ARGENTA MUSIC CHANT. for contrabass and piano SHEILA SILVER

Transcription

1 ARGENTA MSIC CHANT or contrabass and iano SHEILA SILVER

2 ARGENTA MSIC CHANT or contrabass and iano I Mysterious and chant-like (2000/01) II With long breaths (200/0) III Stillness (200/0) SHEILA SIVER

3 iano rearation and iano Harmonics irst Movement In the irst movement, touching nodes and/or sliding is erormed on low strings inside the iano Try to aroximate the itches indicated Second Movement Between the irst and second movements, insert two metal screws, aroximately 1/ inch in diameter, in C# and E (double strings, 2 octaves below middle C itches notated with small x s in score) Gently sread the double string and insert the screw so that it is secure and does not move around ind a node that roduces a rich beautiul sound Leave the screw in lace or the duration o the iece In the second movement, touching nodes on the string is called or extensively Here there is no seciic itch, but indicates a change o osition A dotted line ( ) leading u to an means to slide inger along string and sto once the (rhythmically) is reached The colors achieved will be random and the smaller the iano, the easier it will be to achieve variety in harmonic color The irst time the arm goes into the iano, several black notes are indicated beore the harmonics begin This gives the layer time to ind the correct strings The number o black notes is aroximate, ie, ind the correct strings and begin laying harmonics quickly but graceully Catch the end o the normally layed low itch with the end edal beore the harmonics begin Too much edal, however, on the low notes, will cover the bass The edal should always be deressed and held when laying inside the iano, excet when staccato is marked With staccato, lit edal and lay ercussively Deending on the iano and where the cross bar lies, it may be necessary to lay in ront o the hammers, esecially the ast assages in the 2 nd movement Consider this as another color otion, but it should not be overused as there is less variety in the sound Contrabass erormance Notes In the second movement, the crescendi to double orte or sorzando, articularly at the end o an ubow, are meant not only as an aggressive gesture, but one o changing color and intensity In all o the hairin dynamic markings, try or as much variety o color in the sound a orte dynamic having a dierent timbre than a ianissimo dynamic eel ree to exeriment with timbre, in imitation o the inside o the iano sonorities The sul onticelli are also color changes and can have a variety o timbres within one bow

4 Bass iano 5 Mysterious and chant-like q» # # reely, esressivo # LV # LV Chant or Deborah Dunham I roduce harmonic inside iano by daming string with inger -- itch as indicated but as ull a sound as ossible -- bell like # # # # - - # # - - # Sheila Silver # # 10 # # LV LV # # - - n oco a oco accel # # - - # # # # Coyright 2000/2005 ARGENTA MSIC (ASCA) All rights reserved

5 15 20 b # b # b Easily lowing q»ª b b - - b b always with edal 2 w Ó o Slide inger in one easy gesture (away rom ins) along strings to roduce changing harmonics nat harmonics, simile o Ó o o o o o b LV LV b b b b b b b b natural harmonics sound octave lower o # o o o o Beginning away rom ins, slide toward them, ending with harmonic o the10th Ó b o o -2- b b b - b rit o o ȯo ȯ gliss simile o b b b b LV b w o Try to end with harmonic o the 10th as indicated LV Slide away rom and back toward the ins, ending with a clear harmonic o the 10th b b

6 2 0 o with a temo o o o # o o o o # o o o o o # # # # # # # # ( ) # # # # b bb n n # o o # o o o o o o o # o o o b bb n n # # b b b b # o # o o o o # o o o o o # # # # oco rit o o o # ō - ȯ ## Ó b # o o # o o b bb n n o # o o o o o oco meno mosso q»ª o b Bring out inner Bb -- legato # o o - b b b b b b n n n # ō ō o o ## o - b b b o o o # o o # o o o o o # # # # # # # # o o b bb nn # ō ȱ ## Ó bw bbw nn w Ó # o # # b ȯ o b b b b b b

7 b b - - b b - - ritenuto b b - - b b b bb b b b b b Ó b b b bb b b b b b Ó b b bb b b bw bbw b w 1 oco a oco accel b oco iu mosso esressivo b b semre molto legato b q»ª b b b b b always with edal b b b b # n b b b -- b b b # LV simile b b b b # b # #

8 50 b b b b b # # b n # b n b b b b 5 b b w b - - b n b n# # # b # # bnb b n b bnn 5 b b - - j b b b b n b b b b b # b b # # # -5-

9 1 b b b - - j b b b - - # n bb # # b # b bb b oco a oco dim b oco a oco dim b # # # # # # j b b b # # b - - b # # # b # # # ritenuto b Ó b # # Ó b b # # o b b a temo b # o semre molto legato b # b o b b b b # o b b # # b o b b b # - - b b # # --

10 b # b b b b b # # n # # b b b b bb b # # b b b b bb 0 # # # # o # # # # b b b # # # b b b # # o # # b ȯ b b # o b # ȯ # # b # o # o b b b # --

11 # o # o molto rit Ó b b # b # # b b b # oco a oco dim b b # b b # gradually move to # a temo esressivo # # # # # # # # # # always with edal # # # # # # # # b * * ossia vb rom here to end o hrase at ms 1 # b b # # # # # # # # # -- # # (always with edal, simile) #

12 105 # - - # # # # # # # # # # # # # # 1 oco meno mosso - - # # - - # # izz # Ó Ó # # # # # # # # # # 11 # # # Ó oco rit # # # Ó Ó # # # ( ) # # -- # u

13 Contrabass iano With long breaths Ó Bass scordatura to D q» ºº Ó OOOOOOOO ȯ sul A, sounds octave lower sul A, sounds octave lower o O O O O O O O O * o O II ȯ See "Notes" on rearing iano and laying on inside o iano at beginning o score RH inside iano, LH on keyboard OOOOOOO OOOOOOOOOOOOO O O O O O O O O O O O ȯ O o ȯ Ó Ó o æ O O O O O O O O O O O o æ Ó * o sul G, sounds vb ß O O O O O O O O -10- ȯ O o # o O O O O O O O O O O O o o # o ȯ sul D, sounds octave lower Ó *

14 11 o # Ó O 1 O O O O O O O O O O O # Ọ * Ọ Ọ Ọ Ọ Ọ Ọ Ọ * O O O O ç O O O O O O O O Í O O O O O * Ọ Ọ Ọ * # Ọ Ọ Ọ Ọ Ọ Ọ Ọ # Ọ Ọ Ọ O O ß 1 gradually move to sul ont æ b ç Ó O O O O O O O O * O O O O O O O O O O O O O O O O -11-

15 20 Í gradually move to sul ont ç normale * O O O O O O O O O O O O O O O O 2 to s sim normale O O O O O O O O O O O O O O O O Ọ * Ọ Ọ O 2 æ gradually move to sul ont æ s b ç O O O O O O O O Ọ * Ọ O Ọ Ọ Ọ Ọ Ọ -- Ó Ọ * Ọ Ọ Ọ O O

16 2 æ grad move to s (begin at ti) * O O O O æ O * Ọ Ọ Ọ Ọ Ọ Ọ Ọ O O O O sul ont Ó grad move to norm O O O O O O O O O O O O 2 normale Í Ọ Ọ Ọ Ọ O O O O O O O O * izz sul A, sounds octave lower arco ȯ ȯ OO O O O O O O O O O O izz j Ó OO O O O O arco grad move to s Ó O O O O grad move to norm Ó j izz j arco O O O O O O -1- # Ó grad move to s j n O O O O O O *

17 izz # j Both hands on keyboard arco j izz # # # semre legato n n with lutter edal, let low A ring a little in imitation o bass izz A arco # n 1 izz # j # n # n Ó # # # arco * n # izz # * Dashed slurs and accents indicate metrical grous, Do not exaggerate accents RH dreamily loating above like high bells # () b b legato # n r r # # b () b n b () b # -1-

18 # n # # n # izz arco n # # b b b b b () b () b b b b () # # n# n r Ó n # # # n # r r 5 n # arco n # izz # n # # # # # () # () # # # # () # # # n# n# n# # # # # n # n # r -15-

19 n # n # Ó arco # # n # # # # R Ó () # # () () # n () - - () () j b j 51 n b Í b b # # # oco accel # -1-

20 gradually move to q» sul ont æ æ # 5 ç sul D, sounds vb normale ȯ # 5 oco sul ont æ æ # ç # b normale ( ) # b 5 # ß # b -1- # # ß # ß

21 0 æ w # # w æ æ Ï b * grad move to s # # ß # # # # # # # # n # grad move to norm normale subito eroce # # # # # # # # # # # # # n # # -1- #

22 0 # # b # # # # # Calmer # # b n # b # b n # -1- oco rit gradually move to sul ont #

23 2 eroce a temo normale # # # # b b # * # # # # # *# Calmer b # # # # # # # gradually move to sul ont # # s oco rit # #

24 subito eroce a temo subito tranquilo sul ont # # sub # * sub # # normale # # * 0 # # izz # # # LH inside iano, RH on keyboard O O O O O O #O O O O O O O O O O O O # arco Boldly # # # O O O O O O O O #O O O O O O O O -21- # * #

25 b j b l b 0 #O O O O j ç #O O O O O O O O # * n O O O n O O O O O # O * Ọ Ọ Ọ Ọ Ọ Ọ Ọ O O O O j n j l l b # O O O O O O #O O O O j b l #O O O O O O O O # O O O O #O O O O O O O O -22-

26 # O O #O O O O O O O O O O O O # O O O O O O (Reminder: E string is tuned to D) #O O O O O O O O O O O O #O O O O O O #O O O O O O O O O O O O 10 # oco rit # q»q a bell chorus # a temo # () # # # # () # # # # # # * q» º edal norm () () () # () -2-

27 10 Ó # # # # # # izz secco # * * (Reminder: E string is tuned to D) # Ó w w # ## w # # w # # w #w () # () # # # # # # # () () # # () () # # 110 Ó # # # # w w # # w # # w # Ó # # () # # # # # () # # ## # # () () 1 Ó () # # n # nn # # () # n w w arco # ḟ w w # # () () () () () () -2-

28 11 11 # izz secco # w w w # w #w #O O O O O O grad move to s arco # RH inside iano, LH on keyboard # O OO O O O O O O #O O O O O O # O O O O O O # #O O O O O O O O O O O O 0 # O O O O O O j Í #O O O O O O # O O O O O O j o sul G, sounds vb below to note ( ) #O O O O O O O O O O O O -25-

29 sul D, sounds octave lower ȯ ȯ sul D sim oco rit sul A, sounds vb ȯ a temo #O O O O O O O O O O O O # O * Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ Ọ * # O Ọ Ọ Ọ Ọ Ọ ȯ sul A, sounds vb ȯ *I this inal lacement is not o a beautiul sonority, eel ree to change the osition in the ollowing measures so that the gong sounds o the inal bars are o good quality ȯ sul A, sounds vb ȯ #O O O O O O # O Ọ * Ọ Ọ Ọ Ọ #O O O O O O #O O O O O O 10 ȯ ȯ ȯ # O O O O O O #O O O O -2-

30 Bass solo Stillness» -- ºº reely, as in chant -- quasi imrovisitory* III # # Bowings are ree -- a ew suggestions are indicated # # 5 b b *Shorter than bold ermata b b b b b n # ** # b b simile # b b b # # b rit b b *se rubato reely and ollow your own temi -- ritards and accels only aroximately laced # # # # # # # n b b b a temo q» º simile b **edal tones need not be o equal length or intensity -2-

31 iano 1 n b b n b b b b, b b 1 n b b b b # n rit 22 still reely but more lowing and slightly aster # # # # # # #, -2-

32 2 # # # n # # n b 0 oco stringendo b b # b b b n n ȯ o ( ) ( ) o n n b b o n n b b -2-

33 very ree, as in the beginning temo rimo n n b b, b 1 n n b b u, oco accel b b # n n b b, # n ritardando # # b n b b a temo b (q» º ) n Ó Ó Ó # n n Ó Ó Ó b b * -0-

34 51 55 # Ó Ó Ó Ó w Ó Ó * b b b Ó o o o o o o b b b oco rit n n w b b ww o Ó Ó sul A ( w ) O o o w w w ww b b b b b b rit, # reely w ww w b b b Sul A, all sounds vb o o o a temo oo Ó Ó * # o o Ó Ó b b b Ó w o o o o o o Ó -1- *

35 5 Bass or Deborah Dunham Mysterious and chant-like q» 5 1 Chant reely, esressivo Sheila Silver # # # # - - # # # # # - - n 1 oco a oco accel # - - b 2 b b - - Easily lowing q»ª 1 b bb b b bb b w Ó oco rit natural harmonics sound octave lower 21 o # o o o ȯo ȯ o o o o o o o o o o w o o o a temo nat harmonics simile o o o o 2 o # o o o # o o o # o o o o o # o o o o o # Coyright 2000/2005 ARGENTA MSIC (ASCA) All rights reserved 2

36 oco rit oco meno mosso 2 o o o # o o # o o o o o o o o # o o # o o o o o o o o # o o # o q»ª o # ō - o o o # o - ȯ- # o o o # o o o # ō - ȯ o o - o o- b o o ȯ o b 5 52 b - - ritenuto oco iu mosso esressivo q»ª b b b oco a oco accel b b - - bb - - b b b b b b b w b b b b - - b b - - j b bb b b b - - j b 5 bb - - j b - - ritenuto Ó REST Measure Over

37 Ó a temo b b o o o o o b # b # # # # o # o ȯ # o # o molto rit Ó b # o ȯ b # # o # o gradually move to # a temo 2 esressivo # # b * ossia vb rom here to end o hrase at ms 1 * # b b 10 # - - # # - -

38 # 10 oco meno mosso # # # - - # # Ó oco rit # # izz # # Ó Ó # 5

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40 Bass scordatura to D II Ó q» ºº sul A, sounds octave lower ȯ ȯ o Ó Ó With long breaths sul A, sounds octave lower o ȯ Ó ȯ ȯ o o æ æ Ó sul G, sounds vb o ȯ ß # o o o o # o ȯ sul D, sounds octave lower o # Ó 1 Í # # ç # ß 1 gradually move to sul ont æ b Ó ç Í gradually move to sul ont ç normale 2 to s sim normale gradually move to sul ont s æ æ b ç

41 2 æ grad move to s (begin at ti) æ sul ont grad move to norm normale Í izz sul A, sounds octave lower arco ȯ ȯ izz grad move to s arco j grad move to norm izz grad move to s arco j # j n izz # j arco izz # n arco 1 izz # n # arco n # izz # n

42 # n # # n # arco n izz # # 5 n # arco n # izz # n # # # 5 n # n # arco () () - - Ó () 50 q» 5 b Í gradually move to sul ont ȯ æ æ sul D, sounds vb normale oco accel oco sul ont æ æ 5 normale ( )

43 15 æ æ æ Ï 0 grad move to s grad move to norm normale 5 subito eroce # # # # # b b Calmer gradually move to sul ont oco rit 1 10 a temo eroce normale # #

44 b # # b # # 5 b # # s oco rit Calmer # gradually move to sul ont # subito eroce a temo subito tranquilo sul ont # # sub normale # # # izz 2 # # 11

45 boldly arco # # b j b l b j ç n n j n j l l b j b l Reminder: E string is tuned to D oco rit 105 q»q a temo izz q» º secco Ó * # # Ó *Reminder: E string tuned down to D

46 10 Ó # 111 arco Ó # ḟ 11 izz secco # grad move to s arco # 11 # # j 1 Í sul G, sounds vb below to note j o ( ) ȯ sul D, sounds octave lower sul D sim ȯ oco rit a temo ȯ sul A, sounds vb ȯ sul A, sounds vb ȯ ȯ sul A, sounds vb ȯ ȯ ȯ ȯ 1

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48 5 10 III Stillness» -- ºº reely, as in chant -- quasi imrovisitory* # # # Bowings are ree -- a ew suggestions are indicated # b b # ** # Bass solo b b n b simile # b b b b b # # b rit b b b b b n b b b b b *se rubato reely and ollow your own temi -- ritards and accels only aroximately laced **edal tones need not be o equal length or intensity 15 b b b b n # # # # # # n *Shorter than bold ermata # # n a temo q» º simile b b b, b b rit

49 still reely but more lowing and slightly aster # # # # # # #, # # n # # # n oco stringendo b b ( ) b # ( ) b ( ) ( ) temo rimo,, b 2 1 # n oco accel b b # 1 # # b ritardando 1

50 a temo b (q» º ) n # #, rit 2 # b b b a temo oo 51 o sul A w ( ) sul A, all sounds vb # o o o o o o o o o o o 55 oco rit o o o o o o o o w w Ó 1

51 Argenta Music Other Chamber Works or u to layers by Sheila Silver LLLABY or bassoon and iano, min (Argenta Music) SBWAY SNSET or oboe or clarinet, iano and video, min (Argenta Music) AS THE EARTH TRNS or clarinet or oboe or sorano sax and bass clarinet or bassoon or tenor sax -- in any combination, lus video and tae, min (Argenta Music) CELLO SONATA or cello and iano, 0 min (MMB Music) ANTASY ON AN IMAGINARY OLK SONG or lute and har, 11 min (Argenta Music) TO THE SIRIT NCONQERED or violin, cello and iano, 20 min (MMB Music) G WHIZ or two violins and marimba min (Mostly Marimba) SI RELDES OR IANO, On oems o Baudelaire, 20 min (MMB Music) DYNAMIS or rench horn, 10 min (MMB Music) THEME AND VARIATIONS OR BOWED VIBRAHONE, min (Mostly Marimba) ANTASY QASI THEME AND VARIATION, Insired by the iano Variations o Aaron Coland, min (MMB Music) or more inormation about Sheila Silver or to order scores lease go to wwwsheilasilvercom