Uriah W. Rinzel. Orca. for viola and chamber ensemble

Transcription

1 Uriah W Rinzel Orca or viola and chamer ensemle

2 Uriah W Rinzel Orca or viola and chamer ensemle Commissioned y Nadia Sirota and SYZYGY Instrumentation: Virahone Electric Running time arox 9' Contact the comoser at violinistgonemad@yahoocom

3 Instructions General Orca is a highenergy, highvolume iece that calls or the erormers to lay in an aggressive rock style The asymmetrical +++ meter will eel like a heavily syncoated attern which skis a 16th note every ar adding to the disunct intensity At various times in the iece, the layers are instructed to erorm nontraditional igures and exressions which intend to translate idiomatic electric guitar laying into each articular instrument The instruction "on to o the eat" means that the layers will lay earlier than the true tactus This makes the iece sound more excited, nervous or giddy The electric guitar emloys looing to create a thicker texture y stacking arts ecause looing is emloyed, the layers must ollow the guitarist's temo or the oening section to rehearsal D, and rom rehearsal N until rehearsal O The guitar amliiers will e laced ehind the ensemle to ensure the ensemle can ollow In other sections, the temo is meant to e steady, somewhat marchlike, though the slower section can e and low ollowing the violist As always, lockingwise, make sure each erormer has line o sight with one another, ut esecially with the guitarist who will lead most o the sections o the iece Strings Though this is a chamer iece, it is a loud chamer iece dynamics are still meant to sound ull Forte dynamics in the "dirty" and "rash" sections are not meant to sound retty or clean, ut are meant to match the timre o the overdriven guitar Comete with the volume o the guitar Some extended techniques are notated the irst time they occur in the score and arts which imitate electric guitar laying and timre Nonvoiced harmonics can e layed aroximately where the harmonics would sound ut overressed with the let hand to get a rhythmic "scratching" sound The let hand sla is not meant to sound, ut is a way to rhythmically end the revious note The igure in measure 10 is a gradual adding o ow ressure until overressure occurs resulting in suharmonics which add intensity to the rhythmic igure All trills, like in measure 6, eat 2 are intended to sound like end virato on guitar which can only go u Exeriment with laying them with only one inger, sliding u a whole ste and ack, what I might term a " trill" Even one turn o the trill would get the oint across All notated glissandi (sometimes ust a line is given) are intended to sound asymmetrical, starting with a urst and slowing down (rather than a line o consistent itch change, it should e more o a araola Slide u then down igures like the last eat o measure 9 don't need to e on the exact notated itches, rather the motion will suice The accent on the high note is rimarily given y the let hand ressure rather than the ow As much o the "riing" in the outer sections is created rom single string ris on guitar, incororate as much sul G and sul C as ossile in these sections Address the instrument in a more traditional way when given the instruction to lay "natural," including virato and traditional rhythmic eel In the section laeled "slow attack," mimic the volume swells o the electric guitar Perhas envision these notes with an exaggerated tenuto or swell Virahone Parameters virato on and o are a notated in the score Use the slowest availale virato rate the instrument can accomlish and the guitarist will match this rate with a similar eect The section eore rehearsal L will add sacial eects etween the guitar and virahone articularly i the rates o the virato or are the same since they will e out o hase with one another

4 This iece eatures the electric guitar as accomanist/director in a chamer music setting The art is written to e idiomatic or a rock guitarist and calls or use o signal rocessing with many arameter changes The art includes "overdrive" and "clean" sections at which the layer is asked to use their taste to ind aroriate and interesting tones, and a variety o dierent overdrives/uzz edals or channel switching may e used at various times or all together An echo set to aroximately milliseconds will work well or the section at rehearsal D as well as the volume swells sections The use o rever is strongly discouraged due to this iece eing intended or a concert hall Tremolo (or virato as it is sometimes called) eect is called or in the art to mimic the sound o the virahone's tremolo Rehearse the section eore letter L with the virahonist and ind a seed to match (or nearly match) the temo Find the slowest ossile seed the virahone can accomlish and match the guitar tremolo seed This iece calls or looing, though it is ossile to erorm it leaving out the looer The looer must have the ollowing ailities accessile via ootswitch: record/overdu, lay/sto, undo The layer should ractice with the looer and e ale to estalish a loo conidently and consistently In erormance, i creating the loo is unsuccessul, there is the uer o a ew measures to try and recover I the loo still ails, or the ensemle gets o without remedy, sto the loo, and record another one i time or aroriateness ermits, or leave it out i it doesn't lid at ull stick The ianist must take the role o ollowing the guitarist and violist rather than driving the ensemle Since the iano is conceived to e the ass voice o the iece, most o the material is written in the extreme low register As always, e sure to listen or the soloist

5 Vi Vi Electric ollow guitar dirty, non virato i q oen not o ovoiced o + n O O O record loo L H sla Orca or and Chamer Ensemle ridge icku overdrive r r ΠΠr r r Πr r ΠΠr r r Πsimile ollow guitar dirty, nonvirato Uriah W Rinzel r overress ~~~~~ L H sla ΠΠr r ollow guitar hard mallets tremolo o overress simile o o o r r i no O O o o o + r r i n O O O o o simile o + r r Πi n O O O o o o no O O not voiced i lay loo loo: r r ollow guitar lack key dirty Πr Πr 1 o o o + r r i n O o O o O o + r r r Πi n O O O r r r Π~~~~ ~~~~~~~~~~~~~ ~~~~ ~~~~~~~~~

6 2 Vi 1 Vi o o o + i n O O O r Œ r r r Œ Œ Œ r r r Œ Œ 21 A ~~~~ ~~~~~~~~~~~ i i o o o + n O O O o o o + n O O O r r Œ Œ r Œ r r r Œ Œ R Œ Œ R Œ r r r Œ Œ Œ Œ r r Œ ~~~~ ~~~~~~~~~~~~ Vi 2 o o o + r r i n O O o o O o + r r Œ i n O O O r r r r r r Œ Œ Œ Œ r Œ Œ Œ Œ R Œ Œ R Œ Œ Œ Œ r Œ Œ r Œ Œ

7 Vi 29 i i n o o o + n O O o o O o + n O O O r r r r r r Œ n n n n record loo Œ Œ r Œ Œ Œ Œ Œ Œ Œ Œ R R Œ r Œ Œ r Œ Œ Œ Vi lay loo Œ Œ Œ Œ Œ Œ Œ Œ Vi n Œ Œ Œ Œ Œ Œ Œ Œ

8 Vi Vi 1 not voiced o o o i O O O + simile o o o + r r r i O O O r o o L H sla o + i O O O R 9 undo loo ort record loo E and A Strings sul C Ÿ~~~~ use oen strings r r overress o o o + i O O O R R R R R Vi lack key gliss Œ r nn r r marcato Œ r r r n n ~~~ ~~~~~~~~~~

9 Vi Vi Vi sul C sul C Ÿ~~~ o o o + o o o i O O O R R R i no O O Ÿ~~~ + r r r ort sul C sul C 62 Ÿ~~~~ Ÿ~~~~ simile lay loo Œ r r r Œ Œ r r r Œ ~~~~~ ~~~~~~~~~~~ ause loo sul E sul E PM PM r r r r r r ~~~~ ~~~~~~ r r Œ Œ R R Œ r r Œ ~~~~ ort ~~~~~~~~~~~~~

10 6 Vi Vi Vi 66 Ÿ~~~ D natural R R natural Ÿ~~~ light r r icku os 2 clean echo e PM PM light r r R R natural r r Ó 0 m m r m r r m r PM m m simile R R R R R R R R m r r Ó Œ ~~~~ ort ~~~~~~~~~~~~ R R R R R R R R m m Ó m Œ Œ icku os delete loo menacing

11 Vi Vi Vi E Œ Ó Œ Œ Ó Œ Œ Ó m con sord Ó Œ Œ Œ Ó Œ Œ m m m m menacing echo o alm mute F Œ Œ Œ n n n Œ Œ Ó tremolo on slowest seed Œ Œ Ó Œ Œ Ó Œ menacing Œ Œ Ó Ó Œ Œ Ó Œ Œ m n m m Œ Œ Œ Œ Œ Œ Œ

12 Vi Vi Vi 9 solo G n Œ m n Œ m m Œ Œ m n 10 Œ Œ 102 Ó n Œ Œ su Œ Œ Œ Œ æ æ n su Œ Œ su O O Ȯ O Œ Œ m gradual shit to legato Œ æ æ æ Œ Œ Ó gradual shit to legato gradually lit mute gradual shit to legato H oen m alm mute Œ oen Œ

13 Vi Vi 11 2 Œ 2 Œ Œ Œ m 2 Œ Œ Œ 12 I gentle 1 I Slower e 10 con sord gentle 2 Œ m 2 n Œ m warm slow attack warm Slower e 10 rich 6 n rich m rich Sul G warm Œ Ó warm rich 6 6 rich 6 6 Œ sot mallets sustained Œ Œ echo on tremolo on slow attack 6 Œ natural volume swells 9

14 10 Vi Vi Vi with anticiation 10 K delicate delicate Œ with anticiation sustained with anticiation cresc Œ Œ L senza sord 11 q rash, nonvirato Œ Œ Œ Ó Œ Œ senza sord rash, nonvirato Œ hard mallets Œ Œ Œ Ó Œ Œ m m tremolo o overdrive alm mute n n m rash Œ Œ Œ Ó Œ Œ rash 1 Ó n n nn Œ Ó n n n n nn n n Ó Œ echo o neck icku Œ m sneak iṉ Œ Œ cresc

15 Vi Vi Vi M 16 aggressive aggressive Œ Œ Œ Œ Œ aggressive Œ r n n : ; Œ r n Œ Œ 12 N ollow guitar Œ Œ ollow guitar semre ollow guitar oen Œ Œ Œ Œ Œ aggressive Œ Œ n n oen osition ÍÍÍÍ record loo ÍÍÍÍ lay loo ÍÍÍÍ loo PM PM PM ollow guitar 1 record loo ÍÍÍÍÍÍÍÍ PM PM PM 11

16 12 Vi Vi Vi 1 ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ PM PM 1 rutal rutal rutal! ridge icku rutal ÍÍÍÍÍÍ PM PM ÍÍ rutal ÍÍ O 191 roader e 10 U 6 6 U U 6 roader e 10 ause loo ÍÍÍÍÍ ÍÍÍÍÍÍÍ 6 U PM PM 6 U 6 U