the aeolian harp - common musiccommonmusic.sourceforge.net/music/aeolian_harp/aeolian_harp.pdf ·...
TRANSCRIPT
The Aeolian Harpfor piano and computer generated tape
duration: 22' 30"
Heinrich Taube
Special Symbols
8 channel mixerADATReverb unitStereo micsSpeakersOptional click light (available from composer)
AcknowledgementsThe harmonic and melodic structures in the piece were derived primarily through Frequency Modulation (John Chowning). The tape and piano parts were written using Common Music (Rick Taube). Theaudio tape was realized using CLM (Bill Schottstaedt).
Equipment
Accidentals apply through measure.
6/4 and 6/8 do not express compound division.
Unpitchedsound.
Tape gesturecontinues.
Measuredglissando.
Rapid (unmeasured)tremolo.
Chromatic set. Modal set. Smooth accellerando. Notated rhythm should not be performed literally.More attacks may be added if it resultsin a smoother effect.
About the Click Light
The click light is a small, dual color LED that can be fixed to the piano's music stand to provide visual timing cues from a click track recorded on a third ADAT channel. The light displays the pulse and meter of the performer's part, blinking red on downbeats and green on secondary beats. During unmeasured sections of tape solo the light blinks seconds. Alternately, the performer can listen to the click track using a single earphone, or not use the click track at all.
ADAT
Mixer
Speakers
Click Light
Mics
Reverb
3
Piano
72"
=
Pedal as needed, alway resonant.* Fingernail glissando to the melodic tone.
evenly, like a tolling bell
with quiet intensity
*
6
9:8 9:8
Heinrich Taube
In loving memory of my sister, Marianna Christine Taube, 1949-1997.
The Aeolian Harp
1
12
5
5
9:8 9:8
subito
17
3:2 3:2
3:2 3:2
3:2 3:2
3:2
3:2
5:4
5:4
=
23
l.h.l.h.
3:2
3:2 3:2
2
29
3:2*
* This measure has 5.5 beats in the click track to account for the fermata. The half-beat should be considered a quarter note pick up to the next section.
=* **
*
* Strums in this section should be crisp and accented. Activate the left hand's Ab last and most prominantly.**Metric grouping in this section is indicated by slur.Bar lines are provided only for convieniece.
35
39
43
3
47
51
55
59
4
63
67
72
76
5
80
84
89
cres.
92*
* Position right hand on white notes and left hand on black notes.Tremolo very rapidly while moving hands toward the ending point.
*
= 5*
5
* This strum should sound like theconclusion of the upward gesture.
5
5
5
5
(Tape fade.)
6
=
99
3 cantabile
*
* Bring out upper tones melodically.
1073:2 3:2
1133:2 3:2
rit.
119 *
The run should "emerge" from the tremolo, ie. make asmooth transition so the downward and upward motionsounds like a single gesture.
teneramente=6
(Tape fade, click light off. Piano solo to 206.)
7 6 6 7 6 7
7
127 7 7
136
9
109
10
144
10
1011
1011
ritard.
10
espressivoa tempo
150
12*
* A distant memory of Schumann's Chopin. Each measure lasts 3" (so the more notes in a measure the faster they are to be played). The italicized number under each measure indicates the metronome marking for a quarter note at the proper speed.
65 60 60
6
55 60
8
155
7
60
9
55 80
7
50
159
6
95
7
55
9
75
*
80 (1/2 measure) 70
164
15
60 70
9
75 115
168
16
55
19
70
109
10
9
poco a poco accel. e cres.
173
178
= or faster
184
191
10
199
ritard.
=
206
3
3
3
3
(Tape and click light on.)
213
216
3 3 3 3
3 3 3 3
Repeat 3 times, decrescendo applies over all twelve beats.
8"*
*
* Continue rapid activity butapply to random selection ofany chromatic pitch withineach hand's octave range.
8"
**
** Gradually make attack times more random and slow to roughly 8th note motion by the end of the tape sounds. Smoothly transition from the chromatic set to the ending subset. Continue activity for a few seconds past the last tape sound.
** 16"
(Tape fade.)
2"
11
molto cres.
221
224
*
5
* Reduce speed of tremolo and gradually blendwith tape sounds (notation is only approximate).
229
*
* The accelerando should connect to the strums.The strums should be broad and harp-like.
12
236 3
3
5 3
5 3cres.
3 3
3 3
242
3
3
3:2
3:2molto cres.
3
5
3 5
245 molto
* Tremolo should accelerate through first measure.
*
*
ritard.
251
9:8
(Tape fade, click light off on downbeat.Piano solo to 259.)
quasi improvisitorya tempo
3 3
9:8
3
13
255
3
3
6
3
3:2
3:2
=
259
(Tape and click light on.)
3 3 3 3
2663
37
3
272
6 6
10
3
7
3
9
3 3
14
2773 3
7
33 3
9
3
282
9
3
287
37
33 3
3 3
293
3
3
3
3
15
299
3
3
3
3
3
3
=
303
307
Forearm strikes
76" 4" 20"
Zen Sho Kada
4"
Visions Fugitives VII (Arpa), Serge Prokofiev
16
315
315
320
320
3:2
3:2
326
3:2
6" 12"
6*
* Always legato andwith a slight stress onthe downbeats.
76
67
17
336 7 77
77
7 7
3459
9
9
352
9 10
10 10
10
10
358
9
10
1112
3:2
18
366
3:2
3:2
373
373
(Mumbled prayer.)
*
* Remain stationary with hands in position until tape fades to silence.
8"
(Tape and click light off.)
19