Jim Casella Compound Autonomy

Transcription

1 im Casella Coound Autonomy or ercussion ensemle Coound Autonomy Written y im Casella 00 Tasace Pulications, LLC, Portland, OR (ASCAP) All rights reserved. International coyright secured. Printed in USA. Notice o Liaility: Any dulication, adatation, or arrangement o this coosition requires the written consent o the coyright owner. No art o this coosition may e hotocoied or reroduced in any way without ermission. Unauthorized uses are an inringement o the U.S. Coyright Act and are unishale y law. TCE-

2 Program notes Coound Autonomy was insired y one o my musical heros Swiss cooser and musician, Nik Bärtsch. His music is mathematic and colex, oten uilt u via oosing asymmetrical atterns that reeat or long eriods, atiently layering colorul and unky elements into a aric o sound that really seaks to me. While marketed as azz, I ve sometimes likened it to the style o minimalist visionary Steve Reich with some sutle unk added to the mix. With this multilayered aroach in mind, my goal was to develo its character rom a variety o indeendent atterns, all o which don t necessarily align in their root hrasing. Written in the meter o 8, the main ostinato is corised o two itches reeated in an olong attern o. Over the to o this, the hi-hat enters in more o a common eel o -metered hrasing, ollowed y an ongoing -note attern in the ongos. These oosing (or autonomous) elements reak the arrier o the tyical arline as they lend (or coound) together, occasionally landing ack together on a common downeat, ut always roviding a churning and weaving aric uon which the main melodic material can e ramed. Written or a large ensemle, the iece uses a airly tyical array o ercussion instruments as well as ass guitar and iano. While each art contains its own autonomous syncoation, lurries o raid-ire rhythms eature our layers in a rittle comination o woodlocks, rake drums, cowells, and ongos, ollowed y some lashy exlosions o keyoard runs. Ultimately, however, the resounding eature o this iece the character o its overlaing lines and mysterious, almost lullay-inused melody, all o which are anchored y the everlasting two-note ostinato. Coound Autonomy was written or the Foster High School ercussion ensemle rom Richmond, Texas, under the direction o Mr. Darren ordan. InstrumentParts list -im Casella This iece calls or layers with the ollowing instrumentation: lockensiel art glockensiel, guiro Xylohone art xylohone, crotales Chime art chimes, cowells, guiro, cricket Virahone art virahone, susended cymal Virahone art virahone Marima art ( layers) Two.5-octave marimas (low F) Marima art ( layers) Two.-octave marimas (low A) Tiani art tiani, lowmuted rake drums ngo art ongos, vira sla, wind gong Sandaer art sandaer locks, woodlocks iangle art triangle, mark tree Miscelaneous cussion art sizzle cymal, susended cymal, chinas, slash cymal, mark tree, log drums (5 itches) umset art 5-iece drumset with, ride, crashes, hi-hats, slash, and china cymals Piano art iano Bass uitar art electric ass guitar

3 ormance notes Mallet sticking suggestions: In some arts, stickings have een suggested. Players are welcome, however, to use whichever stickings eel most comortale. For reerence, the sticking numers indicated use this numering ormula. In cases where oth mallets in one hand are to e used as a doule-sto (a.k.a. doule verticals ), a sile L or R is used to indicate the let or right hand. Conductingarlineshrasing: I eing conducted, the intention was to have the iece conducted in a tyical attern o our ut with asymmetrical grouings (). So in the conducting attern, eats and would e slightly longer (our sixteenths) than eats and (three sixteenths). Throughout the iece, individual layers may ind that their arts do not land naturally on a arline, or their hrasing may not line u with other layers around them. This is intentional and art o what gives the iece its character. In such cases, eretual low is iortant. For exale, the ongo art recycles every three measures, which doesn t technically air with anything else in the ensemle. This attern will also not land naturally with the conductor. So these tyes o over-the-arline atterns (which are in aundance) should groove while keeing various alignment checkoints in mind along the way. Tiani tuning: There are a numer o ways that tiani tuning can e accolished, so seciic edal markings have een let out. Whenever ossile, it is recommended that stewise melodic arts e edaled on one drum. This may mean that three itches o a -note igure would e erormed on one drum, with the ourth itch eing layed on a dierent drum. Some study may e required to determine what works est or dierent individuals. Once edaling methods have een derrived, this art should e easily accommodated using our drums. Staccato ostinato: The dominant ostinato is that o a quarter note ollowed y a dotted eighth note. While these notes aear to e o dierent durations, when they have a staccato marking, they should all e layed equally as short notes. These arts are written this way so ewer rests were necessary or a less cluttered look. Cowellrake drumongowoodlock eature: One o the more challenging moments o this iece comes when these layers lay a quickire eature o condensed nd note rhythms in unison. These arts are all written or two unitched suraces (high and low). While the art looks daunting on aer, with ractice (and erhas memorization), the syncoation should start to ecome easier with muscle memory. These our layers should e very ocused on laying uniormly and alanced with each other, so communication and listening is iortant. Also, since these instruments are all relatively right in timre, take care to use mallets that take a little it o the edge o the attack so it s not too harsh. L.H. R.H. Virahones: Pedal markings are not indicated in great detail, and much o this should e let to the discretion o the erormer as they interret the natural hrasing o each art. You will, however, notice several arts where the word da is used, indicating that the instrument is to e layed dry and without edal. When this seciication isn t resent, eel ree to interret edaling naturally. Marimas: While there are only two marima staves in the score, these arts are ideally intended to e douled y two layers each on their own instrument which will hel these arts alance with the rest o the ensemle. At several oints, dead strokes are indicated with a lus () sign. These are erormed y ressing the mallet into the ar so it s not allowed to resonate. Take care not to ress so hard that these notes ecome accents, though. A light touch is iortant to achieve the desired timre change rom dead strokes to oen strokes. umset: While there are several reeat ars used, this art is generally written out with retty seciic detail. While it may e teting to reak away rom what s written, it s retty iortant or the drumset layer to erorm the written art. In articular, hi-hat accents that occur every our sixteenth notes will create an interlay etween on eat and o eat eels. As such, accents should e layed with authority, and less dominant notes should e very sutle. In all cases, the drumset layer must e wary o how the alance o his or her laying is lending with the other layers o the ensemle. In a concert hall, it s very likely or snare rimshots to ecome way too loud, so a light touch is iortant. The ollowing notation is used. o cr sl chi g hihat woot kick drum low tom mid tom high tom snare drum ghost notes rim shot ^snare cross stick on snare ride cymal ell o ride cymal hihat closed hihat oen crash cym slash cym china cym Niente: As layers dro out at the end o the iece, the niente indication is used. I the acing o the ade-away seems hurried, eel ree to exeriment with allowing more time or individual layers to dro out. Ideally, each art would ade away to the oint o eing unheard eore exosing the remaining layers as they ollow suit. I erormed with detail, the ending o the iece should draw the audience in to a quiet moment o drama as the incessant ostinato dissolves into nothing.

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5 Level: Advanced Duration: arox Commissioned y the Foster High School cussion Ensemle, Richmond, TX Daren ordan, Director Coound Autonomy im Casella lockensiel 8 q = 95 medium lastic Xylohone Crotales 8 Chimes 8 Virahone 8 ø r. ø r. Virahone Marimas (Low F) 8 8 = dead stroke ø r r.. ø Marimas (low A) 8 Tiani 8 ngos Sandaer Blocks 8 8 Sandaer Blocks (never wavering) small ongo (tuned very high) layed whard elt mallets iangle 8 Mark ee (rom erc setu) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Misc. c. umset 8 8 very sot HH (accents should e very ronounced) 8 Piano 8 Bass uitar 8 00 Tasace Pulications, LLC, Portland, OR (ASCAP). International coyright secured. All rights reserved.

6 Coound Autonomy Casella XC 5 A Œ Crotales (med lastic) Œ r Œ Chimes (wxylo mallet on ca) Œ V Œ V M M M M = dead stroke Œ Œ () iangle Sizzle Cymal E E E E large susended cym æ æ all staccatos = secco.... ().... TCE-

7 XC B Coound Autonomy Casella Œ Œ Œ Œ C Œ V V M M M M Chimes whammer ø ø ø ø ø ø ø ø # # n # n m m m m da Œ Œ medium mallets m (always driving) Œ Ṙ. o Œ Œ Ṙ. o Sizzle Cym Ṙ. o Ṙ. o Ṙ. o Ṙ. o Ṙ. o E E E e Œ Ó.... Ṙ. o m. m ^ o æ æ ^.... TCE-

8 Coound Autonomy Casella XC V V M M Œ m m m Œ Œ Œ # m n < # # # # m sim. Œ M M n < m sim () Œ Œ Œ Œ. o Œ. o Mark ee ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sl chi chi ^o æ æ ^ ^o ^ i TCE-

9 XC Coound Autonomy Casella D uiro ggg g gg g gggg ggg g ggg g gg gg gggg g Œ Cricket Xylo ruato (ruer mallets) Œ Ó Œ 5 V V SusCym æ Œ etc... all da M M M M Œ Œ (6) Œ. o ^o æ æ ^ large cym. strike sotly wmallet () Œ ^o mark tree ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5-itch Log um wmed cord Œ Ó sl chi chi cross stick n ^ æ æ.... ^ o... æ æ ^ o o g r.. r.. g r r. TCE-

10 6 Coound Autonomy Casella 55 XC Cowells wcord Πi i i i i i i i V etc... all da V M M M M low muted rakedrums wcord (not too harsh) Πstill whard elt mallets ΠWoodlocks wcord Πi i i i i i i i i i i i i i i i i i i i i i i i sl o g o o g g o g sl m o ^ o ^ TCE-. m

11 Coound Autonomy Casella 6 lockensiel XC V i r i r i r i r V () M M M M i r i r i r i r i R i R i R i R i R i R i i R R () China cym. æ o ^ o ^ ch. ^ ^ m TCE-

12 8 Coound Autonomy Casella 69 E F XC... da Œ Œ n n n... (lended, not soloistic) etc. m V V M M M M Œ da... n # n # n n n n n. R R R R R R R 6 6 R R R R R R R.. n R R R R R R R da 6... n # n # n n n n n n 6 R R R R R R R... n # n# n nnn n... n Œ 6 6 Œ.. 6 n # n# nnnn n 6 Tiani (hard mallets) n vira sla Œ # #. Œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.... sandaer Œ da TCE- da. chi m choked slash cym..... Œ sizzle cym () log drum m chi m ^ o æ æ ^ ^ o ^

13 Coound Autonomy Casella 9 XC m # Chimes m Œ da.. V V M M M M da da da # da # da da da # da # da Œ Œ Œ.. da Œ Œ Œ.. etc. etc m adding more ingers ongos (wsingle ingers) m () to sticks Œ china () ride (accents on ell) sl sl ^ o.... ^ æ æ ^ o.... o ^. o o o o v R Œ o o v () ^ ^... TCE-

14 0 Coound Autonomy Casella XC V V M M M M da.... sot mallets (ruer or cord) da da Œ Œ Œ.. uiro.... g ġġ ġg ġġ ġ g ġ ġ ġg ġġ ġg ġġ ġ g g g g g gg g g gg gg gg g g (mule ater each stroke) sot mallets Œ da Œ Œ. da all da... all da Œ. da... da da Œ..... Œ. Œ Œ. Œ Œ.... Œ Œ. m m = dead stroke.... <Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ Œ Œ Œ Œ R Œ R m m m = dead stroke.... () da. wind gong (scrae wcoin) 6 Œ Chinas (choked)... ^o ^ ^o ^ HH sizzle cym log drum choked slash... o... o... o.. Ṙ o... o () sizzle... o... o... o Y E E Œ Œ. E E Œ... o.. TCE

15 Coound Autonomy Casella XC 99 H Œ da. da Œ # #. da Œ. V drag out last note (extremely sot) g g g g g g g g Œ da da Œ. Œ #.. # Œ da V da da da Œ. Œ #. # Œ. M M æ æ M M (6) æ æ strike wsot mallet ongos Y (6) Ṙ o log Œ ^ o ^ æ æ o ^ ^ æ æ ^ o ^ æ æ Œ Œ. #. Ó Œ Ó Œ #. sz. Œ. Œ.. TCE-

16 Coound Autonomy Casella XC I medium lastic Crotales (med lastic) Œ Œ Œ V V M M all da m..... Chimes whammer m m # M M m # m med mallets m sus cym æ æ Œ Œ Œ ^ o ^ ^ o ^ cr. ^ o m æ æ ^ ^ o æ æ ^ TCE m #. # #.. # # #.. #...

17 Coound Autonomy Casella XC Œ Œ Œ Œ Xylo V da. V da M M M M n < n m m n < n m m () Œ Œ. o Œ. o Œ. o mark tree ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ^o æ æ ^ ^o sl chi chi chi chi ^ i ^o æ æ ^ ^o # #.. # #.. TCE-

18 Coound Autonomy Casella XC V V 0 R R L L R R L L R R L L Crotales () Xylo Crotales () Xylo n Crotales () Xylo n n Crotales () M M M M n n R R L L R R R R n n R R L L R R R R (6) (0) Œ. o Œ. o Œ. o TCE- cym. æ Œ Œ Œ æ æ æ ^ m ^o æ æ ^ ^o strike wmallet () æ æ Œ sl chi chi chi chi ^ i i # # # # n ^o.... n... # # # æ æ ^ ^o.. mark tree ~~~~~~~~~~~~~~~~ æ æ ^

19 Coound Autonomy Casella 5 9 XC Œ wed Crotales Ó V V ø # ø ø ø ø ø # n # n ø ø M M M M æ æ Œ. o Ṙ Ṙ. o Ṙ. o Ṙ. o (cym) æ æ scrae m ^ o æ æ ^ o æ æ m.... m dim. dim. TCE-

20 6 Coound Autonomy Casella XC Ó Ó # V # # V M M niente M M Œ Œ æ æ niente ade out till inaudile niente strike sotly wmallet () Y Y niente Œ niente TCE-

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22 Aout the Aridged Version Since Coound Autonomy is a multilayered work uilt on reetitive igures that need to develo over time, its laying duration can e a little longer than some ensemles can allow or rogramming or estival limitations. Ideally, the longer version is much more alanced and ulilling; However I elieve it is etter to have a ortion o your music erormed than none at all! So I ve reassemled this aridged version or situations where the original version is sily too long in duration. It will reduce the overall laying time y aout :0. -im Casella

23 Level: Advanced Duration: arox. 0 lockensiel 8 q = 95 medium lastic Commissioned y the Foster High School cussion Ensemle, Richmond, TX Daren ordan, Director Coound Autonomy (Aridged Version) im Casella Œ Œ Xylohone Crotales 8 Chimes 8 Virahone 8 ø r. ø r. Virahone Marimas (Low F) 8 8 = dead stroke ø r.. ø Marimas (low A) 8 Tiani 8 ngos Sandaer Blocks 8 8 Sandaer Blocks (never wavering) small ongo (tuned very high) layed whard elt mallets iangle 8 Mark ee (rom erc setu) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Misc. c. umset 8 8 very sot HH (accents should e very ronounced) 8 Piano 8 Bass uitar 8 00 Tasace Pulications, LLC, Portland, OR (ASCAP). International coyright secured. All rights reserved.

24 5 Coound Autonomy (Aridged Version) Casella A XC Œ Œ Œ V V M M m m m m M M m () (always driving) TCE- iangle Sizzle Cymal large susended cym E all staccatos = secco.... E æ æ Œ all staccatos = secco.... m m. ^ o... Œ.... æ æ ^ Œ

25 Coound Autonomy (Aridged Version) Casella 5 # XC Œ Œ # Œ V V M M m m n < # # # m sim. M M n < m sim () Œ Œ. o Œ. o Mark ee ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ^o ^ æ æ sl chi chi ^o ^ i TCE-

26 XC Cricket Coound Autonomy (Aridged Version) Casella B uiro ggg g gg g gggg ggg g ggg g gg gg gggg g Œ Xylo ruato (ruer mallets) Œ Ó Œ V SusCym æ Œ V etc... all da M M M M Œ Œ (6) TCE- Œ. o ^o æ æ ^ large cym. strike sotly wmallet () Œ ^o mark tree ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5-itch Log um wmed cord Œ Ó sl chi chi cross stick n ^ æ æ.... ^ o... æ æ ^ o o g r.. r.. g r r.

27 Coound Autonomy (Aridged Version) Casella 5 9 XC Cowells wcord Πi i i i i i i i V etc... all da V M M M M low muted rakedrums wcord (not too harsh) Πstill whard elt mallets ΠWoodlocks wcord Πi i i i i i i i i i i i i i i i i i i i i i i i sl o g o o g g o g sl m o ^ o ^. m TCE-

28 6 Coound Autonomy (Aridged Version) Casella lockensiel C XC V i r i r i r i r V () M M M M i r i r i r i r i R i R i R i R i R i R i i R R () China cym. æ o ^ o ^ ch. ^ ^ TCE- m

29 Coound Autonomy (Aridged Version) Casella 5 D XC... Œ Œ da n n n... (lended, not soloistic) etc. m V V M M M M Œ da. R R R R R R R 6.. n # n # n n n n n... n 6 R R R R R R R da 6... n # n # n n n n n n 6 R R R R R R R... n # n# n nnn n... n Œ 6 6 n # n# nnnn n R R R R R R R 6 Œ.. 6 Tiani (hard mallets) n vira sla Œ # #. Œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.... sandaer Œ da da. chi m choked slash cym..... ^ Œ sizzle cym () log drum. ^ m chi m ^ o æ æ ^ ^ o ^ TCE-

30 8 Coound Autonomy (Aridged Version) Casella XC 6 E m # Chimes m Œ da.. V V M M M M da da da # da # da da da # da # da Œ Œ Œ.. da Œ Œ Œ.. etc. etc m adding more ingers ongos (wsingle ingers) m to sticks Œ china () ride (accents on ell) sl sl ^ o.... ^ æ æ o ^.... o ^. o o o o v R Œ o o v ^ ^... TCE-

31 XC V V M M M M da.... F Coound Autonomy (Aridged Version) Casella sot mallets (ruer or cord) da da Œ Œ Œ.. uiro.... g ġġ ġg ġġ ġ g ġ ġ ġg ġġ ġg ġġ ġ g g g g r g gg g g gg gg gg g g Œ da Œ Œ. da all da... all da Œ. da... da da Œ..... Œ Œ Œ. Œ Œ.... Œ Œ. m m = dead stroke.... <Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ Œ Œ Œ Œ R Œ R m m m = dead stroke.... () da. 9 sot mallets (mule ater each stroke).... #.. #.... #... # wind gong (scrae wcoin) 6 Œ Chinas (choked)... o ^ ^o ^ HH sizzle cym log drum choked slash... o... o... o.. Ṙ o... o () sizzle... o... o... o Y E E Œ Œ. E E Œ... o TCE-

32 0 Coound Autonomy (Aridged Version) Casella XC 8 H medium lastic Crotales (med lastic) Œ V V M M drag out last note (extremely sot) g g g g g g g g Œ æ all da.. æ m Chimes whammer m m M M æ æ m m med mallets strike wsot mallet ongos Y Ṙ o log m Œ ^ o sus cym ^ æ æ ^ o Œ cr. ^ ^ o m ^ æ æ TCE m

33 Coound Autonomy (Aridged Version) Casella XC 9 Œ Œ I Xylo R R L L Crotales () Xylo Crotales () Xylo V V M M M M da R R L L n R R L L n da R R L L. R R L L R R R R R R R R Œ Œ Œ. o Œ. o ^ o æ æ ^ ^o cym. æ Œ Œ chi sl chi chi æ æ ^ ^o æ æ ^ ^o.... # # # # n.... TCE-

34 Coound Autonomy (Aridged Version) Casella 0 n XC Crotales () Xylo Crotales () Ó wed Crotales V V M M n n n M M n æ Œ. o TCE- Œ strike wmallet () Œ m mark tree ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ m dim. m dim. cymal scrae () n.... æ ^ i.. i.. æ æ ^o..... chi # # #.. æ æ ^... ^o..... chi. æ æ o æ æ

35 Coound Autonomy (Aridged Version) Casella 0 XC Ó Ó # V # # V M M niente M M Œ Œ æ æ æ niente ade out till inaudile niente strike sotly wmallet () Y Y niente Œ niente dim. TCE-

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