance sace as a searae elemen one hich conrass ih he acousic ensemble, as is ofen he case ih elecroacousic music he are raher mean o be as equall resen in he erformance sace as he acousic insrumens hemselves. Fusion of sound is, in general, faciliaed b he use of raios derived from he Jus Inonaion uning s sem herefore, he sine ones should siml add o he iches, he fusion and/or beaing audible in he overall sound. Seaker lacemen: o (or more) seakers should be osiioned in he room so ha he sine ones are resen, bu no dominan. Deending on he size and shae of he room, i is recommended ha he seakers be osiioned so ha he are no oining direcl a he audience (or musicians), raher, ha he are oined a angles oards he side or back alls, o enable he sine ones o reflec off he surfaces in he room, and mix beer ih he ensemble sound in he sace. I is recommended o use a suboofer for he loer sine ones (righ channel). layback/temo: Since he emo of he ensemble ma var (he iece ma be erformed sloer han indicaed), he elecronics are bes erformed direcl from Max/MS,hereb each sine one ma be riggered manuall. Where his is no ossible, he sine ones ma be la ed from CD hoever, he ensemble mus hen be sricl conduced a 60 bm. General erformance Noes Tuning The core of fundamenals used in his iece are he oen srings of he Violoncelli, Violas, and Violins. Srings should une o A = 0, and une erfec fifhs (+/-2 ) above and belo, as accurael (i.e., no beaing) as ossible. Elecronics are based on A = 2 Hz, as is sandard in Euroe. For brass uning, see noe called "rass Tuning". Tuning Symbols Numerous Jus Inonaion s mbols aear in his iece. All iches are derived from he overone series of fundamenals ascending in erfec fifhs (F, C, G, D, A, E, ), ih heir ocave equivalences aearing freel. e n v Reresen ocaves and he 3-limi series (ure 5hs), and he 17-limi. Fundamenals in his ork range from F o (C cle of fifhs: F, C, G, D, A, E, ) m u Reresen he 5-limi series (ure maor 3rds). iches are generall loered b 10-20. < Reresens he 7-limi series (ure loered 7hs). Wrien iches are generall loered b 31-37. Reresens he 11-limi series (rione). Wrien iches are generall raised b 7-51. 0 9 Reresen he -limi series (ure maor 6hs). Wrien iches are generall loered b 63-67 (or raised b 33-37 in b insrumens ransosed ars). Accidenals coures of Marc Saba Wolfgang von Scheiniz's Exended Helmholz-Ellis JI ich Noaion s sem. Musicians can refer o he char on he folloing age o undersand ho he iches in heir ars are relaed o he overone series of he fundamenals. Sring la ers can check he accurac of heir iches agains an oen sring, in mos cases. Cen indicaions are given for all iches ha are more han 2 aa from equal emeramen. Musicians are encouraged o ork ih a uner ha shos recise cen values, o racise heir iches. A rehearsal guide ill be rovided o he conducor, highlighing secific simle (audible) inervallic relaionshis beeen insrumens hroughou he iece, o faciliae comrehension of, and rehearsal of he iece, if ime allos.
Helioroe (Afer Frank O'Hara) Tuning Symbols The symbols used for accidenals reresen he iches used in his comosiion. The char shos a ich's relaionshi o a fundamenal, ihin he conex of an overone series. The char also shos ho overones are relaed o each oher: us as he fundamenals ascend in erfec fifhs, so do heir resecive overones. These iches are differen ocaves in his comosiion. Mos of hese iches are already familiar o musicians, as hey reresen common ure inervals used in radiional harmonic music. The less familiar inonaions are he loered sevenh, and he rione. I is recommended o racise ih a uner, and o lay he ich agains a susaining ocave equivalen of he fundamenal, in order o learn o hear he inonaion, find alernae fingerings (oodinds), ec. 17 17...equal emered semione: (-1 ) v (+3 ) v...ure maor sixh: (-61 ) (-63 ) 0 (-65 ) 0 0 b insrumens' ransosed iches: (+39 ) (+37 ) (+35 ) 11..."rione": (+9 ) (+7 ) (+5 ) 11 (-31 ) 7, 1, 21..."loered sevenh": (-33 ) < (-35 ) < < <e (-29 ) < 7 5 5, 10, 15...ure "maor 3rd": (-20 ) m (-1 ) (-16 ) u (-18 ) u m (-10 ) (-12 ) u u 1 1, 2, 3,, 6, 8, 9, 12, 16...fundamenal; ure maor second ninh; ure fourhs fhs, ocaves: (-8 ) (-6 ) (- ) ( 0 ) (-2 ) (+2 ) (+ ) Symbol Char for Musicians erforming "Helioroe (Afer Frank O'Hara)", by Chiyoko Szlavnics, erlin 2007 Accidenals used are from "The Exended Helmholz-Ellis ich Noaion Sysem", develoed by Marc Saba and Wolfgang von Scheiniz.
General erformance Noes (con'd) Vibrao All insrumens mus lay ihou vibrao. Vibrao ould obscure he audibiliy of beaing, and oher audible henomena in he iece. Enrances Endings In general, enrances should be clear, bu no emhasized. In many cases, I have rien a shor crescendo enrance, and in many cases, varying lenghs of decrescendo a he end of susains. All susains should have a sligh aer, around one bea in duraion. Exression Musicians should avoid romanic exression in he ork, and should rea crescendos and decrescendos as lain acs, much like elecronic music simly fades in or fades ou. Exremely high iches on all insrumens, bu esecially he violins, should be layed as sofly as ossible. They should be resen, bu no dominae. oing There are no boing indicaions in he score. Srings (and ercussion) should lay ih full lengh boing, and be sensiive o he sound hey hear hen changing direcion. The audibiliy of change of bo direcion is no roblemaic, i is ar of he sound. Hoever, i should never be emhasized. layers can ry, as in a sring quare, o breahe heir boing, eiher for hemselves individually (hen no doubling iches), or hen doubling ars, or in relaion o he susains (hrases) ha he ind insrumens are laying. Glissandi Musicians ho are laying a glissando should alays be aare of heir ich ihin he overall conex. During any glissando, musicians migh hear ure, consonan inervals (fifhs, hirds, ocaves, unisons, ec.), dissonances, beaing, and so on. I is imoran o lisen o he conex and be aare of all of hese henomena, as ell as ho one s on sound fis ino he overall sound. If a sring has a glissando hich crosses from one sring o anoher, he glissando should have a naural silence here he sring change occurs, and should coninue as if i had no soed. The same alies o he rombone, hen a glissando crosses from I o VII, or vice versa. Musicians shouldn ick u he ich exacly here hey lef off, raher, coninue he glissando as if i had no soed a all. rass Tuning Where ossible, I have ried o incororae he naural overone series of he brass insrumens. Fingering indicaions aear hroughou he Horn ars, and Trumes have one or o indicaions (here no indicaion is made, he usual fingering should be used). For his reason, i is inaroriae for he brass o une o A as is radiional since A has very lile o do ih he brasses' fundamenals. Once he ensembles' srings have uned, i is recommended ha he Trumes une (rien) D [1 2 0], he Horns une (rien) oen G, and he Tuba une oen C in unisoni or ocaves o he Violoncellos' (or Violas') oen C sring(s). The Trombones should eiher une C5 [I] in ocaves ih he oher brass insrumens o hese same srings, or une F3 [I] in erfec fifhs ih Horns. alance The ensemble should balance equally as much as ossible. Winds ill generally have o lay much more quiely han usual, and srings a lile bi more. Alhough he sound ill be quie full, he aim is o creae a balance hich is ligh and ransaren, so ha every glissando and susaining ich is audible, and any beaing ha migh be resen can also be heard. Noe o Conducor: hen dynamics are indicaed more rigorously, esecially in he srings afer rehearsal leer A, hese figures should slighly come ou of he overall sound. The general endency ill be for srings o be covered by inds and brass, and his should be recified by ensuring ha he ind insrumens hold back lay ianissimo and lighly as much as ossible. The iece begins sofly, has o secions of varying dynamics, and ends sofly. Musicians should rea crescendos and decrescendos as lain acs, much like elecronics music simly fades in or fades ou, and avoid romanic exression a all imes. Exremely high iches should be layed as sofly as ossible, and exremely lo iches should come ou slighly. ercussion Noes lease see secion on oing and Enrances Endings. As indicaed in your ars, all boed iches on croales and vibrahone should be lef o decay/ring o silence. The iched maerial should generally be balanced ih he ind insrumens. If a croale has rouble seaking a a sof dynamic, hen i ould be bes o vary he dynamic, o bring i in and ou, if a long susain is required. If here are any difficulies ih boing hese iches, a soluion migh be o find a Glockensiel ha can be removed from is box, and o use i in lieu of roblemaic iches. The bass drum ar ofen occurs ih a uba enrance. The idea of he bass drum ar is o emhasize he acousics of he erformance sace, by filling i ih an addiional resonan lo frequency. The ar should be erformed ih medium-hard malles (or hose deemed bes in a given erformance sace), and he dynamic should be such ha he figure does no dominae he overall sound, bu rovide a bass frequency boos. Noe o he Conducor: hen he bass drum figure ends, is absence should be fel in he room.
Score is rien in concer ich Flue 1 q» º (or sloer) Helioroe (for Frank O'Hara) Chiyoko Szlavnics, erlin 2007 Flue 2 Oboe Clarine in b 1 Clarine in b 2 assoon Horn in F 1 n - Horn in F 2 Trume in b 1 Trume in b 2 Trombone 1 Trombone 2 Tuba erc. 1: Croales/ Vibrahone Vibrahone All susains are boed. All iches are croales, unless oherise indicaed. All susains are boed. n " (lv.) ass Drum ã Violin 1 Violin 2 III o n (8/D) o o " o o o Violin 3 Viola 1 Viola 2 Violoncello 1 Violoncello 2 (-63 ) 0 # Conrabass 1 Conrabass 2 (- ) n. (- ) " Chiyoko Szlavnics 2007
2 Helioroe (for Frank O'Hara) Fl. 1 7 Fl. 2 Ob. b Cl. 1 b Cl. 2 (-18 ) m -. sn. Hn. 1 7 Hn. 2 n - b T. 1 b T. 2 Tbn. 1 Tbn. 2 Tuba erc. 1: Cro./ 7 ass Dr. ã Vln. 1 7 o o # (-35 ) < J - Vln. 2 III n Vln. 3 Vla. 1 Vla. 2 (-61 ) 0. Vc. 1 Vc. 2 (-18 ) m Cb. 1 Cb. 2
Helioroe (for Frank O'Hara) 3 Fl. 1 Fl. 2 Ob. b Cl. 1 b Cl. 2 sn. Hn. 1 (-1 ) u Hn. 2 n b T. 1 b T. 2 Tbn. 1 (-20 ) m. (-35 ) < Tbn. 2 Tuba erc. 1: Cro./ ass Dr. ã Vln. 1 Vln. 2 (-16 ) u < (-33 ) (-6 ) n. Vln. 3 Vla. 1 Vla. 2 (+5 ) ß -. (-16 ) u <e. J.. Vc. 1 n Vc. 2 -. (-1 ) u Cb. 1 (-12 ) u (- ) Cb. 2 (-12 ) u (- )
Helioroe (for Frank O'Hara) Fl. 1 19 Fl. 2 Ob. # b Cl. 1 <e b Cl. 2 sn. Hn. 1 19 # Hn. 2 b T. 1 b T. 2 Tbn. 1 (+51 ) ß. (-29 ) < J (- ) n Tbn. 2 (-6 ) Tuba erc. 1: Cro./ 19 ass Dr. ã Vln. 1 19 n Vln. 2 (-18 ) m (-33 ) < Vln. 3 Vla. 1 (-35 ) < (-16 ) u IV o <e Vla. 2 <e (-61 ) 0. 0 Vc. 1 (-35 ) <. n J Vc. 2 Cb. 1 (-12 ) u Cb. 2 (-12 ) u