Partition complète, Bleed, Psimikakis-Chalkokondylis, Nikolaos-Laonikos

Nikolaos-Laonikos Psimikakis-Chalkokondylis

Description

Visionnez les partitions de musique Bleed partition complète, pièces, fruit du travail de Psimikakis-Chalkokondylis, Nikolaos-Laonikos. La partition moderne célèbre écrite pour les instruments suivants:

• 2 flûtes
• 2 hautbois
• 2 clarinettes
• 2 bassons
• 4 cornes
• 2 trompettes
• 3 trombones
• tuba
• percussion
• vibraphone
• harpe
• cordes

Cette partition compte 1 mouvement et l'on retrouve ce genre de musique classée dans les genres pièces, partitions pour orchestre, pour orchestre
Travaillez en même temps une sélection de musique pour 2 bassons, 2 trompettes, 2 flûtes, vibraphone, 2 clarinettes, percussion, 2 hautbois, 3 trombones, harpe, cordes, 4 cornes, tuba sur YouScribe, dans la rubrique Partitions de musique variée.
Date composition: June 2011
Edition: London: 2011
Durée / duration: 5-6 minutes

Sujets

• Modernité
• Chordés
• Harpe
• Vibraphone
• Percussion instrument
• Tuba (disambiguation)
• Trombone
• Trompette
• Corne
• Bassons
• Clarinette
• Oboe
• Flute

Informations

• Publié par: PSIMIKAKIS-CHALKOKONDYLIS
• Nombre de lectures: 19
• Licence : En savoir +
  Paternité, partage des conditions initiales à l'identique
• Langue: Français
• Poids de l'ouvrage: 1 Mo

Extrait

bleed
for orchestra
Nikolaos-Laonikos Psimikakis-Chalkokondylisbleed
for orchestra
Instrumentation:
Score is in C apart from piccolo (sounds an octave higher) and basses (sound an octave lower).
Piccolo
Flute
2 Oboes
2 Clarinets in Bb
2 Bassoons
4 Horns in F
2 Trumpets in C
3 Trombones (2 Tenor, 1 Bass)
Tuba
Percussion (woodblock, suspended cymbal – soft beaters)
Vibraphone (soft beaters)
Harp (or two harps, if available)
Violins I (divisi)
Violins II (divisi)
Violas
Violoncellos
Double Basses
Performance Notes:
All instruments play strictly non-vibrato (e.g. piccolo, flute, string section).
The second bassoon must use a piece of cloth as a mute throughout.
Horns 3 and 4 are muted throughout.
The second trumpet has a straight mute throughout.
The second trombone has a cup mute throughout.
The tuba has a mute throughout.
The second group of Violin I and II divisi are muted throughout, with metal mutes if available.
In the piece the following symbols have been used for quarter-tones:
quarter-tone sharp quarter-tone flat
three quarter-tones sharp three quarter-tones flat
String players should bow as slowly and as imperceptibly as possible.
Wind players with extremely long notes should breathe as necessary and as imperceptibly as possible (decrescendo to nothing, and then
crescendo back to the dynamic indicated).
Programme Note:
This composition has its roots in Marcel Mauss' The Gift, a seminal book in anthropology about the culture of gifts andp otlach in indigenous
cultures around the world. Mauss emphasises often how important it is for a system of gifts to feature an obligation tog ive, an obligation to
receive and an obligation to reciprocate. I was very interested in seeing how this could be applied to music, by receiving, giving, and
reciprocating material to form a composition. I believe that receiving and reciprocating is as important as giving when it comes to creativ e
interaction with material, whether musical or physical.
In this piece I was also interested in the internal dialogue between structure and content, how one defines and is defined by the other. Rober t
Hollingworth, at a pre-concert talk before a performance of Monteverdi'sV espers of 1610, said (with regards to using Gregorian chants or
popular tunes as canti firmi) “you take a well known tune –doesn't have to be sacred–, slow it down tremendously, and you have a structu,re”
which ended up being the ground for one of the two kinds of material in this piece.
“bleed” consists of two kinds of material which are juxtaposed and re-contextualise each other as the piece unfolds, playing with the roles o f
context and content, foreground and background. The skeleton of the piece is based on Ferneyhough's Transit. I took the fourth bar from page
40 ofT ransit,e xpanded it to take a bit over five minutes (slowing it down by more than 64 times) and re-arranged it for the ensemb le
available, while reciprocating the act of receiving material by changing the material slightly and offering some of my own material.
The recurring chords on the vibraphone and harp are loosely based on the harmonic spectrum of a zen gong bell whose sound I am
particularly fond of. This material keeps coming back slightly different each time, juxtaposed against the massive sonic space that th e
Ferneyhough material occupies, re-contextualising it and being re-contextualised by it.
The word “bleed” refers to the various meanings of the word, mainly to the idea of bleed in design, where an illustration/design or text is
printed so as to run to the edge of the page or container, or the concept of colours “bleeding” into (and re-contextualising) each other, mu ch
like in a Rothko painting.
iFull Score
bleedScore is in C except for piccolo (sounds an octave higher)
and double basses (sound an octave lower) for orchestra
Laonikos Psimikakis-Chalkokkkkoooonnnnddddyyyylllliiiissssgently ( q = 54 )
strictly non-vibrato Piccolo
strictly non-vibrato Flute
b
1
o
Oboes
2
n
1
o B Clarinets n
2

o 1
Bassoons
muted (with cloth), throughout 2

1 n



2 k
Horns in F o
muted throughout n
3 k
o o
muted throughout n
4
o
m

1 o
Trumpets in C
with straight mute throughout m n
2

K
1
o
with cup mute throughout K Trombones 2
o
Bass
with mute, throughout
Tuba
woodblock** woodblock œ
Percussion sus. cymbal
motor off (no vibrato); use soft sticks Vibraphone
Harp
m 1
***
o
Violin I
*with mute, throughout 2 K
o
m
1
o Violin II *with mute, throughoutViolins II always play extremely
2 K sul tasto
o Viola
n
Violoncello
Double Bass
* if available, use metal mute, otherwise just a normal mute *** all strings play strictly non-vibrato throughout and should bo as slowly and as imperceptibly as possible
** use soft sticks for the vibraphone and woodblock, and a wirebrush for the suspended cymbal winds should breathe as necessary for the really long notessgli s.
bleed, for orchestra2 A
5
Picc.

Fl.
b 1
o
Ob. b

2 o
n

1 ooCl. in B n n
2
o o

1
Bsn.
2 n
o

1 n k
o
o

2 k
Hns. in F
o n K
3

n

4
oo
m n
1
o
Tpt.
m
2
K
1
o
K
Tbns. 2
3
o
B. Tbn. k
o
Tuba

Perc.
l.v. m

Vib.
l.v.
Hp.

1
Vln. I
2 K
m
1
Vln. II
2 m m o
Vla.
o
n
Vc.
o D.B. bleed, for orchestra 3
9 Picc.
Fl.
b

1
o o
Ob. b b


2
o o
n 1
oo Cl. in B n n


2 oo

1
Bsn. 2 n
o

1 k
o 2 k
Hns. in F o
n K 3
4 k
oo
m
1
Tpt.
2 n l
K

1
o
K Tbns. 2 o
B. Tbn. k k
o
o
Tuba k
o
W.B. œ
Perc.
l.v. m

Vib.

l.v.
Hp.

1
Vln. I
2 K
b

1
Vln. II o
2 m m
o
n
Vla.
o

Vc. b
o D.B.
gliss.
gliss.