on the deconstruction of a cycle for 2 pianists and 2 percussion players Alberto C. Bernal

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1 on the deconstruction o a cycle or 2 ianists and 2 ercussion layers Alberto C. Bernal

2 PERFORMANCE NOTES General: The dynamic indications between hooks reer to the intention dynamic, that can be dierent rom the resulting dynamic The dynamic indications between normal arenthesi s reer to the resulting dynamic, that can be dierent o the intention dynamic The notation o maintained sounds uses to be realized by means o a line that extends along the time in which the corresonding sound takes lace. The stems laced on the line serve only as a rhythmical reerence, and do not indicate any new articulation o the sound: Percussion: snare drum () susended cymbal (2) whi (4) suerball The notation in three line systems indicates the osition o the ercussion within every instrument: middle, extremes and their corresonding middle oints. This alies esecially or the snare drum, hi-hat and cymbal. = tae action. Always erormed by a ercussionist. See the section about the electronic or more inormation about it. Placement o the instruments and movements o the erormers: Beneath the habitual sound and music dramaturgy, the iece also contains a visual element, that contributes in equal manner to the resulting inal dramaturgy. The ercussion instruments are distributed in several laces o the stage, like the ollowing illustration indicates: ratchet (), the circled number indicates the seed o the rotation: 1 = ¼ o the whole ratchet er second 2 = ½ er second = ¾ er second 4 = 1 rotation er second hi-hat (1) ercussion o the two cymbals with eachother resultant sound ater the ast release o the two cymbals ercussion with normal beater (closed) ercussion with normal beater (closed) sound roduced by means o a very slow oening or closing o the hi-hat bass-drum (1) rimshot bass-drum cle indicating the hal o the bass drum to lay (it has to be divided in order both ercussion layers to lay on the same instrument), the osition (bottom line indicating middle, and uer line indicating edge) and the kind o action: a line means a ercuted movement along the drum, normal noteheads mean unctual ercussions and x-noteheads mean ercussion directly on the egde. ast and suddenly daming o the corresonding instrument 1) 1 bass-drum 2) whi, hi-hat, ratchet, snare drum ) whi, hi-hat, ratchet, snare drum 4) whi, susended cymbal, ratchet, snare drum ) snare drum ) whi, snare drum, cd-layer The erormers move cyclically rom lace to lace. Each osition is indicated by the corresonding number. Beneath the numbers, an arrow is sometimes indicated, meaning when the movement rom a osition to a new one has to be done. The movements do not have a dramatic meaning, in the sense o a traditional theater iece; they just articulate the orm o the iece, giving a visual dimension to the idea o the reetition and cycle, inherent to the iece, and also giving an always new character to the ercussion, by means o the dierent situation o the instruments in the sace. No theatrical activity are demanded rom the musicians, who just have to make the corresonding movements as simly and naturally as ossible. Tae sounds o the iece

Here a longer descrition o each sound and each corresonding track ID in the CD: 1.- static noise 1 2.- static noise 2.- static noise 4.

3 In several moments o the iece, tae sounds are notated, to be layed by the irst ercussi on layer. The corresonding sounds can be made directly rom the attached CD, which has the dierent samles already divided in consecutive tracks. The samles are notated in the score with a brie descrition. Here a longer descrition o each sound and each corresonding track ID in the CD: 1.- static noise static noise 2.- static noise 4.- static noise + radio dierent kinds o static noise, taken rom the radio.- telehone.- ublic several sounds o the ublic in a classical concert 7.- concert mix vertical mixing o classical reertoire 8.- static noise 9.- radio announcement radio announcement 10.- alause 1 mix down o the whole semantic contents o the CD material 11.- city 1 texture and sounds o the daily lie o a city 12.- static noise 1.- city commentary 1 commentary about this iece 1.- sel 1 a ragment o this iece, taken out rom the reetitions o this section 1.- sel 1 a ragment o this iece, taken out rom the reetitions o this section 17.- sel static noise news + static noise mixture o radio (unintelligible) news and static noise 20.- commentary 2 commentary about this iece 21.- sel 22.- news (olitically negative) a selection o an actual new with a negative connotation 2.- alause sel 4 Piano The notation o the iano arts is sometimes a mixture o sace notation and recise itch notation. For this, the iece emloys very oten a system o our staves, reresenting the whole register o the iano or the cases where the actions are indicated without a recise itch notation. sound without itch content, roduced as result o the corresondi ng rearation Normal cluster, every key is deressed at the same time Progressive cluster. The clusters grows gradually, as indicated by its symbol Hal broken cluster. Some keys o the cluster come a bit later, like a kind o mordent Broken cluster. Almost every key o the cluster come at a dierent time, as a kind o very ast areggio within the cluster Play along the indicated string with a ick Play along the indicated area (on the strings) with a ick Cluster tremolo. a very ast tremolo within a cluster, choosing the hal o the notes or every hand. or examle: black keys and white keys Make a single ercussion (click) with a ick on the wounding o the indicated string, daming the sound immediately ater Play along the indicated area (on the strings) with a wire brush Hit the indicated region (on the strings) with the hand For the sonorization o the CD is not needed a secial high quality equiment, a simle loudseaker (laced in the osition indicated by the receding illustration) and able to reach a dynamic level equivalent to the our layers is enough or the uroses o the iece. It is imortant that the CD-layer can be controlled in order to have a recise start, an instant CD-layer (DJ-like) would be ideal, although a normal one should be also erectly controllable. a glissando over the the keys, avoiding the sound o the strings. The only sound to hear is that o the riction between the nails and the keys the number indicates the amount o beatings er quarter within the trill edal notation. The symbol indicates an audible release o the edal

4 Prearation o the ianos Both ianos use a very simle but dynamic rearation. The goal o the rearat ion is to transorm the timbre o the corresonding reared strings into a ercussive one, removing the itch content o the sound o those strings. The suggested material or this is a simle wooden stri, to be laced between the strings and the metal bars o the iano. The distribution o the metal bars in the instruments to be layed will determine the amount o wooden stris to be used, varying rom 2 to or 4 er instrument. In the ollowing table are described the dierent rearations coming in the iece. The x-noteheads indicate the strings and zones to be reared, whereas the normal noteheads indicate the strings that should remain unreared. In order to acilitate the change between then, several combinat ions and anticiations can be made; due to the always dierent inner orms o the ianos, no suggestion is made in this sense, leaving the erormers to look or their most aroriate changes and combinations.

6 1 on the deconstruction o a cycle Schlagzeug 1. Schlagzeug 2. q = 90 q = 120 m Alberto C. Bernal Klavier 1. re. A m m m re. B Klavier 2. re. A gg g m 2 I 7 q = g g g g g g g g g gg g g g g g (m) [] g This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License htt://creativecommons.org/licenses/by-nc-nd/2./

7 10 g g g g g g m g g q = 90 4 re. B g g g g 2 1 I m * * 1 g g g g g g m I g g g g gg g g g g g g g g m g g g g g g g g g g * The amount o reetitions er quarter note (tulets) has just connotations in behal o the seed and not o the rhythmn; thus the syncronization in the beginning o every quarter should be avoided and in this way also the ulsation in quarters 2

8 18 q = 90 q = 120 m I g g m g g g g g g g m I 2 q = 90 g g g g g g g g g g m m g gg m 1/ g g g g gg g g g m g g g g ggg g m g

9 I 2 2 m 2 1 molto lento (ca. 4-/sec.) [] g g m g g g g g g g g g g g g g gg g g g 0 2 I 1 g g g g g g g gg g g g g g g g g g g g g g g g g 8 4

10 I g g m g g g g g g I 8 q = 120 m re. C m 4 q = 70 1/2 g g g g g g g gg g g g m 4

11 4 q = I I g g g g g g 2 1 g gg g g 2 g g m 1 g g g g g g g g g g g 8 g g g g g g g g g g m () nm m [] 1 =static noise 1 re. C in iano II g g g g g g m g g g g q = 120 m m m re. D 1/ [] m

12 I 9 q = 70 m g gg 2 4 g 1 g 2 4 m g g g g g q = 90 ` ` ` g m g g g m m I g m m g g g g gg g g g g g g re. D 7

13 I 7 m m m m q = 120 m 78 q = 0 q = 90 m g g g g g g g g I g gg g gg ` ` ` molto lento m 8

14 I I I m g g g g g g g g g g g g g g g g g g g m (m) g g 2 8 = 2 static noise 2 m 8 re. E ggggg m q = 120 m g g re. E m 9

15 I I 91 = static noise 4 =static noise + radio q = 0 m * m m m m I * The amount o reetitions er quarter note (tulets) has just connotations in behal o the seed and not o the rhythmn; thus the syncronization in the beginning o every quarter should be avoided and in this way also the ulsation in quarters

16 I 104 m 108 m m m m 10 m m I m m m m m 9 I m 10 11

17 11 q = 0 7 q = 120 m I g g g () g g g () re. F re. F g gg g gg I m 2 q = 90 2 m 1 m ggg g g m m g m

18 12 1 I 10 m m g g g g m g g g g g g g g I 129 m g g m g g m gg g m g g m 8 q = 0 g m gg 1

19 I 14 g gg q = 120 m g g g g g g g g g gg g g ` ` ` m I 140 q = 90 m g g g g g 1 g g gg g m g g g g g g g g g g q = 120 m = telehone g g 14

20 I 14 g g g m m g I = ublic m m 7 concert mix g g g g g gg g g g g g g g g g m m g gg g gg m m 1

21 14 static noise gradually to radio m m g g g g g g g g 8 m I g g m g g g g g g g g g I 17 m m 9 m radio announcement m m m m g g g g g g m 1

22 I I alause 11 city 1 m g g g m g g m 18 1 city 2 m m gg g g g ` ` ` m m static noise commentary 1 m 17

23 17 sel 1 m 1 1 sel 1 m [] 4 g m m m m m m 17 sel 2 m I I 18 g g g g 180 static noise 7 18 m \ m 19 news + static noise m g g g g g g g m ` ` \ [] m

24 I m commentary 1 s.c. m [] m m g 21 sel 19

25 I 220 m m m 22 news (socio-olitically negative) [] \ (m) \ (m) g I 227 alause sel 4 m [] [m] 2 m g 24 \ m m 20

26 I I 2 q = 180 [] \ [] m \ m [] m m m > g g m I [m] m` ` 21

$28 [] [] m ` ` ` ` ` ` ` ` ` ` m [] \$

27 I I I 22 2 m [m] [m] ` ` 20 [] m s m m 28 [] [] m ` ` ` ` ` ` ` ` ` ` m [] \ []

28 I I I I m simile \ [] m m m h q = 200 oco accel. [] 29 simile g g m [] 04 [] 2

29 I I I I 1 q = 00 > cresc. cresc. 27 dim. dim. 4 > (m dim.) 42 (m dim.) m ( dim.) ( dim.) 24

30 I I 49 dim. > 2 8 L L dim. L L R R L R sim. L m R > > sim. m m 9 ` ` ` m 7 2

31 I I 82 m 90 m m [] m m m m 2

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