Richard Barrett auk 2013-14 truet in and ordion erorming score
auk (2013-14) or truet in and ordion to Nenad Marković and Vladimir Blagojević duration: aroximately minutes The truet art is written or a truet and is written at transosed itch, sounding a major second lower than notated. The ordion art is notated at itch, ie. at the ingered itch, which might be transosed u and/or down by octaves deending on the registration. Trills, tremoli and gracenotes always as ast as ossible, all transitions as smooth as ossible, in articular those in the truet art involving oening or closing the aerture o the harmon mute or transitions to and rom a distinctly breathy sound-colour (with the notated itch just retaining its ocus) indicated by a diamond-headed note above the truet art, or diamond-headed notes within it. The numbers occasionally ound above the truet art indicate which valves are to be used, esecially or trills, including Ø which indicates that no valves are deressed. When this music is aliied, searate microhones should be used or the let and right sides o the ordion and anned ordingly not to extreme let and right, but suiciently to hear a clear dierence in satial osition between the two halves o the instrument. Pauk consists o ive numbered sections which are layed without a break. Sections 2, 4 and 5 involve irovisation as well as notated music. More detailed instructions or the realisation o these sections is to be ound at the aroriate laces in the score. The sign is used to indicate ree irovisation. The horizontal extent o a segment is not intended to relect its relative duration. In sections 2 and 4 this is coletely oen, subject to the suggestion that the total duration o irovised and notated material should be aroximately equal or each instrument (section 2) or or the duo (section 4). In section 5, the irovisation is intended to take lace within the ramework o the notated music s metrical structure. What haens in the irovisations is coletely unseciied. It is intended that the surrounding notated music should inluence the irovised music without in any way atteting to determine it, causing the irovisations to be dierent rom what might haen in the absence o notated elements but without deining in advance what those dierences might be. Thus, the resence or absence o articular materials or techniques (or rocesses, as or exale in the dynamics o section 5) in the notated art o an irovisatory section are not intended to determine those used in the irovisations. No material or interrelationshi is to be thought o a riori as necessarily inaroriate or aroriate or the irovisations, although erormers may wish to consider how (in)coherent they intend the result to be. Pauk is a coonent o close-u or recorder, truet, ordion, har, cello and electronics, written or Ensemble Studio6.
1 7 16 11 32 e=90 harmon mute (ents in the right-hand art orm momentary disturbances in the dynamic roile notated below, as a "colouration" o the truet ents) 16:11 9 6 4 11 9 32 4:5 (shake) Richard Barrett auk 2013-14 4 2 11 32 7: 3 4 16 sz sz 4:5 (continue shake indeendently o right-hand articulations) 4 7 9 11:9 16 16 z 17:14 (sim.)
2 9 16 13 13 (harmon) 4:5 15 7 32 32 7:5 16 7:5 6:7 6:7 7:5 7 3 16 10:7 9 19 3 6:5 16 32 32 13:14 () 10:13 3 32 20 11 15 32 (sudden sto as i switched o) sub. :7
3 5 11 23 16 16 32 (harmon) 2 :7 27 13 11: 7 3 7 32 16 11:13 13 :7 16 11:9 10:13 14:11 7 31 3 2 9 5 11:9 16 32 sub sub. () 3 2
4 5 4 35 (harmon) 7:5 7:5 glissando towards G# using tuning slide... develo into multihonic... (atta!) 1 2 (truet) sere 19 25 Play the notated ragments in order, interolated with irovisation, so that the overall roortion o notated material to irovisation is aroximately 1:1, giving a duration or the whole section o around 96". The notated material should be layed strictly in teo, with articular attention aid to the endings o sounds as well as their beginnings, so that the variations in articulation and duration are clearly audible. There are no restrictions on the irovised material, which may continue or develo or contrast with these ragments in any or all arameters. The section ends with both erormers irovising. 12:11 12 23 35:23 () 6:5 13:9 1 2/123 () 19:17 Ø 123/2 17:13 4:5 7: (1/2 valve) 9:7 :7 (wide vibr.)
31 (tuning slide) (1/2 valve) 17:19 5 37 12 39:26 sere 41 ( sere) (trill randomly on all 3 valves while holding A ) 33 Ø To Accord. 2 (ordion) Play the notated ragments in order, interolated with irovisation, so that the overall roortion o notated material to irovisation is aroximately 1:1, giving a duration or the whole section o around 96". The notated material should be layed strictly in teo, with articular attention aid to the endings o sounds as well as their beginnings, so that the variations in articulation and duration are clearly audible. There are no restrictions on the irovised material, which may continue or develo or contrast with these ragments in any or all arameters. The section ends with both erormers irovising. 1 sere Register-changes may take lace at any time between the end o one notated segment and the beginning o the next () () 10:9 () 16:11 19:13
6 19 26:23 25:2 13:17 25:19 31 49:43 35 13:17 sere () 10:7 () 26
1 3 (harmon) 6 11 17 3 articulations very clear, otherwise legato ossibile with no tongued attacks, all glissandi realised using hal-valving, as smooth as ossible in itch-movement i not in timbre, extending over their entire durations 11:12 sere (= ordion), atteting always to equalise the dynamic level through the hal-valved glissandi and changes in muting legato ossibile! - all changes in bellows direction inaudible () () () () () () sere 11:12 () 11:12 7
22 () () 27 () () 11:12 () 32 REMOVE MUTE sere ("breathy" sound until end o section 3) (senza sord.) sere - same dynamic as with mute! () 11:12 37 () () ()
42 () () 11:12 9 47 () () () 11:12 52 () () 57 () 11:12 ()
10 61 () () 1 4 3 As in section 2, lay the notated ragments in order, interolated with irovisation, so that the overall roortion o notated material to irovisation is aroximately 1:1, giving a duration or the whole section o around 112", with the dierence that in section 4 the notated ragments (and silences) are layed together. Perormers should thereore eloy a cueing system to indicate when a notated ragment or a silence is about to begin. These cues should be shared equally between the two erormers, and, i ossible, not distributed in advance. sz (hal-valve) :7 9:7 :7 6:7 11:9 (raid agitation o all valves, with brie harmonic glissandi away rom E and back) 11: 13:11 10:9
7: 11 12 (hal-valve gliss. ollowing ordion) 7: 6:7 6:7 9: 9: 3 14 4:5 6:7 9:7 10:9 11:12 10:9 11:12 z z 7:5 sz 9:10
G 12 26 6:5 4:5 9: 1 6:7 13 9: sim... 15:11 3 30 2 9:10 (1 & 3) Ø 10:9 (1) 3 Ø Ø 3 3 2 z
3 44 7:5 3 9: (12) 7: 13 5 Here the irovisational activity takes lace within the notated metrical/durational ramework, and the two hands o the ordion art are searated so that one might be involved in irovising while the other is laying notated material. 1 3
14 29 abrut end! Den Haag 30 November 2014