the mutiny of rivers for ekg christopher burns

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1 the mutiny o rivers or ekg christopher burns

2 Perormance notes: For both players Perormance duration should be established in advance. The minimum duration is iteen minutes; the maximum is twenty-ive. English horn There are thirteen leaves o music or English horn. You may play these leaves in any order, but you must play them all. Any amount o silence in between leaves is possible. The tempo (duration) o each lea is at your discretion; maintain a consistent tempo throughout each lea. Certain leaves explicitly invite manipulation o the English horn timbre, through instrumental and/or electronic means. However, these are not the only leaves where timbral exploration is possible; think broadly about timbral possibilities at all times. Accidentals persist throughout the measure o their appearance. Many reminder accidentals are provided. Electronics Six tracks o pre-recorded material are provided, each twenty-ive minutes in duration. For perormances less than twenty-ive minutes in duration, you may begin rom any point which will allow the tracks to run continuously throughout the perormance. Play the tracks as given, without interruption or noncontiguous access. Overall volume, balance between individual tracks, and panning/diusion are all at your discretion, and may be adjusted continuously. No more than ive tracks o the pre-recorded material (and as ew as zero) should be audible at any moment in the perormance. You may apply additional electronic manipulation or processing to any o the sounding tracks at your discretion. Each track eatures three general categories o sound material. Each category o sound material appears on two tracks: track 1: acoustic eedback, granulated English horn material, echoing drones track 2: acoustic eedback, digital eedback, time-stretched electric guitar track : digital eedback, English horn material with a variety o treatments, reverberant English horn "chorale" track 4: granulated English horn material, English horn material with a variety o treatments, drones with melodic contours imposed track : time-stretched electric guitar, drones with melodic contours imposed, layered English horn material track 6: echoing drones, reverberant English horn "chorale", layered English horn material

3 & j #. F & 4 Œ 8 7 # w # n # w Ï # P F & 7 j b. j Œ j b # # # w r n # # j # Ï P Ï P 7 & 4 j b j j j # j # Œ # w. j n Î P F & 4 4 j 1 8 # # # j. j b # n b jb b j n l j b j j j #. Ó l l l l Ï Î 9 grace notes are to be played on the beat, with the "main note" illing the remainder o its written duration 11 & 1 8 b # # n j # n # j Ï n # j # # j #

4 drone on a single pitch continuously and gradually varying in both dynamics and timbre

5 & 4 2 # b Œ 8 # b b Œ 7 8 b # 4 1 n b b n Œ # b.. Ó b 8 sempre & 1 8 # # # b Œ Œ Œ Œ b b #. #. n # b.. & 4 # # # #. #. b n # 4 6 # # # # # # # n # n # n # 4 2 n. # 8 & 4 2 # 8 9 b.. Œ b #. n b b.. b b. # n b j n 11 8 b b. 4 # n b b. # b n J # 10 & 4 4 n.... # 8 9 #.. #. b #. # n. b j. # n. b # n. # n. J & 4 b. # n.. # #. # n # # # b # #. Œ b. & 7 n.. 8 # # b #. n. # # J 4 6 n.. n. # #. # b # n.... # & 4 double-tongue i tempo is suitable # #. b # n. n b #. n b # Ó.

6 improvise highly contrasting gestures all sharing a common duration separate gestures with silences sharing another common duration

7 & #. # b.... #. 1 8 # 7 J # #. b... n. 8 b 4 F Í F Í p F P & 4. #. b Œ. #.. #. # b # # n b 7 b n. 8 F Í F Í p F & 7 # #. Œ 4 #. #.. # :8 #..... #. # Œ 11 8 F Í F Í F & 11 b w b b b b # r b. b n Œ Œ # p p F P F Ï & 7 8 b # # b n n b n # # n #. bw.. Œ Œ Œ. p F P Ÿ~~~ Ÿ~~~ & 8 # # n # 4 8 #. # # #. #. # n. n. #. n. #. n. Œ. p P F p P trill to the semitone above the written pitch F Í

8 play every single possible pitch presto possible crescendo rom niente to maximum loudness articulation and timbral inlections as desired avoid perceptible intervallic pattern

9 b. & 4 4 w Œ 4 7 # w Œ Œ w w. Ï & 4 # # w w Œ Œ 4 Œ Œ 4 w 4 7 Ø w.. p P possibile. & 4 7 bw. 9 Œ #w.. 4 Œ 4 7 Ø F # w #w & Œ 4 Œ Œ # 11 w w. Œ Œ 4 P 1. & #w w w. Œ 4 7 #w.. 4 Œ 11 4 p & 11 4 maximize timbral contrast between adjacent events using any available instrumental and/or electronic resources # w w. Ø Œ Œ

10 improvise a gesture repeat the gesture while applying a variation repeat the variation while applying another variation continue this process

11 & 8 6 # # # n # # 8 9 # #. n # # n # # n # 8 6 #. # n Œ. 8 9 sempre ppp e molto legato & 8 9 #. # n # n # n # n # 8 6 # n # n # # #.. n # & 8 9 # # # n # n # n # # # n # # n # # n # # Ó # n # n # # n #. #. 7 # # n & # n # #. 8 9 b # b # # b Œ b # b # b Œ. b b b & 1 8. # b # n Œ. # b # n. # # b # # b n n n b # #.. b n n b # # b. 14 &. b # # b.. b # b. n n b 8 9. b. b Œ & 12 8 b Œ. # b # b Œ # b n b Œ # b n b & 18 8 # #. n # # # # # n # # # # b # # # # # #. 22 &. b # # # # # n b #. # # # # # b n # # b # #. # # # n b # n. n. # #. 24 repeats at the perormer's discretion: any number o repeats, rom any notated end point, to any previous start point

12 > > > > > > > > > > ä > > ä ä > > - > - > - > >

13 & n 4 4. b Œ w. -. # b. -. Œ b # bw Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~~ F p P & #.. - J. # -. Ó J b # # #w.. P p p p P F & Ÿ~~ Ÿ~~~~ Ÿ~~~~ Ÿ~~~~~ - n #. b #... # # #. # n. b n J # # # # w.. - l Í Í p F p P p P p F & 8 9 # # # ä -.. n. n - Œ # # n. # # # n # # # n # # J F l l p l P Í F Ï p & 27 Ÿ~~~ Ÿ~~~~ Ÿ~~~ Ÿ~~~~ Ÿ~~ 16.. #.. J 4 2 b #.. #. b # b # 4 Œ p P F p P F # & Ó 4 b # b. n b n # # # 4 2 # P l p l l & 4 2 b b b n w 4 b n b # # 4 b # # # # # #> 11 8 F l p l P Ï F & 11 8 b b n # # j 7 b J # 8 # b # # b n # # # n b b b n l p l P l F l trill to the semitone above the written pitch

14 what is necessary

15 & 4 7. # U w 4 l l. # # Œ Œ l l p l l. l p & 4 U 4 8 # # n # w..... #. # #l p l l l F Í & 8 4 b # Œ b l l # # n w.. w.. l Ï p F & 4 n U b. # # 4. #.. # # 4 9 l l l Œ F Í l l Ï & #.. #. #. 8 7 # # # Œ F P p P & 7 n. b. 8 # # # w. 4 jw. l l Ø & 4 #... # # # #. Œ 8 F Í l l # # p P l l l Ï

James Grant / Grantwood Music Press (ASCAP) /

James Grant / Grantwood Music ress (ASCA) / wwwjamesgrantmusiccom An important message rom James Grant Thank you or downloading my music -- I hope you are able to make good use o it both in the teaching