rf score complete
DESCRIPTION
ÂTRANSCRIPT
J o h n A r r i g o - N e l s o n
recitativo frammenti2013
for flute, clarinet, violin, violoncello,piano, percussion, and guitar
I wrote recitativo frammenti (“recitative fragments”) as a work to accompany the 2014 tour of
Ricardo Zohn-Muldoon’s stunning cantata Comala. It is scored for the same ensemble as the
centerpiece of the program, but without voice. This led me to consider a kind of music that
is not immediately “vocal”, but that uses certain vocal technique and style as more of a poetic
starting point. Recitative – with its typically constrained pitch and flexible rhythm – was the
primary idea that kept coming back to me, and its typical features are abstracted and exhibited
as isolated elements in this work. Harmonically, brief sections centering on a single pitch emerge
from, and disappear back into diffuse, noise-based textures (white noise, percussive effects, quick
harmonic glissandi). Flexible, less predictable rhythms are crosscut with moments of rhythmic
regularity (repeating tambora chords in the guitar, pulsing articulations in the percussion),
presenting a fractured whole. One of the voice’s many expressive mechanisms – portamento –
finds its place in this piece in the string glissandi and in the guitar solo’s tuning portamenti
(detuning a pitch while it is still ringing). Throughout, the flute hints at a kind of vocality, with
hissing sounds and syllabic articulation (articulating a pitch on a specified plosive and vowel).
This suggestion reaches its fruition in the closing moments of the work, as the flutist sings a
descending glissando against her sustained pitch.
recitativo frammenti(2013)
recitativo frammenti
Instrumentation:
Flute
Clarinet in Bb (doubling Bass Clarinet)
Violin
Violoncello
Guitar
Piano
Percussion I guiro, castanets (one pair, mounted), two toms (low, and mid), sandpaper blocks, wood chimes, low woodblock, brake drum
Percussion II guiro, claves, high woodblock, 2 bongos, suspended cymbal, vibraphone, crotales: G4, A4, Bb 4, D5, Eb5, F5
Score in C Guitar - notated on a sub-octave treble clef - sounds one octave lower than written. Crotales sound two octaves higher than written.
Duration: ca. 5'30"
Tongue Ram
FLUTE/CLARINET
(TR)
Syllabic articulation: Articulate the indicated pitch using the syllable in brackets (unvoiced).
[sa]
Air sounds: The default notation for air sounds is a square notehead on the bottom of the staff. If a normal pitched tone turns immediately into an air sound, the square notehead will be placed in the same position on the staff as the pitched tone.
(air)(pitch) (air)
A beam extending to the right indicates that the figure should be continued.
key clicks (presto possibile)
Jet Whistle
Whistle ToneWT
recitativo frammentiPerformance Notes
Performance notes are included throughout the score, where the item in question occurs, but a complete list is also included here for reference.
Highest note on indicated string.
VIOLIN/CELLO
I
Blocked Strings (square notehead): Use left hand to cover strings to prevent anyspecific pitch from sounding. Used in combination with ordinary bowing, on-bridge bowing, and pizzicato.
pizz.arco
On-bridge bowing (open arch placed on stem): If used with open strings or traditional stopped notes, some pitch will still come through. If used with blocked strings, only an airy white noise should result.
Parenthetical diamond noteheads indicate that the starting point of a natural harmonic glissando does not need to be precise. The notehead serves simply as a guide as to the approximate starting point of the glissando.
II
I( )
Harmonic gliss trill: slide finger, using harmonic pressure, between indicated notes.
( )
gliss
Brushing. Quickly slide bow along string (on the plane parallel to string, not perpendicular), at the tip, back and forth between sul pont and sul tasto.
punta d'arco
s.t.s.p.
s.p. = sul pont
s.t. = sul tasto
Non-Node Harmonics (NNH): The same technique and pressure used for traditional natural harmonics are applied to the specified non-nodal point on the string, resulting in a pitch-obscured sound that is somewhere between ord. and harmonic. No specific pitch is desired, and any resulting pitch may vary from one performance to another.
= Underpressure: Very light bow; lighter than flautando.
= Cancellation of underpressure; return to ordinary bow pressure.
NNH
Indeterminate high notes (triangle noteheads): Push left hand fingers into 1st, 2nd, 3rd strings between end of fingerboard and bridge, applying enough pressure to place the strings in contact with the end of the fingerboard. Circled L, M, and H symbols indicate the relative horizontal position (low, middle, high). Diagonal lines between chords indicate that the fingers should be pushed into the strings such that some of the finger nail is also in contact, creating an audible glissando from one chord to the next.
GUITAR
LM
H H
An upward vertical arrow before a chord indicates that the chord should be arpeggiated as fast as possible (as opposed to ). Use back of i nail to quickly strum through the strings.
Blocked Strings (square notehead): Use left hand to cover strings to prevent any specific pitch from sounding.
Manual tremolo: Rub right hand palm/fingers quickly and continuously over the indicated strings (blocking strings with LH).
Descending Harmonic Strum (DHS): While the left hand fingers the indciated chord, lay the right hand i finger across all strings. Using a technique similar to artificial harmonics, the a finger nail is applied to the first string (to the right of the extedned i finger). The hand is then pulled back, dragging the a nail across the strings (from 1 to 6) behind the extended i finger. Relative position of the right hand is indicated with H, M, or L (high, mid, low) in a diamond encolsure above the chord. "H" indicates a position closer to the bridge; "L" indicates a position closer to the finger board (even over the last couple of frets). The resulting sound should be a mixture of aleatoric harmonics, the percussive attack of non-resonating strings, andthe occasional open string.
DHS
L M H
Harmonics: Bottom notehead indicates key to be played. Diamond notehead indicates node to be touched on the corresponding string. Parenthetical notehead indicates sounding pitch. The player is free to use any other string/node combination to produce the indicated sounding pitch, should it be easier to do so.
PIANO
( )
Pluck indicated string inside piano.
Depress indicated key with one hand. With other hand, push fingers into corresponding string. Maintaining pressure, slide fingers along string briefly (grace note), before removing fingers and allowing string to resonate.
GENERAL
The dynamic mark "f " indicates that the particular gesture to which it is applied should be played with the effort and intensity of a forte marking, but that the audible result will not actually be loud.
Flute
Clarinet
Violin
Violoncello
Percussion 1
Percussion 2
Guitar
Piano
(sounding)
1
= 80
= 80
( )( )6
53
n
s.p.
n
flaut.n
s.p.
2
*
3
(TR)
LM
H H
(tongue ram)
5:4
3 3
4
HM
MH
( )
I
pizz.
pizz.
square notehead = blocked strings. LH covers strings to prevent anyspecific pitch from sounding
triangle notehead = highest pitchpossible on indicated string
recitativo frammentiJohn Arrigo-Nelson (2013)
score in C
Push left hand fingers into 1st, 2nd, 3rd strings between end of fingerboard and bridge, applying enough pressure to place the strings in contact with the end ofthe fingerboard. Circled L, M, and H symbols indicate the relative horizontal position (low, middle, high). Diagonal lines between chords indicate that the fingers should be pushed into the strings such that some of the finger nail is also in contact, creating an audible glissando from one chord to the next.
*)
©2013 John Arrigo-Nelson - all rights reserved
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3
3 3
5
Ipizz.
guiro
guiro
H
13 2
2L
MH
L
H
triangle notehead = highest pitchpossible on indicated string
( )
3
3 5:4
3
*
6
L
3 2 1 2
H
3
7
L
8
recitativo frammenti score in C
2
*) Indicates that the chord should be arpeggiated as fast as possible (as opposed to ). Use back of i nail to quickly strum through the strings.
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
Harmonics: Bottom notehead indicates key to be played. Diamond notehead indicates node to be touched on the corresponding string. Parenthetical notehead indicates sounding pitch. The player is free to use any other string/node combination to produce the indicatedpitch, should it be easier to do so.
9
( )
L.V.
arco
arco
loco
A
A
I
10
(guiro)
(guiro)
3
(sounding)
11
( )( )6
53
s.p.
pizz.
IV
I
II
[sa]
( )
Articulate indicated pitch using the syllable in brackets(unvoiced).
12
5:4
()
n
recitativo frammenti score in C
3
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
*
13
(TR)
s.t.
""
(strings blocked with LH)
pizz.
( ) s.p.
654
""
**
5:4
14
castanets
(air)(ord)
("")
""
arcos.t.
(strings blocked with LH)
***
3
15
pizz.
Ipizz.
3 2 12
3 2 1
H L
B
B
3
****
16
(air) (air)
""
( )
claves
recitativo frammenti score in C
4
*) "manual tremolo": Rub right hand palm/fingers quickly and continuously over the indicated strings (blocking strings with LH).
****) An open arch placed on a stem indicates on-bridge bowing. If used with open strings or traditional stopped notes, some pitch will still come through. If used with blocked strings, only an airy white noise should result.
**) Air sounds. The default notation for air sounds in the flute and clarinet is a square notehead on the bottom of the staff. However, if a normal pitched tone turns immediately into an air sound, the square notehead will be placed in the same position on the staff as the pitched tone.
The dynamic mark "f " indicates that the particular gesture to which it is applied should be played with the effort and intensity of a forte marking, but that the audible result will not actually be loud.
***)
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3
17
( )
( )
M
low tomyarn
6
18
H
pizz.
pizz.
[sa]
""
ord.
ord.
claves
3 3
19
low and mid tom
*
*
20
s.p.
s.p.
arco
arco
(pitch)
recitativo frammenti score in C
5
*) Underpressure: Very light bow; lighter than flautando.
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3 3
21
""
(air)
(low and mid tom)
(claves)
22
[su] (air)
Do not apply pedal. Hold each key down through duration of phrase.
23
tamboras.p.
""
""
( )( )
subito meno mosso = 63
subito meno mosso = 63
(on bridge)
(blocked strings, tremolo on bridge)
C
C
24
s.h.
( )
recitativo frammenti score in C
6
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3
*
3
3
**
25
( )
I II
( )( )
gliss
( )III
s.p.
IV III II
n
""
(air)(ord)
HM L
Descending Harmonic Strum (DHS)
harmonic gliss trill:slide finger, using harmonic pressure, between indicated notes
agitato
agitato
(= 63)
(= 63)
5 5
(non-s.p.)
3
26
(air)
IVIII II Is.p.
""
jeté
ord.
LH
5 5
3
27
( )
s.p.I
(air)
""
""
(air)
H
recitativo frammenti score in C
7
**) Descending Harmonic Strum. While the left hand fingers the indciated chord, lay the right hand i finger across allstrings. Using a technique similar to artificial harmonics, the a finger nail is applied to the first string (to the right of the extedned i finger). The hand is then pulled back, dragging the a nail across the strings (from 1 to 6) behind the extended i finger. Relative position of the right hand is indicated with H, M, or L (high, mid, low) in a diamond encolsure above the chord. "H" indicates a position closer to the bridge; "L" indicates a position closer to the fingerboard (even over the last couple of frets). The resulting sound should be a mixture of aleatoric harmonics, the percussive attack of non-resonating strings, and the occasional open string.
*) Parenthetical diamond noteheads indicate that the starting point of a natural harmonic glissando does not need to be precise. The notehead serves simply as a guide as to the approximate starting point of the glissando.
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3:2
28
( ) ( )
gliss
[sa]jet whistle
DHS
L M H
harmonic gliss trill:slide finger, using harmonic pressure, between indicated notes
29
D
D
(pluck string inside piano)
(ord)
3
30
(non-cresc.)
vibraphone
(ord)
31
recitativo frammenti score in C
8
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
32
432
s.t.
una corda
3
3 3 3
3
3 3 3
33
4
3 2 3 4
s.t.
s.t.
(strings blocked with LH)
(strings blocked with LH)
""
""
( )
(ord)
3
3 3 3
3
3 3 3
3
3 3 3
3
34
(air)
cantabile
cantabile
recitativo frammenti score in C
9
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
35
( )
gradually lift finger to harmonic pressure
36
""
sandpaper blocks
""
s.p.(ord)
n
""
(air)
[to bongos]
manual tremolo
E
E
37
(s.p.)
n
n
WT
(whistle tone)
38
( )
recitativo frammenti score in C
10
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3 3
gradually lift finger to harmonic pressure
39
[to castanets]
( )(ord)
place mute
( ) ( )
ord.
[sa][sss]
( )(s.p.)
3
40
ord.
( )
( )
s.t.con sord.
castanets
2 bongos
( )
2
hands
3
gradually lift finger to harmonic pressure
5
41
3:2
5
(air)
""
(non-tr)(ord)
[sa]
key clicks
(air)
(presto possibile)
wood chimes
pizz.
secco, staccatissimo
tre corda
recitativo frammenti score in C
11
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
42
[to toms]
*
*
fast
43
punta d'arco
s.t.s.p.
DHStambora
s.p. s.h. L H
rub bongo heads with hands in continuous circular pattern (speed of pattern is indicated above symbol)
punta d'arco
s.t.s.p.
arco
F
F
44
L H L H M L
3
3
45
**
L H
w/finger
vibraphone
[sa][tu]
"" ""
recitativo frammenti score in C
12
Brushing. Quickly slide bow along string (on the plane parallel to string, not perpendicular), at the tip, back and forth between sul pont and sul tasto.
Depress indicated key with one hand. With other hand, push fingers into corresponding string. Maintaining pressure, slide fingers along string briefly (grace note), before removing fingers and allowing string to resonate.
**)*)
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
*
46
key clicks (presto possibile)
( )
n
s.p.
s.p.
M
mid tomfingertips
loco
( )
by rim
3 33
47
pizz.
sus cymbal
scrape
L.V.
(blocked stringsnap pizz)
**
48
3
3
3 3
(ord)NNH
full bow
arcojeté to ord.
vibraphoneyarn
secco, staccatissimo
recitativo frammenti score in C
13
*) With one hand muting the drum head (square notehead), the other hand taps finger tips on head continuously and steadily. Sound should be very dry, with no resonance, the tapping blending with the flute key clicks.
Non-Node Harmonics are indicated NNH. The same technique and pressure used for traditional natural harmonics are applied to the specified non-nodal point on the string, resulting in a pitch-obscured sound that is somewhere between ord. and harmonic. No specific pitch is desired, and any resulting pitch may vary from one performance to another.
**)
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3
49
n
(air)
( )
low tomdrum sticks
rim shotby rim
remove mute
[to crotales (bow)]
3
3
50
subito
""
(air)
III(IV)
( )
2
s.p.
[to wood chimes]
51
3
3
3 3
3
3 3 3
secco, staccatissimo
pizz.
ord.
recitativo frammenti score in C
14
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
52
loco
crotales
arco
(sounding 15ma)
( )
53
tamboras.h.
‰=Œ
‰=Œ
= 126
= 126
G
G
54
(finger and bow tremolo)
[to bass]
ben ritmico
ben ritmico
55
secco, staccatissimo
[to woodblock]
recitativo frammenti score in C
15
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3
3FC
CA
FD
*
56
(both hands) (both hands)
L
s.p.
3 3
FD
CA
57
MH
high woodblock
wood chimeschoke
ord.
3
58
pizz.I
recitativo frammenti score in C
16
*) Chromatic cluster, using indicated pitches as outer extremes.
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
slow harmonic gliss *
59
H
L
( )
""
(air)[sa]
(pizz.)
tenebroso
tenebroso
(= 126)
(= 126)
(woodblock)
(woodchimes)
H
H
60
( )
61
( )
sandpaper blocks
[to vibraphone]
[sss]
recitativo frammenti score in C
17
*) Slow, continuous harmonic gliss on IV. The fp articulations need not occur on any particular pitch, but should, however, occur where rhythmically indicated. The glissando should end on the G4 indicated in measure 62.
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
62
[sa]
(sandpaper)
63
arcos.p.
[to Bb]
64
slow harmonic gliss *
65
vibraphonew/finger
recitativo frammenti score in C
18
*) Slow, continuous harmonic glissando. The fp articulations need not occur on any particular pitch, but should, however, occur where rhythmically indicated. The glissando should end on the G-natural indicated in measure 67.
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
66
( )( )
( . )
( )
gradually lift finger to harmonic pressure
67
allarg.
allarg.
68
( )
( )
(= 100)
6 54 3
2 3
13
[guitar harmonics sounding pitches]
solo
(= 100)
espressivo
I
I
[to crotales (bow)]
69
13
detune 1
= 56
= 56
recitativo frammenti score in C
19
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
70
adjust tuning; match piano
71
low and mid tom
medium
72
(= 56)
(= 56)
a tempo, ma liberamente
a tempo, ma liberamente
3 217th
rub drum heads with hands in continuous circular pattern (speed of pattern is indicated above symbol)
WT
3
73
4 32
s.p.s.t.
punta d'arco
recitativo frammenti score in C
20
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
74
2 15th
s.t.s.p.( )
( )
(low and mid tom)(rubbing with hands)
75
14th
2 215th
rit.
rit.
crotales(sounding 15ma)
arco
n
Bb clar
[to sandpaper blocks]
J
J
76
4 32
a tempo
a tempo
77
42 detune
4
L.V.
recitativo frammenti score in C
21
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
( )
78
44th
adjust tuning; match piano
79
3
80
a tempo
a tempo
44th
3 2
n
s.t.
s.t.
K
K
3
3
81
15th
35
45th
3
arco
[to bass]
recitativo frammenti score in C
22
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3*
82
44th
3
65
47th
L.V. [to vibraphone]
83
(keyboard)ord.
flaut.
pizz.
6 5 47th
84
detune 5
adjust tuning; match piano
85
6 5 47th
a tempo
a tempo
sandpaper blocks
bass(air)
s.p.
s.p.arco
recitativo frammenti score in C
23
Having tuned the the 4th string's 5th partial -- which is ordinarily slightly flat -- to an in-tune unison with the piano, this string is now slightly sharp (as are the 7th fret harmonics).
*)
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
3
86
*
655th
7th4 3 5
3rd
44th
6
(s.p.)
(s.p.)
(sandpaper)
87
88
end solo
(= 112)
(= 112)
2
( )
brake drum
‰=Œ
‰=Œ
L.V.
ord.
ord.
L
L
vibraphone
89
recitativo frammenti score in C
24
Depress indicated key with one hand. With other hand, push fingers into corresponding string. Maintaining pressure, slide fingers along string briefly (grace note), before removing fingers and allowing string to resonate.
*)
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
90
[to guiro]
[to woodblock]
91
[sss]
92
[sa]
low woodblock
93
[to brake]
recitativo frammenti score in C
25
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
94
guiro
*
95
[to sus cymbal (bow)]
brake drum
[to wood chimes]
1st
1st
000
0
DHS
19th
M
M
96
97
19thM
arcosus cymbal
wood chimeschoke
key clicks
s.p.
s.p.
[to sandpaper blocks]
(air)
(presto possibile)
recitativo frammenti score in C
26
*) Descending Harmonic Strum at the 19th fret.
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
98
L.V.
(on bridge)
(on bridge)
(key clicks)
(air)
key clicks(presto possibile)
sempre
sempre
(sus cymbal)
99
s.p.
s.p.(on bridge)
slow down key clicks
crotalesarco
n
100
(on bridge)
slow down key clicks
L.V.
sandpaper blocks
101
s.p.
s.p.
sus cymbal
arco
manual tremolo
recitativo frammenti score in C
27
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
102
(s.p.) (on bridge)
(on bridge)
[to Bb]
(key clicks)
(sandpaper)
(sus cymbal)
( )
( )
( )
103
s.p.
L.V.
104
With sustain pedal depressed, use one hand to block any string within the piano's lowest fifth. Strike the corresponding keyand allow piano strings to resonate. The attack should be purely percussive, with no actual pitch.
crotalesarco
n
N
N
105
(s.p.)
L.V.
L.V.
recitativo frammenti score in C
28
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
106
(s.p.)
( )
pizz.
gradually lift finger to harmonic pressure
107
108
( )
arco
gradually to standard pressure
109
s.p.
(play)O
O
gradually lift finger to harmonic pressure
gradually to standard pressure
110
( )
sing
(vocal gliss)
111
( )
( )
recitativo frammenti score in C
29
Fl.
Cl.
Vln.
Vc.
Perc. 1
Perc. 2
Gtr.
Pno.
112
( )
6
(voice)
(flute)
( )
( )
(s.p.)
(s.p.)
( )
( )
113
( )
n
Bb clar
*
114
n
2 3 41
Vn
n
arco(crotales)
presto possibile
115
n
116
n
n
recitativo frammenti score in C
30
*) Harmonic pressure, but keep finger on strings throughout passage. Repeat pitches in order. Regular, periodic pattern.