SCORE. Nicholas DEYOE. wir aber sind schon anders. percussion quartet

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1 SCORE Nicholas DEYOE wir aber sind schon anders ercussion quartet 2009

4 Wir wissen nicht, was wir verbringen: siehe, Benanntes ist vorbei und jedes Sein erindet sich im letzten Augenblick und will nichts hören / Wink von Zeichen, kaum ein Blatt verkehrts: wir aber sind schon anders, verleugnen, lächeln, kennen schon nicht mehr, was gestern Glück war. Und die Guottin selbst schwankt über uns. - Rainer Maria Rilke what is seemingly new is really more o the same what seems amiliar is already something dierent everything and nothing is learned in hindsight longing or something that will never exist again - Nicholas Deyoe

nstruments needed: Mallets/beaters:. vibrahone (with working motor) low tom drum (tuned very low, i ossible, identical to the tom drum in sets and.). sot yarn medium yarn /.

1 large susended cymbal (as thin as ossible) 2 congas 1 low tom dum (tune very low, reerably identical to the tom in sets and ) 2"/24" tiano large bass drum (reerably tuned the same as the bass drum

5 nstruments needed: Mallets/beaters:. vibrahone (with working motor) low tom drum (tuned very low, i ossible, identical to the tom drum in sets and.). sot yarn medium yarn /. (identical sets) 1 snare drum stick (with a small ti) wooden tiani sticks. glockensiel 1 low bongo 2 thai gongs (medium, mediu/low) (reerably, gongs with the most colex timbres should be used). 1 large susended cymbal (as thin as ossible) 2 congas 1 low tom dum (tune very low, reerably identical to the tom in sets and ) 2"/24" tiano large bass drum (reerably tuned the same as the bass drum in set ) [inger] ingers. very hard rubber sot yarn medium yarn [inger(s)] / [knuckle] sot gong beaters 2 triangle beaters sot yarn (or elt) medium yarn (or elt) medium/sot bass drum beater medium/hard bass drum beater suerball. 1 large susended cymbal (as thin as ossible) 2 bongos 1 low tom dum (tune very low, reerably identical to the tom in sets and ) 2"/26" tiano large bass drum (reerably tuned the same as the bass drum in set ) Techniques (general): Daening/Muting: All daening symbols aly only to what they aear above unless a bracket is extended beyond it or an arrow is indicating the gradual change to another variety o daening. Full mute: As much resonance as ossible should be daened. Hal mute: This should daen a great deal o the sound, but should still allow some resonance. Quarter mute: This should only slightly daen the resonance. No Mute: This symbol cancels any daening. Friction: a "square" notehead in any art indicates riction laying. n this iece, this notehead will seciy using a suerball, cymbal cries, and dragging a triangle beater on the gongs. (These are described more seciically on the next age) Tremolo: All tremolo markings should be layed as ast as ossible. NOT measured.

6 Techniques (art seciic):. vibrahone muting: "x" noteheads with a "DS" below indicate a dead strokes. An "x" notehead with no "DS" that has a tie receding it is an idication to daen an already ringing note. The tom drum is notated on the same sta as the vibrahone. t will always aear below the sta (with no ledger lines) with the ollowing notehead:. The role o the glockensiel in this iece is to extend the sound o the vibrahone. At times, it is meant to sound as similar as ossible, and at other times will add new elements to the vibrahone sound. Beginning in measure, the glockeniel must be layed with sot yarn mallets. The intent here is or the sound o the instrument rame to be as rominant as the resulting itch (i not more). Beginning in measure 9, square noteheads aear on the gong lines. This seciies the technique o very slowly and very quietly dragging a triangle beater around the edge o the gong. The sound should be a subtle color in the overall sound rather than a rominent element. /. The role o these arts is one o roulsion, unctuaion, and resonace. During the second hal o the iece, the harmonies created in the tiani are meant to act as an extension o the low end o the vibrahone. Square notesheads: When used or the bass drums and tiani, this indicates using a suerball to created a "moaning" sound. When used on the susended cymbal, it is indicating a cymbal cry with the ti o the snare drum stick. When these aear in the score, they are meant to be continuous or relatively long eriods o time. The best way to achieve the right sound or the desired amount o time is as ollows: Hold the drum stick near the ti ( ind that holding it as one would hold a encil works well) and drag the around the edge o cymbal (with the grooves) will continuously sinning the cymbal with the other hand by "walking" the ingers along the bell o the cymbal. VERY LTTLE PRESSURE is required rom the drum stick to roduce the desire sound and dynamic (the sound should be as ure as ossible). one resses the stick too irmly against the cymbal, an undesired sound will result. A downward ointing arrow notehead in the tiani arts means to lay the lowest tiani itch. Please eel ree to contact me with any questions about the iece or techniques within: nicholasdeyoe@gmail.com Arrangement: (audience) Duration: c. 10 minutes

7 wir aber sind schon anders ercussion quartet Nicholas DEYOE q = 46 vibrahone motor: o low tom / sere (unless otherwise seciied, let everything ring) thai gongs low bongo glockensiel / sere (unless otherwise seciied, let everything ring) q = 46 sus cymbal congas low tom 2/24" tiano bass drum sere sus cymbal bongos low tom 2/26" tiano bass drum sere

8 8 (q = 46) (/ sere) 12 sere [knuckle] () sere sere sere

9 1 (tom) (tom) 9 22 DS (tom)

10 (q = 46) DS (tom) A (bongo) DS (tom) DS DS 2 (gongs) 2 A (cymbal) (cymbal) sz

11 11 ("box" noise should be as rominent as the itch) / ti cymbal cry, as ure as ossible oss. sere 41 B 1/2 [mandolin roll] ["mandolin" roll] 1/2 '' '' bell B ti cymbal scream, as ure as ossible (along the cymbal grooves) oss. sere (along the cymbal grooves) ( oss. sere)

12 (q = 46) /2 1/2 1/4 6 '' sere oss. sere oss. 48 ("mandolin" roll) 1/4 6 oss. oss. (suerball)

13 2 1/2 C 1/4 Motor: slow 1 C oco oco " 6 Motor: slowest ossible [inger] /

14 (q = 46) / Turn addles lat Motor: OFF D D slightly aster q = 48-2, lexible slightly aster q = 48-2, lexible / 6 6 sere 6 sz

15 0 DS () sere sere

16 (q = 48-0) 16 DS () DS () 4 81 (irregular) 8:6 ` [edge] [edge]

17 86 () () 1 sere 89 sere [inger] sere

18 (q = 48-0) ["mandolin" roll] 1/4 1/2 1/2 [slowly and evenly, drag the triangle beater around the edge o the gong.] sere '' [ingers] [ingers] 96 6 [inger] [knuckle] '' sere

19 99 sere Turn addles verticle 19 2 [inger] sere sere 102 DS /

20 (q = 48-0) sz / 10 sere sere

21 110 sere [inger] [inger] [inger] [inger] 21 [inger] [inger] [inger] [inger] E slower q = 44, even 114 Motor On: slowest ossible 1/2 ( sere) / 1/2 1/2 E slower q = 44, even (tiano): high mid low 1/2 (ti. only) (tiano): high mid low

22 (q = 44) DS ["mandolin" roll] 1/4 1/2 1/4 (edge) sere (ti. only) 122 [inger] (tiano) 1/2 /4 1/2 (tiano)

23 12 [until the end o the iece, use two sol mallets and two medium mallets. Assign them to notes as you wish, but make a slight change with every new attack] DS 2 (tiano) 1/4 (tiano) 1/4 1/2 /4 129 (tiano) 19 November 2009 San Diego, CA

Reckless. Eight Percussionists. Dave Hollinden

Reckless. Eight Percussionists. Dave Hollinden Score Reckless Eight Percussionists Dave Hollinden Commissioned by Philli J. Mikula and the Victoria Memorial H.S. Percussion Ensemble or remier erormance at P.A.S.I.C. 00 Aroximate duration: minutes Instrumentation