lea : etal mobile or lute clarinet iano
or esther lamneck - - or the sterling trio notes the iece is intended to highlight the inherently social nature o chamber music to exlore ideas o lexbileoen orm allowing or the creation o an exerience which can alter each time the iece is rehearsed erormed. the social asect is deined by the irovisational nature o the iece but even more so by the working aroaches required o the trio to exlore erorm these irovisational elements in good aith also in the rocess o selecting orming each erormed version o the iece as a whole. the ormat allows the trio to design a work o extremely lexible duration corised as it is o several sections some o which last only a ew seconds some o which are through coosed relatively substantial some o which are themselves o an oen lexible nature. this urther allows or lexible resentations o the work or exale concert installation ormats where a concert resentation might range rom a ew minutes to 20mins or more an installation version might last a whole aternoon; much o the work could also be adated or its ideas exlored as art o educational or other outreach work. the work can be resented in a conventional hysical manner but the erormers are also ree to exlore satialisation o the iece either as a whole or dierent arrangements or dierent sections the latter may not always be racticable or more limited concert durations but could work very well in installation ormats or exale. inally although designed or lute clarinet iano it is ermissible where a seciic movement might invite it to exlore wider instrumental doublings icc or bass lute Eb or bass clarinet harsichord or toy iano etc. or all enquires about the iece lease contact the cooser at: gavosb76@yahoo.co.uk movements in no articular order: - vibrations - rainscroll - telling a story - or iano - interlude - riles - score-lower - another interlude - moonwater music - shivers slivers - solo clarinet 'mobile' as in the multi-element moving scultures o alexander calder
note - this score is not strictly roertional; each section and sometimes subsection has its own character teo; these are usually noted at their irst aearance. riles Flute Clarinet in Bb with energy sh----------------- ah sz very ast energetic + + still sim. sh------- ah * sz ' sz toh sim. + + + sim. * Piano cresc. - - - - - - - - - - - + - cresc. - - - - - - - - - - - - - - - - - - - - + - sz ' tuh + ' + + + +.. * cresc. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - + + +
2 air shah sz air ' ' ' ' cresc. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ' ' ' * tah sz * ' ' ' ' ' ' ' ' ' 6 ' -. * 7' '' ' + + * cresc. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ' ' ' sz deress silently
more oen relaxed slower * suddenly more energetic very raid articulation * '''''''''''''''''''''''' as beore * 7 ''''''''''''' timbral trill '''''''''''''' ' + + ' ' + * + * * * * '''''''' sz * - sz * - 0 sz * deress silently ' 0 + ''''''' sz. - * + * * * * * ''''''''''''' * ''''
4 10 sz ' ' ' ' ' ' ' ' ' * oen not too slow + ' + ' ' ' + * * leggiero + 5
becoming irmer + - - ' - * * + + 5. *. ' ' ' 0 1 * ' ' oco vib. * '* 5 '
Interlude sere resto energico bright sarkling Clarinet sim. sim. sim. ' Flute lento aerto Piano ' dim à niente
note: the ragments can be layed in any re-decided order; also it's ossible to use any o the itch sets or any ragment another interlude Flute 10 9 Clarinet in Bb ' ' Piano ' A ' B 6 6 * ' * '+ C D
or iano moderato 1 ' ' * + + ' 5 agitato resto + moderato '. - * 0 agitato resto + ' + + lento 1 ' + ' ' agitato resto urioso 1 ' + ' + + moderato tranquillo + 2 + ' urioso resto delicato 1 '. 1 '. + + 1 moderato aerto. - andante bell-like. + ' '. ' + agitato resto 1 + '.
lento esressivo ' agitato resto ' * * + andante tranquillo esressivo + -. aster marcato -. + - - allegro energico accel. slower rall. + + + * 0 + + * ** - oco sz - sim. 5 meno dolce larghetto esressivo + agitato resto ma oco meno * 1 ' * - - * + + lento aerto esressivo andante ringing + - * ' dolce * - - 2 + * iù ' + 2 *
ushing orwards... ulling back... allegro energico leggiero 5 5 ' sz sim. lento marcato ringing close lento marcato ringing more distant * + + * + +. * - + - - + + * + + or + + + + +. * * - + + or + - + + + + - overall teo very slow each iteration quick lively shar - 0 0 1 0 0 1 2 quasi sz ma - 0 0 0 0 1 2
key clicks rings only key clicks lightest sound only key clicks no thumb key clicksuller sound oen key clicks no thumb key clicksuller sound sealed medium mouth shae key clicks + thumb key clicks thumb 9 10 ' 6 air + ingers no thumb no clicks air + ingers no clicks air + ingers thumb no clicks air + ingers no clicks air sealed closed inhale air closed inhale
note: the ianist may reeat each cell as many times as seems aroriate the minimum being times each; the iano is always or. telling a story... the lautist clarinetist irovise melodies over the iano cells using the lines given duration rhythm dynamic are ree although the mood should be elegaic or narrational and the dynamic never more than. iano the clarinetist may use Eb or bass clarinets and may lay the lines as written or transosed; the lautist should use iccolo and may also use bass lute where available. lenty o sace should be given or the iano cells without any melody at all
notes: or much o the mvt the ianist luck strings inside the iano with one hand layings the keybord with the other. For ease it may be necessary to mark lucked strings using removable labels o some sort. vibrations Flute Clarinet ** Piano lucked **rom the beginning until its irst always hal-edal? roer entry the clarinettist may ad lib. closed tube long air sounds in a slow steady regular breathing rhythm almost without vib norm. * 10 ' + - sz -. - - ' ' - - - ' -.
2 6 * ' - + 5 aster cha-ka + air '' * + * lucked '. norm. * 5 7 6 5 * + * * ' * * + + norm. * ' 7 * ' ' ' * * * * ' * - - - - - -- -- * *' * 5 norm. * ' ' 11 ' - ' ' ' ' * * * ' 1 * 0 cha-ka + air cha-ka + air 7 ' 0 0 0 2 * + * + * + ' - - - - '*. - -- - - ' * ' ' 0 0 ' 0 *' ' ' 0 0 ' 0. 22 + -. 0
norm. + ' ' ' ' * ' '- lucked * ' 7 ' * * + + * * + '' * ' ' ' * ' 5 * '' '*. *. lucked 0 norm. 1 * 2 norm. rom here until the attacca the lute-layer should breath just audibly in out through the lute mouthiece ingering a low B '' '* *. ' ' '* more lyrical 5 * 2 '' ' * * attacca coda
vibrations coda Flute air ' 7 sz Clarinet in Bb * + - + - + - + - sz Piano deress silently hold til end - - cha-ka + air. -.. + - + - + - + - sz + - + - + - * inhale through lute '..
lute shivers slivers iano the cells may be layed in any order; they can be layed reeated as rinted; additionally short extracts can be layed orm the longer cells the shorter cells may be sliced together to make longer ones. clarinet notes may be layed in any order with duration deined by a single breath; it is not necessary to lay all the itches it is not necessary to lay all the time; dynamic should be as quiet as ossible; itches may be inlected microtonally u or down this may be to transose the entire note or a tiny gliss.
moonwater music Clarinet enter net at any oint navigate through via the lines tho teleortation will be orgiven to create a melodic line; dynamic always quiet - but exressive cresc. dim. tenuti are ermissible; rhythm ad lib. but teo always slow; exit at any oint once a melodic line has run its course and reeat the rocess. these single events may be intersersed at any oint either between ormations o lines or mid line or at any other time. high notes should never be above or a subtle. Piano Flute quick long laying strings inside the iano using any small metal object coin thimble screw etc; uward arcs show 'swishes' along single string; arrows with thumbnails indicate striking string; arrows with stokes indicate very short in duration distance stokes o a single string. tessitura general as indicated. dynamic varied between to be layed quickly intensely; semiquaver dynamics should be between ; long notes should never be louder than ; the lute should always be sotto voce to the clarinet
score-lower score-lower instructions: there are 2 searate score 'lowers' each with 'etals' 1 etal er instrument; the harmonies are designed to work both searated into their individual lowers or mixed together i.e. notes rom the let lower can be layed with notes orm the right lower; in general all lower notes are long in duration and may vary rom to either as single dynamics or moving between any oint between those arameters; notes in dashed ellises are 'dro-ins' they maybe layed as above or with staccatiaccentstenuti;notes will generally overla but it's ine or instruments to sound together; all layers do not need to be laying continuously soloduo moments as welcome as is silence.