Professional Documents
Culture Documents
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Cycles of Vega
for
sopranino clarinet in ee
and
percussion (2 players)
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INSTRUMENTATIONAL REQUIREMENTS Note: technical specifications with detailed descriptions of all of these percussion
instruments shall be given later; I have also appended to these Performance Notes a
Sopranino Clarinet in ek comprehensive diagram depicting their physical layout .
Percussion (2 players) * Both sets of "Shan Tubes" require very high stands - reaching at least 2 metres above the floor!
The "Shan Tubes" themselves are suspended in much the same manner as a set of
Percussion 1
commercially manufactured tubular bells, from many small hooks screwed into a pair of flat
- vibraslap {at rest on the mallet-tray} home-made rectangular wooden racks. However, in performance, these suspension-racks must
- large autocoil {suspended high} be placed close enough together so that each set of "Shan Tubes" physically interacts with the
- very large triangle {suspended high} other set, as a kind of single 'super windchime', at the climax of Cycles of Vega (bar 177).
- crotales (one octave set) {rack-mounted} t Note that until bar 39 in Cycles of Vega, both percussionists are able to share the same set of
- vibraphone (optional: employ an assistant to regulate its rate of vibrato) three (suspended) cymbals: duplicate instruments are therefore not needed (although their
- 4 cowbells {rack-mounted} presence would serve to expand this composition's timbral spectrum).
- 2 ag6go bells
- 2 cencerros
ADJUSTMENT OF TEMPI, AND DURATION
- 6 large-diameter "Shan Tubes" {suspended very high} *
- 3 suspended cymbals {all suspended on cymbal stands, but ideally grouped together
If the fastest tempi specified in Cycles of Vega prove to be overwhelming for the
in vertical order upon a single cymbal stand} t
performers, then decrease all tempi proportionately, by the same factor - lest the work's
- 1 large sizzle cymbal
architecture be distorted. (Likewise, the duration of each pause lasting a given number of
- 1 large Chinese cymbal
seconds will need to be multiplied accordingly.) This is by no means a desirable
- 1 very large (Turkish) suspended cymbal
circumstance, for the designated tempi are optimal and preferred: I therefore encourage all
Percussion 2 executants to work up to playing Cycles of Vega at these tempi!
- 3 suspended cymbals {all suspended on cymbal stands, but ideally grouped together
Cycles of Vega embraces extremely subtle, long-range accelerandi and decelerandi
in vertical order upon a single cymbal stand} t
(bars 12-36; bars 86-178; and bars 180-214), the contours of which are defined by
- 1 large sizzle cymbal
approximate tempo-indications every bar or so. In order that performers attain the required
- 1 large Chinese cymbal
shapes of these tempo-contours fairly accurately, they are advised to repeatedly 'count
- 1 very large (Turkish) suspended cymbal
through' the piece with an electronic metronome, tuming the device's dial correspondingly.
- dove call in C {hanging from a string, around the percussionist's neck!}
This practice activity will greatly assist projecting, in concert, the right 'feel' of tempo-
- vibraslap {at rest on the table with the rin} .
evolution. Of course, a certain degree of flexibility is permissible, provided that the general
- 8 windchimes, activated mainly by the percussionist's right hand {all suspended high}
contours of tempi are preserved overall. Additionally, approximate durations (in minutes
- 1 aluminium-tube windchime
and seconds) of subsections of Cycles of Vega have been supplied, both singly and
- 1 ceramic-disc windchime
cumulatively, as an aid to executants in this respect.
- 1 brass-bell windchime
- 1 shell-disc wind chime
- 1 wooden-rod windchime
- 1 bamboo-tube windchime
-i- - ii-
GRACE-NOTE GROUPS p poss. and f poss. are abbreviations for 'as soft as possible (but still audible)' and
'as loud as possible', respectively;
Grace-notes occupy (very) short indeterminate durations, which are left to the discretion
of the player. In general, they should be played quite rapidly (but not necessarily evenly), <> >< small 'hairpins' (crescendi and diminuendi, without any other dynamic indications)
at a speed somewhat dependent upon local context and other instructions or technical signify a very subtle nuance of dynamic variation around the prevailing dynamic
exigencies. Grace-notes marked "agile" or "rapid" (etc.) should be interpreted accordingly, level;
or even played 'as fast as possible' ("a.f.a.p."). Furthermore, grace-notes ought not to be
thought of as mere 'omaments', of secondary architectonic status, to the 'main notes': all o represents the initial emergence from, or final vanishing into, inaudibility;
sonorities in Cycles of Vega are equally important!
nr.
Dynamic indications apply until they are modified by the next dynamic instruction.
Moreover, a proper balance of dynamics between instruments ought to be maintained
- a grace-note group commencing before the 'main duration'. throughout Cycles of Vega: for example, the perceived loudness of an mf sonority in one
part should match that within the other two parts.
f V~1 - a grace-note group commencing near the end of the 'main duration'.
All articulations - legato, tenuto, mezzo-staccato, staccato, staccatissimo, accent (,
sforzando (A) etc. - should be duly observed. For the purposes of Cycles of Vega, a
tenuto marking (-) is simply to be understood as a direction to sustain a sonority for its full
a grace-note rest.
duration as given (or even a little longer), and staccatissimo denotes a very short, clipped
envelope (i.e. 'molto staccato'): neither tenuto nor staccatissimo in themselves imply the
application of any additional accent or stress whatsoever in the attack, unless otherwise
indicated. Moreover, a sforzando attack will always be based upon the prevailing dynamic
level, so that (for example) sffz = sforzando in ff.
PAUSES
QUARTERTONES, OTHER MICRO TONES, AND PITCH DESIGNATION
Unless otherwise indicated, precise durational details of pauses are left to the
interpretation of the performers. The following symbology is employed:
The following symbology for microtones is employed in Cycles of Vega:
~
7" is a squared fermata, denoting a pause the approximate duration of which is
I I indicated in seconds above the fermata; * and ~ denote a quartertone above ~ , and a quartertone below ~ , respectively
(i.e. 24-tone equal temperament). Arrowheads upon any accidentals denote slight
~ is a comma, denoting a (slight) caesura or cut-oft- not necessarily for the purpose intonational deviations - up to about an eighthtone, but not necessarily tempered -
of taking a breath. in the given direction.
The durations of other pauses - given as a squared fermata alone (,..,) - are determined In any textual references to pitch herein:
entirely by instrumental characteristics or other acoustical properties: e.g. "Pause until the
Tam-Tam resonance is 'pp"'; etc. (The appropriate textual instruction is always provided in - "Middle C" shall be designated as C \ 3, the C \ one octave higher as C \ 4, etc. (i.e.
conjunction with the squared fermata.) Sustained (approximate) durations within the ambit assuming that A\3 = 440 Hz, then C\3 =:: 261.6255653 Hz).
of such pauses are notated time-spatially - i.e. extended beams depict such local
durations; the end of a beam indicates the termination of a (previously sustained) note. - * and ~ denote a quartertone above ~ , and a quartertone below ~ , respectively.
Smaller degrees of intonational deviation - slight microtonal inflections, non-
LOCALIZED TIME-SPACE NOTATION tempered, of up to about an eighthtone - upwards and downwards are indicated by
upward-pointing and downward-pointing arrowheads, respectively, upon accidental
symbols. Examples: BJ 5; F~4; At3; G~2 etc.
I Bold orthogonal brackets denote localized time-space notation that spans a
duration corresponding to the rhythmic value directly above the left
[ ] orthogonal bracket, at the prevailing tempo. Within this temporal grid, play
any musical events between such brackets approximately in direct
chronometric proportion to their relative horizontal placement upon the
score-page. (Sustained durations herein are notated with extended beams,
the end of a beam indicating the termination of a note.)
TRILLS
2. THE SOPRANINO CLARINET IN E~: DETAILS J" ..J\.Jvv"v denotes a jaw-vibrato. Repeatedly inflect the given note's pitch with the
embouchure and/or through oral-cavity manipulations. The sinusoidal
E ~ CLARINET FINGERINGS waveform contour suggests micro-details of the jaw-vibrato's frequency and
amplitude (i.e. the extent of pitch-alteration around the given note), either of
Every fingering-indication provided within the score of Cycles of Vega that supplies the which may be static or evolving. Precise details concerning the (maximum)
notated pitch(es) accurately over the given duration is to be strictly adhered to: any width of pitch-inflection are left to the discretion of the clarinettist.
modifications of such fingerings are forbidden! But whenever a fingering yields an
unacceptably inaccurate outcome, or is acoustically untenable on a particular instrument, PITCH-BENDS AND PITCH-INFLECTIONS
then the clarinettist is at liberty to alter that fingering - subject to the proviso that the
resultant sonority matches, as closely as possible in context, the composer's original
intention. (If no such fingering exists, then just do your best with the provided fingering.)
So, whatever fingerings end up being employed herein, the sonic results must always
."b<1l"Pl
) .
be.n'"
/'
denote downward and upward pitch-bends, respectively - they are executed
with the embouchure and/or through oral-cavity manipulations. (Ameliorative
changes of fingering-configuration during a pitch-bend are permissible, so
long as the pitch-bend itself sounds perfectly smooth.) Pitch-bends should
correspond as closely as possible to the notated pitches while retaining, as much as
possible, the original timbral signatures generated by the specified fingerings. always be carried out towards the end of the indicated duration; moreover,
the termination of the 'bent' tone must never be emphasized. Soft
Non-standard fingerings for chromatic pitches, for tempered quartertones and other (diminuendo) downward pitch-bends are to be reminiscent of a sigh, as if the
microtones, and for multiphonics found in Cycles of Vega are appended within a prefatory clarinettist is running out of breath! Precise details concerning the range of
-v- - vi-
the pitch-bend are left to the discretion of the clarinettist. denotes a rising pitch-bend (portamento) attack, executed at the beginning of, or
immediately prior to, the indicated duration: the technique needed here is precisely
benc;l In exactly the same manner as above (including permissible changes of the same as that required to produce a pitch-bend (see above). The pitch-range
..J fingering-configuration), bend the tone upwards as far as possible, covered by this smooth, upward 'scoop' into the note is left to the discretion of the
smoothly. clarinettist.
denotes a 'fall-off - a pitch-bend falling downwards as far as possible or denotes a (very) brief 'squawk' attack - involving any (very) high pitch elicited
practicable, using finger-action as well as embouchure and/or oral-cavity from, or somehow related to, the fingering for the primary note, overblown. This
manipulations. Allow the tone to break down and smear into lower registers colourful attack can be achieved by momentarily touching your lower teeth against
as well! the reed; or perhaps better still, curl your lower lip back behind the reed and
.-v- 1 .FL. denote downward and upward pitch-inflections, respectively. These are
behind your upper teeth, and with sufficiently high breath-pressure, then allow your
lower lip to be blown forward, bursting explosively into its normal embouchure
equivalent to their pitch-bend counterparts - except that the pitch promptly position, thereby yielding a particularly dramatic, raucous overblown attack. The
returns to the initial given pitch, as shown. The timing of the pitch-inflection sound, as I have imagined it while composing Cycles of Vega, is merely an
within the note's overall duration is clearly indicated on each occasion. inseparable part of the note's attack characteristic, and so ought to resemble the
occasional transient squeak/squawk noises of a tenor or baritone saxophone that
TEETH-ON-REED occur sometimes at a change of register in playing jazz.
By placing your lower teeth directly upon the e~ clarinet's reed, project a AIR-SOUNDS
thin, piercing, rather unstable but extremely high-pitched (indeterminate)
sound; include changes in embouchure-pressure as well. Then scrape your denotes an air-sound, in which the given (first-register) pitch is fingered while air is
lower teeth up and down over the reed's surface, to create a rough 'broken blown through the e~ clarinet with a loose embouchure that is insufficient to cause
portamento' effect, including random changes of partial. End the event on as the generation of a normally-produced tone: a breathy tube-resonance with a
high a pitch as possible, as shown. (Note that such sound-production clearly discernible pitch-centre (corresponding to the fingering's fundamental mode
activities evolve independently of fingering considerations.) of vibration) ensues. Note that an air-sound's timbral quality may be modified in a
quite subtle but continuous manner through fluctuations in breath-pressure, or by
ARTICULATION varying the embouchure and the shape of the oral cavity: the sensible application
of these techniques is left entirely to the discretion of the clarinettist. Whenever the
The following special articulations for the e ~ clarinet are utilized in Cycles of Vega: circular notehead is drawn non-specifically beneath the stave (bars 1-35), the air-
fl"t. sound's pitch-bias is indeterminate.
initiating the air-stream. Such actions on an e~ clarinet should result in a very KEY/FINGER-SOUNDS
strong, almost percussive attack to a normally-blown note: this instrument's reed is
simply too small to generate the characteristic 'thud' of a larger reed noisily
rebounding against the mouthpiece, as in a bass clarinet slaptongue. The L
r
)(
denotes a key/finger-sound, in which the e~ clarinet's key-mechanism is made
audible and/or tube-resonances are generated by keys/fingers slapping shut hard
clarinettist should vary the slaptongue's intensity in accordance with the indicated over their holes, in addition to the blown tone. In trilling actions, an x is drawn
dynamic level. above the triangular waveform contour; the finger(s) engaged in the ongoing
h percussive activity are usually identified with an x in the tablature pictograph. A
denotes an aspirated attack, with minimal intensity, using the phoneme 'h' (as in
"hamster"): the sonority is to be rendered without any 'tonguing' whatsoever!
transition to prominent key/finger-sound (f poss.) is indicated by - - - - - - x .
huh l
.' denotes a diaphragm thrust. Attack the note with a sharp jolt or impulse from the
diaphragm only; do not 'tongue'. Again, the articulatory action here is entirely
3. THE PERCUSSION INSTRUMENTS: DETAILS
aspirated and pulmonary - but with the aspiration being suitably intensified and
heavily accentuated. PREAMBLE
Cycles of Vega calls for a number of highly exotic and/or extremely rare - even unique
- vii- - viii-
- percussion instruments. Therefore, in order not to make this piece's realization For both forms of arpeggiation, their speed of execution is left to the discretion of the
prohibitively difficult, I propose the following practical solutions: performer. Arrowheads upon the above symbols indicate the direction of the arpeggio's
action: t = play the lowest pitch of the chord first; 1 = play the highest pitch of the chord
- Many of these percussion instruments can be obtained directly from the composer. first.
- Alternatively, percussion instruments such as the windchimes and the "Shan Tubes"
GLISSANDI
can easily be constructed according to the detailed specifications provided herein.
- Some substitutions are permissible; specific suggestions will be made later in this
regard. (L /.'"
ghSS.
denotes a glissando, in the given direction. The glissando's initial
(parenthesized) note should not be accentuated or individually attacked; the
glissando's ending-note - likewise played with absolutely no emphasis - is
- Electroacoustic sound-production (e.g. digital sampling and the activation of samples indeterminate, but corresponds vaguely to the point where the glissando's
with MIDI percussion instruments - or even digital synthesis and signal processing line-contour terminates with an arrowhead: such glissandi usually cover as
with a synthesizer or computer, rather than sampling) is another viable possibility, if wide a range as possible. Whenever this arrowhead is replaced by a regular
certain percussion instruments are definitely unavailable; this is by no means an 'ideal notehead in parentheses, the glissando's ending is now, of course, clearly
solution' (either acoustically or visually), though. specified; however, exactly as with the glissando's initial note, this final note
must not at all be attacked individually.
It is crucial that the microtonal tunings of many of the percussion instruments described
below be preserved at all costs: these particular micro-intonations were very much fixed in The actions of all glissandi in Cycles of Vega always span the entire duration as
my 'mind's ear' throughout the composition of Cycles of Vega; it is, therefore, obligatory notated.
that instruments which conform as closely as possible to these tunings be procured! Note
that certain percussion instruments whose pitches almost match those designated may in Any accidental in front of a glissando's initial pitch (i.e. 'sharp' [#] or 'flat' [b], or 'natural'
fact be inflected accordingly: for example, some rin pitches could be flattened somewhat [\]) unambiguously indicates whether the glissando-action shall take place upon a
by pouring a certain amount of water into the rin (although the water's inertia does entail keyboard percussion instrument's 'white' (diatonic 'natural') or 'black' (pentatonic
an undesirable loss of rin resonance); cowbell pitches may be flattened similarly by 'accidental') notes.
adhering some extra weight (e.g. large lead fishing sinkers embedded within a malleable
gummy substance such as "Plasticine" or "Blutac") inside the cowbells, etc. MALLETS
RESONANCE AND ARTICULATION The following pictographs illustrate the different types of percussion mallet called for
.".--- Allow the note(s) to resonate beyond their specified duration. Unless otherwise
directed, such notes should be allowed to resonate until their sound has
throughout Cycles of Vega. Drawn together in various combinations within rectangular
boxes, such pictographs show the number, type, and deployment between the left and
right hands of mallets required over each section of the music; no more than two mallets
completely dissipated. The complex aleatoric sound-textures of all windchimes per hand are ever needed. Usage of the 'plus' and 'minus' symbols (+, -) in this context
(and cognate instruments) must always be permitted to decay into silence! indicates a straightforward temporary change from the basic mallet-configuration. In
relation to certain percussion instruments (such as the autocoil and the crotales), a mallet
denotes damping the resonance of the specified instrument(s) - by hand, or with a pictograph marked "sempre" means that henceforth, until further notice, only the indicated
mallet - to silence after it has been struck, at precisely the moment in time mallet-type is to be used to elicit sound from this instrument. Otherwise, a non-boxed
corresponding to the rhythmic placement of the closed-diamond notehead. mallet pictograph just refers to a specific percussion instrument and note.
denotes a 'deadstick'. Once the mallet has struck a sound-producer of an Note: L.H. = the left hand; R.H. = the right hand.
instrument, it remains in physical contact with the strike-point, without rebounding,
thereby muffling or damping any after-resonance. In Cycles of Vega, this PERCUSSION 1
technique is applied only to the vibraphone (in "non Ped."). The resultant
~
vibraphone sound's envelope will thus be a fairly brief 'choked' staccato. denotes a very hard and heavy brass glockenspiel mallet.
denotes the vibraslap, held by the right hand (bars 4-36)1 Strike the specified percussion
ARPEGGIATION U instruments with the vibraslap's hard wooden ball!
denotes an authentic hard wooden rin beater (not the soft, suede- or kidskin-bound
top of the instrument's resonators to their vertical position - in order to capture the
vibraphone's maximum degree of sonorousness. Smooth transitions between numbered rates
of vibrato (i.e. vibrato accelerandi or vibrato rallentandi) are depicted by appropriately sloping
I variety); such beaters usually accompany the rin themselves. This quite rare type of
beater resembles a short wooden rod, about 150 mm long, wrapped lightly with thin
dashed lines which connect the ring around one vibrato number to that around the next. NB: It
is most probably advantageous to employ an assistant whose sole purpose will be to
manipulate the vibraphone's potentiometer, and thus regulate its rate of vibrato.
colourful cloth: if it is unavailable, then substitute an ordinary hard wooden or hard plastic
mallet instead. Vibraphone Pedalling. All pedalling on the vibraphone is clearly indicated throughout Cycles
of Vega. "non Ped." must be strictly observed! (No damping of resonance by hand is called for
anywhere in this work.)
PERCUSSION INSTRUMENTS: DETAILED DESCRIPTIONS AND ABBREVIATIONS
Glissandi across the Vibraphone's Resonator Tubes: Using the ball of the
Within the two percussion parts, all of the percussion instruments are notated in vibraslap, execute an extremely violent glissando across most or all of the
sequential order according to their physical distribution; they are listed below in the same vibraphone's resonator tubes, sweeping from left to right, starting with the
fashion. resonator tube for F 42 - a very aggressive, quite ugly rasping sound (bars 4-36)!
Do allow the vibraslap to resonate fully as well, please.
PERCUSSION 1
4 Cowbells: Cowb
Vibraslap: Vbslp Two ag6go bells (Cowb 1 & 2) and two cencerros (Cowb 3 & 4), rack-mounted. The ag6go
Select a vibraslap with as wide a dynamic- and resonance-range as possible! A metal bells may be replaced by cencerros, herd bells, almglocken, metal blocks or other forms of
vibraslap (with a wooden ball) is quite acceptable. cowbell, if desired. Do not muffle or mute the cowbells in any way! The cowbells' timbre
should be rather clangorous, not too mellow - although their given pitches must be readily
Large Autocoil: Coil distinguishable. The four cowbells utilized for the world premiere performance of Cycles of
Vega were pitched as follows: 1- Bq4; 2- G #4; 3- Gr4; 4 - Fr4.
A large helical spring, from the front-end suspension of a car, hung up high by a leather
bootlace. An arrow to the left of a notehead indicates a sweeping rasp-like 'arpeggiando' 6 Large-Diameter "Shan Tubes": ShTL
attack (either upwards or downwards) that dramatically runs along the whole length of the
helix, striking most (or all) loops in rapid succession; otherwise, for the coil's normal mode of These home-made metallic percussion instruments - which resemble large-diameter tubular
performance, tap just a single loop. bells (but are instead able to sway quite freely, as a kind of windchime) - are mostly struck
individually, with vibraphone mallets. They all project a slightly 'dirty' gong-like sound - akin to
Very Large Triangle: Tri that of the Javanese gamelan kettle-gongs known as 'kethuk'. It is of no consequence that
"Shan Tubes" struck with mallets may themselves strike other "Shan Tubes" - although, if
Use the largest triangle you can possibly find, suspended high! (Its timbre must be quite
possible, this sort of knock-on effect really should not occur during low dynamic levels. A stem
different to that of the large autocoil.) with a A drawn upon it denotes striking a large-diameter "Shan Tube" near its point of
suspension: aside from timbral considerations, such a strike-point minimizes the possibility of
Crotales: Crot
the tube clicking against other tubes. Note that some trills on the large-diameter "Shan Tubes"
Written range. C 44 - C 45, sounding two octaves higher than notated. The thirteen crotali can be carried out with one hand, by rattling a mallet very rapidly between two adjacent tubes.
should be rack-mounted, in the manner of a keyboard. If preferred however, a set of thirteen At bar 177, use both hands to collide all of the large-diameter "Shan Tubes" together in an
rack-mounted crotali sounding one octave lower than those described above (i.e. with the explosively violent manner; agitate them further according to the given graphics! After bar 179,
written range Cq4 - C45, but sounding just one octave higher than notated) may be the interacting "Shan Tubes" will continue to click together for at least one minute into section
employed instead. This lower-octave set of crotales will certainly possess a greater resonance J! This is intentional and has been taken into account by the composer, so do not attempt to
and longer decay-times than the higher-octave set; in any case, the actual sounding octave of damp the resonant sound-texture of this 'super windchime'.
crotales does tend to be somewhat ambiguous to the ear. ShTL Specifications: six aluminium (zinc-plated?) tubes: 52 mm outer diameter, with a seam;
1.2 mm gauge. Lengths. 1 - 604 mm, 2 - 876 mm, 3 - 952 mm, 4 - 1062 mm, 5 - 1122 mm,
Vibraphone: Vib 6 - 1372 mm. The six large-diameter "Shan Tubes" that were utilized for the world premiere
Range: F 42 - F 45. A high-quality modern instrument (with wide bars in the low register) is performance of Cycles of Vega produced the following readily-perceived pitches (although
required. The vibraphone must also be equipped with an electric motor and potentiometer that other, more obscure resonances are present as well): 1 - AN; 2 - A .13, [0~5j; 3 - F/3, B14;
will yield a continuously variable speed of vibrato - widely ranging from 'slow' to 'fast'; an 4 - [0 $3j, G N, 5 - [C$3j, Fr4, 6 - [F42j, B$3.
-xi - - xii-
3 Suspended Cymbals: Cym: 5 - E:t 4, 6 - 0 f4. This windchime possesses a mellow, starry, 'soft' sound - slightly rin-like in
timbre (but different to ShTS 1 and ShTS 2 [see below)), ca.30" decay'
1 Large Sizzle Cymbal: Sizz
A large, very resonant, thin sizzle cymbal, possessing a high 'sizzle' and a long decay 1 Ceramic-Disc Windchime: CW *
This earthenware windchime consists of six to ten large glazed ceramic discs, which may be
1 Large Chinese Cymbal: Ch irregularly shaped. It should possess a rich and resonant sound - 'loud', mellow, relatively
A (very) large, resonant Chinese cymbal. low-pitched, ca. 15-20" decay
- xiii- - xiv-
point minimizes the possibility of the tube clicking against other tubes. At bar 177, use both 1 'Kenyan Bell Tree': KBT
hands to collide all of the small-diameter "Shan Tubes" together in an explosively violent
This unusual metallic windchime consists of about twenty or so bronze conical and cylindrical
manner; agitate them further according to the given graphics! After bar 179, the interacting bells (with clappers), suspended in a flat diamond-shaped frame, microtonally pitched within
"Shan Tubes" will continue to click together for at least one minute into section J! This is
the range Ck5 - CF. The Kenyan bell tree's timbre should be a high-pitched, delicate, fairly
intentional and has been taken into account by the composer, so do not attempt to damp the
dry jingle, rather cutting, caS' decay Jolt, displace or shake the framework to activate the
resonant sound-texture of this 'super windchime'.
bells, in accord with the notated waveform contours. If necessary, the Kenyan bell tree may be
ShTS Specifications: six anodized aluminium tubes: 22 mm outer diameter; 1.6 mm gauge. replaced by many very high, bundled-together almglocken, or - better still- a 'string of jingle
Lengths: 1- 573 mm; 2 - 603 mm; 3 - 917 mm; 4 - 1041 mm; 5 - 1146 mm; 6 - 1221 mm. bells' (strung together as a windchime).
The six small-diameter "Shan Tubes" that were utilized for the world premiere performance of
Cycles of Vega produced the following readily-perceived pitches (although other, more 1 Ceramic-Disc Windchime: CW *
obscure resonances seem to be present as well). 1 - G/3, C/5, 2 - F/3, BI4, 3 - FI;4, This earthenware windchime consists of six to ten small circular glazed ceramic discs. It
4 - 0 f4, 5 - A13, 6 - G 13. should possess a rather cutting sound - relatively high-pitched, ca. 10" decay
9 Windchimes, activated mainly by the percussionist's left hand [L.H.]: Very Large Tam-Tam: T-T
A very large, resonant tam-tam (at least 1300 mm in diameter, if possible) - very deep,
1 Wooden-Rod Windchime: WW * profound and mysterious! Apart from the following cases, strike the tam-tam in its usual,
This ligneous windchime consists of many cylindrical hardwood rods. It should possess a slightly off-centre beating-spot.
more brittle sound than the bamboo-tube windchime described immediately below - high- Strike the tam-tam at its central point, and strike the tam-tam away from its central
pitched (higher than the RH WW), caS' decay point (towards its rim), respectively
1 Bamboo-Tube Windchime: BaW * * Windchimes [Percussion 2 only]
This vegetal windchime consists of many hollow, round bamboo rods/tubes. It should possess Agitate the elements of these windchimes directly, with hand(s) or mallet(s), roughly in accord
a very dry, hollow sound - medium- to high-pitched, lower-pitched than the wooden-rod with the notated waveform contours. All windchime attacks and excitations should be varied
windchimes described immediately above, but slightly higher-pitched than the RH BaW, caS' as much as possible, subject to the indicated dynamic level.
decay
As a rehearsa/- and performance-aid, for easier readability of the numerous windchimes'
1 Sea-Urchin-Spine Windchime: SUW * notes (i.e. correctly matching these notes to their corresponding windchimes), the noteheads
written upon the windchimes' staves could be colour-coded using a wide variety of highlighter
This rather rare 'echidermous' windchime consists of numerous sea-urchin spines. It should
pens or coloured pencils. The percussionist might even consider carefully attaching the
possess an extremely high, dry, delicate sound - even higher-pitched than the RH SUw,'
associated colour of ribbon or a strip of coloured paper to each windchime somehow; these
ca.10" decay If a sea-urchin-spine windchime cannot be obtained, then it may be replaced by
ribbons or paper-strips must not cause any impedance whatsoever to the windchimes'
a glass or stone windchime.
typically stochastic acoustical behaviour. (Besides being musically functional props, such
visual variegations will help to impart a beneficial ambience of decorativeness and festivity!)
1 Shell-Disc Windchime: ShW *
This 'crustaceous' windchime consists of many small discs made of shell, suspended vertically
in a circle. It should possess a 'soft', gentle, delicate, brittle but dense sound - medium- to
high-pitched; caS' decay Ian Shanahan, Sydney, Australia; 28 September 1991.
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