for hannah hammel, candy chang and joseph monticello · for hannah hammel, candy chang and joseph...

Wedge For Three Flutes

For Hannah Hammel, Candy Chang and Joseph Monticello -

-

2012/13

Duration: 7’

Peter Kramer

PROGRAM NOTE

Originally conceived as an exercise in flute sonorities and extended techniques, Wegde also attempts to

recreate the sound world of vocal and rhetorical gestures of the renaissance and baroque eras. Performed as a sort of phasing-canon, all four flutes read from the same line of music, whereby each flute is constantly moving around the same material although never in synchronicity. Aspects of breath, vocal consonances, gasping and belabored gestures contend with one another as the players attempt to create a composite texture sustained through staggered breathing, as if uncovering a hidden layer of counterpoint within the breathiness of a choral performance. This hidden layer mimics the organ-like quality of a choir, focusing on breath more so than pitch. The body of the flute acts as a resonator throughout Wedge, a cathedral in which this newly wrought “chorale” emerges. Wedge was composed for three flautists from the Oberlin Conservatory: Hannah Hammel, Candy Chang, and Joseph Monticello, and has also been arranged for the Emissary flute quartet.

Technical and Performance Considerations

Each player reads from the same line (same score) of music. The material throughout the piece is to be sustained among the 3 players; their breaths should be staggered in order to achieve this affect. Each player DOES NOT play in time with one another; they should rather individually drift apart in tempi during the entirety of the piece creating a “ghosting” effect, players should find themselves beginning a new system before another player reaches that same point. Boxes at the beginning of systems denote points of synchronicity. Players should also mind systems where they DO NOT PLAY for example (m.5 *flutes II, III only)

Each system has 3 “layers” the middle stave, indicates the tremolo or main melodic material, the lower stave (sometimes blank) concerns ornamental material, and above these staves are the tone-quality and dynamic indications. A box at the beginning of a system indicates that all players start that system together, which means that a player may find themselves waiting for the others to catch up to begin a boxed system. At the end of each system there will be either a short fermata (breath) or “attacca” at no time should there be significant pauses between systems, the player should always strive to elide their material and entrances from one system to another.

Air-tone: almost all air and no pitch, blow air over the top of the embouchure.

Full-tone: normal pitched playing.

Closed embouchure: cover the embouchure completely, the result being a completely tone-less and wind-like sound.

Tongue ram: triangular note heads are found only in m.16.

Key click: found in m.14 and mm.26-30 Note: all overblown gestures are executed with a full-tone pitch, they are overblown as high as possible, only in mm.26-29 are “jet-whistles” (overblowing through the flute with a completely closed embouchure).

Note on Dynamics

All dynamics are indicated through the use of the air-tone, full-tone and closed embouchure signs outlined above. A line from one embouchure technique to another indicates a change toward the new technique, a bracket before an embouchure technique indicates an immediate change to that technique. Over the course of the first section dynamic registers shift very slowly, this should be brought out carefully in the performance. Players should always be mindful that a certain dynamic associated with an embouchure technique is not static; rather it (the dynamic) is increasing or decreasing in intensity. Regard the diagram below. Over the course of mm.1-16 the air tone gestures are growing softer while the full-tone pitched material is growing louder, this should be brought out in the performance. The Coda section does not utilize the same dynamic process as the opening section.

Dynamic register shift, (dynamics) connected to embouchure techniques over the course of mm.1-16

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¢Copyright © 2013

For Three Flutes

Peter Kramer (b.1989)

Agitato : =70

Insatiable / Unnerving Wedge

2

3

4

5

164164

114114

114114

154154

154154

124124

124124

3434

3434

144144

&

(overblow as high as possible, sharp attack and sharp decay. a box at the biggining of a measure denotes that all flutes start the downbeat together)

sffzÆO"fff"W

q

^pppR

‚

"fff"W O Rppp "fff"W

» ≈(1-2'')

&(breathe freely: each inhalation is as essential to the texture of the piece as the notated material, stagger breahs in order to keep the tremolo as sustained as possible at all costs! Take a short pause at the fermata)

fingering : · í ™™ (repeat each note ad lib.)î™™ ã (bend pitch down)

> > > > > > >

&‚

sffzÆO W^

R

·O W R

(bend pitch up)

W«

& í ™™ î™™ ã ≈simile

> > > > > > >

&‚

Æsffz

O W^R W R O W

»R

& í ™™ î™™ ã ≈

> > > > > > >

&Rpp

>3

W"ff"

gliss.

ppR Í"fff"™ O R

pp

3

W"ff"

.-

W"ff"

-3 «

attaca

&*flute I (solo) (closed embouchure

completely toneless)

&Rpp poco cresc.

- Æ…

Æ Æ(cut off sound suddenly)

≈ all together!6 9&

*flutes II, III

w# w˜ w# w˜ w# w˜ ˙# ˙˜ Œ Œ

fi

œ œb œn œb œ œ œn

w# w˜ w# w˜ œ# œ˜ Œ Œ

fi

œ œ œn œ œ œ œ#

˙# ˙˜ ˙# ™ ˙n ™ œµ œ ˙n ™ ˙b ™ œµ œ wn wb Œ

fi

œb œn œ œn œn œn œb

‰ œ ˙ ˙b ™ ˙ ™ ‰ œ œ ‰ œ

œ œb œ œb œ œn œ œn œ œn œ œ œ# œb œ Œ

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For Three Flutes


Agitato : =70


2

3

4

5

164164

114114

114114

154154

154154

124124

124124

3434

3434

144144

&


sffzÆO"fff"W

q

^pppR

‚


» ≈(1-2'')



> > > > > > >

&‚

sffzÆO W^

R

·O W R

(bend pitch up)

W«


> > > > > > >

&‚

Æsffz

O W^R W R O W

»R

& í ™™ î™™ ã ≈

> > > > > > >

&Rpp

>3

W"ff"

gliss.

ppR Í"fff"™ O R

pp

3

W"ff"

.-

W"ff"

-3 «

attaca



&Rpp poco cresc.

- Æ…



*flutes II, III

w# w˜ w# w˜ w# w˜ ˙# ˙˜ Œ Œ

fi


w# w˜ w# w˜ œ# œ˜ Œ Œ

fi


˙# ˙˜ ˙# ™ ˙n ™ œµ œ ˙n ™ ˙b ™ œµ œ wn wb Œ

fi


‰ œ ˙ ˙b ™ ˙ ™ ‰ œ œ ‰ œ


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¢Copyright © 2013

For Three Flutes


Agitato : =70


2

3

4

5

164164

114114

114114

154154

154154

124124

124124

3434

3434

144144

&


sffzÆO"fff"W

q

^pppR

‚


» ≈(1-2'')



> > > > > > >

&‚

sffzÆO W^

R

·O W R

(bend pitch up)

W«


> > > > > > >

&‚

Æsffz

O W^R W R O W

»R

& í ™™ î™™ ã ≈

> > > > > > >

&Rpp

>3

W"ff"

gliss.

ppR Í"fff"™ O R

pp

3

W"ff"

.-

W"ff"

-3 «

attaca



&Rpp poco cresc.

- Æ…



*flutes II, III

w# w˜ w# w˜ w# w˜ ˙# ˙˜ Œ Œ

fi


w# w˜ w# w˜ œ# œ˜ Œ Œ

fi


˙# ˙˜ ˙# ™ ˙n ™ œµ œ ˙n ™ ˙b ™ œµ œ wn wb Œ

fi


‰ œ ˙ ˙b ™ ˙ ™ ‰ œ œ ‰ œ


{{{

8

18

& ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

1Œ Ó

¿

Œ Ó{{{

8

18

& ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

1Œ Ó

¿

Œ Ó

Microtonal Fingerings

The following is a list of the microtonal fingerings found in the

score; there are two fingerings for the C double quarter sharp.

The fingerings are taken from Robert Dick’s book The Other Flute.

8

28

45

&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œµ œ˜ œµ œµ œµ œ˜ œµ

8

28

45

&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


8

28

45

&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


8

28

45

&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


8

28

45

&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


8

28

45

&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


8

28

45

&

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


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¢Copyright © 2013

For Three Flutes


Agitato : =70


2

3

4

5

164164

114114

114114

154154

154154

124124

124124

3434

3434

144144

&

(overblow as high as possible, sharp attack and sharp decay. a box at the beginning of a measure denotes that all flutes start the downbeat together)

sffzÆO"fff"W

q

^pppR

‚


» ≈(1'')

&(breathe freely: each inhalation and exhalation is as essential to the texture as the notated material, stagger breaths in order to keep the tremolo as sustained as possible at all costs! Take a short pause at the fermata, individualy the flute material should always be eliding from system to system "bar to bar")


> > > > > > >

&‚

sffzÆO W^

R

·O W R

(bend pitch up)

W«


>> >> > > >

&‚

Æsffz

O W^R W R O W

»R

& í ™™ î™™ ã ≈

> > > > > >>

&Rpp

>3

W"ff"

gliss.

ppR Í"fff"™ O R

pp

3

W"ff"

.-

W"ff"

-3 «

attacca

&flute I (play)flute II, III (tacet)

(closed embouchurecompletely toneless)

&Rpp poco cresc.

- Æ…

Æ Æ(cut off sound suddenly!)


flute II, III (play)flute I (tacet)

w# w˜ w# w˜ w# w˜ ˙# ˙˜ Œ Œ

fi


w# w˜ w# w˜ œ# œ˜ Œ Œ

fi


˙# ˙˜ ˙# ™ ˙n ™ œµ œ ˙n ™ ˙b ™ œµ œ wn wb Œ

fi


‰ œ ˙ ˙b ™ ˙ ™ ‰ œ œ ‰ œ


°

¢

°

¢

°

¢

°

¢

°

¢

6

7

™™™™

8

9

™™™™

10

144144

3434

3434

134134

134134

3434

3434

104104

104104

3434

&

ÆsffzO"f"

* all flutes begin together when a box is present

W^ Rp O W"f" Rp O

"f"W pR»

&flutes I-III (play)

· í ™™ î™™ ã attacca

> > > > > >>

&

Rp- Æ

poco cresc.

Æ Æ … (cut off sound suddenly!)

≈6 9&

flutes I-III (play)

&

sffzÆ "mp/mf"

O^W (same dynamic)

mp/mfR "mp/mf"

O W Rmp/mf

» î™™îattacca

&1. flutes I-III (play through m.8 as written) 2. flutes II, III (repeat m.8 backwards, performing the dynamics, gracenotes and gracenote repetitions, overblow when finished, then precede to m.9 remember to elide) flute I (tacet)

í ™™ î™™(two times total) Ã 2

ã î™™îî

> > > > >

&Rmp/mf

- ÆÆ poco cresc.

Æ… (cut off sound suddenly!)


flutes I, III (play)flute II (tacet)

&

Æsffz

O"p"

^W Rf O W

"p" Rf« î™™î

attacca

&1. flutes I-III (play)2. flutes I, II (repeat backwards) flute III (tacet)

í ™™ î™™3. flute I (repeat forward) flute II, III (tacet)4. flute II, III (repeat backwards) flute I (tacet)

Ãã4 î™™îî

> > > > > > > >

wn wn ˙# ˙˜ œn œn wn wµ ˙n ™ ˙µ ™fi

œn œn œn œ# œ# œnœb

‰ ≈ œ œœ œ# œ# œ œb œn œn œb œn œb œn œ œb œn ‰

œn œµ wn wn œn œµ ˙µ ™ ˙n ™ ˙n ™ ˙n ™ œn œµfi

œn œn œbœn œb

œn œ œbœnœb œ œ œb œn œb œ œn œn œn œn œn œ ‰

œ# œ˜ w# w˜ œµ œ# œ# œ˜ ˙µ ™ ˙# ™

fi

œn œn œn œb œn œ# œnœn

2

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11

12

13

14

15

3434

8484

8484

5454

5454

134134

134134

4444

4444

164164

&

Rf

>

poco cresc.

Ÿ~~~~~Æ…


flute II, III (play) flute I (tacet)

&

ÆsffzOppW^ Rff

«attacca


í ™™ î™™ ã

> > > > >

&

Rff

>

poco cresc.

Æ Æ Æ ….-

9

≈6 7 9&

flutes I-III (play)

&

ÆsffzOpppW

^

(expell all air!)

(mind the fermata as long as it takes to expell all air)

Í

√."fff"

"ffff"

(key click, loud and aggresive!)

(breathe here)

attacca


í ™™ î™™ ã

> > >

&

Rfff

>

poco cresc.

' Ÿ~~~~Æ…

Æ

≈ all together!

6

9

9&flutes I, II (play)flute III (tacet)

≈ œn œn œb œ œb œnœ œn œ œnœ œn ™ œn œn œb œn œn ‰

˙µ ˙# ˙n ™ ˙# ™ ˙# ™ ˙# ™

fi

œnœn œn œn

œn

‰ ≈ œn œn œn œ œn œ œ œb œœn œ œ# œ œb œn œb œ

œnœn œn

œn≈ ‰ ® Œ

w# w˜ w# w˜ œ# œ˜ Y# ™ Yn ™ Œ

fi

œ œœb

œn œnœb œn œ œ# œn œb œn œn œb œn œb œn œb œb

œn œnœ œn œn œn œn œn œn œb ‰

3

°

¢

°

¢

°

¢

°

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™™™™

16

17

18

19

20

164164

4444

4444

5454

5454

4444

4444

4444

&

ÆsffzOpppW (very airy)

^

(tounge-ram)

Í"fff". (simile)

« î™™î&

1. flutes I-III (play m.16 as written)2. flute III (play only the tongue rams as they are spatially arranged) flute I, II (tacet)3. flute I, II (play only the tongue rams as they are spatially arranged) flute III (tacet)

Ã 3 î™™îîattacca

.> .> .> .>

(8'' not too long)√Ó

flutes I-III (tacet)ƒ

attacca

&Rfff> Ÿ~~~~

attacca

Æ ÆÆ Æ Æ

6 7 9 9&flute I (play)flutes II, III (tacet)

&Ÿ~~~~Æ Æ Æ Æ

ÆÆ Æ

Ÿ~~~~ffff …

ÆÆ

attacca

9 6 7 9&flutes I, II (play, don't forget to elide!)flute III (tacet)

&

ffff

>ÆÆ

Æ Ÿ~~~~~~Æ Æ Æ Æ

Ÿ~~~~fffff

ÆÆ Ÿ

~~

sfffffzÆ

attacca / all together!

Æ Æ

9 9 9 9&flutes I-III (play, elide entrances!)

w# w# ˙# ™ ˙µ ™ w# wn w# wn œ# œ#

fi

1n 1n 1# 1n

≈ œ œb œ œb œn œn œ œn œb œnRœn œn

œn œ# œ œn œ œn œb œn œnœn œ# œ#

œ œb œn œ

œnœb œn œb œn œ œb ™ œn ≈ œb œœnœn œn œ œn œn œn œ

œb œnœn

œn œ# œ œ ™ œ# œ œnŒ

œ œ# œœnœb œ œ œ

œ œbœn œ œn œ œ œ ™œb

œœnœb œn œn ™ œb œn œ#œ# œn œn œb œn

4

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°

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Coda : =50

Sustaining / Free

21

22

23

24

25

4444

4444

4444

4444

4444

4444

4444

3434

3434

3434

&

O Í.

(whistle-tone, as stable as possible, closed embouchure, finger the lower pitch)

pppp

-w.t.

flutes I-III (play)

q

O Rffff

(as fast as possible)

attacca

&(breathe freely: each inhalation in the Coda should be as imperceptibleas possible, try to keep the w.t. sustaining with few breaks in the line)

> 9

&

O Í.ppp

-w.t.

O Rfff

(simile)

attacca

&

> 9

&

O Í.pp

-w.t.

O Rff

attacca

&

> 9

&

O Í.

flute I, II (play)flute III (tacet)

p

-w.t.

O Rf

attacca

&

> 9

&

O Í."mp/mf"

-w.t.

mp/mf

O R (as fast as possible)

&flute I (play)flutes II, III (tacet)

≈ all together!

>

9 9

w%nn

‰œbœ œb œn œ# œ œb œn

œb

w%n


œb

w%bb


œb

w%bb


œb

˙Enn™™

≈ Ùœb œ œn œn œb œ œn œn œb œb œb œ œn

5

°

¢

°

¢

°

¢

°

¢

°

¢

26

27

28

29

™™™™

™™™™

30

3434

3434

3434

5454

5454

5454

5454

5454

5454

5454

&

ÍÆ.sffz

(jet-whistle, sharp/immediate attack and quick decay)

.>(throughout mm.26-32 all flutes should play/arrive on the downbeats of each measure together)

& í ™™"fff" (key-click, played short and staccato, pitch should be somewhat clear,

repeat the keyclicks 4 times, do not repeat the jetwhistle)

1-4. flutes I-III (play)

î™™ attacca

. . . . . . . . . . . . . . . . . . .

&

ÍÆ.sffz

.>

&"fff"

í ™™(repeat the keyclicks 4 times)

1/2. flutes II, III (play) flute I (tacet)3/4. flutes I-III (play)

î™™ attacca

. . . . . . . . . . . . . . . . . .

&

Í.sffz

>(jet-whistle, gradual attack and slow decay)

&"fff"

í ™™1/2. flute III (play) flutes I, II (tacet)3/4. flutes II, III (play) flute I (tacet)

î™™attacca

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

&

Í.sffz

>(jet-whistle, gradual attack and slow decay, there should be a second smaller repercussion "echo")

&"fff"

í ™™1/2. flute I (play) flutes II, III (tacet)3/4. flutes I, III (play) flute II (tacet)

î™™ attacca

. . . . . . . . . . . . . . . . . . . . . .

&Rp

>

Ÿ

Í."f" (everyone breath together,

and continue to m.31)

&"fff"

(trill/finger the D-key for a keyclicking sound, while fingering the F natural)

1/2. flutes I, II (play) flute III (tacet)3/4. flutes I-III (play)

≈. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

œnJ

‰ Œ Œ

‰ ¿n ¿b ¿ ¿b ¿ ¿n ¿ ¿ ¿ ® ¿ ¿ ¿# ¿ ¿ ¿ ¿n ¿b ¿n ¿

œbJ

‰ Œ Œ

‰ ¿ ¿# ¿# ¿ ¿b ¿n ¿ ¿b ® ¿b ¿n ¿ ¿b ¿n ¿n ® ¿n ¿n ¿n ¿

œb Ó Ó

Œ ¿n ¿n ¿ ¿ ¿b ¿ ® ¿# ¿ ¿# ¿ ¿ ¿b ¿ ¿ ¿ ¿ ® ¿n ¿ ¿ ¿n ¿b ¿ ¿b ¿ ¿ ¿n ¿ ¿b ¿ ¿n

˙b Ó Œ

Œ Œ ¿b ¿ ¿# ¿# ® ¿n ¿ ¿b ¿n ¿n ¿n ¿ ¿# ¿ ¿ ¿n ¿ ® ¿ ¿n ¿ ¿b ¿ ¿

˙n ˙ ™¿n ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

6

°

¢

°

¢

31

32

5454

4444

4444

&W"ff"

-

Rpp

(overblow as gradually and as clearly as possible, extremely dramatic, gliss. through the harmonic series)

(very short breath)

fffff ,


attacca

&

√Rppppp

(do not re-take breath)

(as stable as possible, expell all air) (breathe)

"ppppp"

,

√&

flutes I-III (play)

(fin)

œn %wnn

w%nn

7

for hannah hammel, candy chang and joseph monticello · for hannah hammel, candy chang and joseph...

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