music for flute and percussion

8/6/2019 Music for Flute and Percussion

1/20

Folds of the MindComposer's Notes:

SET-UPPlayer III is to remain seated on the floor for the duration of the piece, excepting any spots wheremovement is indicated. A pillow or mat may be used for comfort, of course.Refer to graphic for set-up arrangements.Players IV and V share the large gong.Various beaters are indicated throughout the piece. When not specifically indicated, choice is leftto the players' discretion.It is suggested that, if possible, the bass drum be in a nearly horizontal position.The Child's Piano part is written for a chromatic children's piano. If one with the proper rangecannot be obtained, octave displacement is acceptable. A celeste may also provide a substitute, ora dynamic sensitive synthesizer imitating the sounds of a music box, and if these othersubstitutions cannot be made, then orchestra bells may be used. However, the selection ofinstrumentation must be representative of the child-like nature of this part. If the celeste isselected, it may be played by a player outside the original set-up, and the percussionist mayremain on the floor, with their instruments.GENERAL NOTESThe speaking parts are intermingled throughout. Many times, the same phrase echoes throughoutthe ensemble. To better understand the purpose of these words, imagine the inner workings of themind, where memories and words flash in and out like a thousand slides in a haphazard slideshow. Here there is a word, then there, here a memory, then gone again to those inner expansesthat we cannot reach consciously."Ssh!" is to be carried out over the duration indicated.Tunings for the timpani are indicated to help facilitate changes.Some sections require that the percussionist play more than one instrument at a time (Ex. m.22 inPerc. IV). Though the changes are difficult, they are possible.Rubato sections are to lack the strict time of the surrounding sections. Follow the musical linesand phrasing for indications of tempi.M.44 begins a cadenza for the Flute.The Timpani Bowl part requires the percussionist to strike the bowls of the timpani with SOFTmallets (so as not to damage the bowls). The sound is akin to metal bowls used for Easternsounding pieces. Find the "sweet spot" of the bowls, the area that resonates the best. Four malletsmay have to be used.The Brake Drum may be obtained from any junk yard, or from a car of someone you dislike'.


2/20

Percussionists II and IV have the indication Dancing at measure 86. Itmay be useful to playthrough that section to measure 99 alone, so that it will be easier to understand how their rhythmsfit together. Their part is a variation on the Son Clave while the rest of the ensemble continues ontheir merry way.Shell Chime and Wind Chime indications are approximated based on placement in the measure.The general direction of the lines indicate the direction to play the wind chimes. The shell chimesare to simply be caressed by the fingers, as if a gentle breeze were blowing through the concerthall. The volume of the shell chimes should never exceed mf.The Maestoso at measure 109 is to be played grandiosely, dramatic almost to a fault, as is thefollowing gong strike. Imagine falling asleep in class, only to have the teacher ever so graciouslyslam a book on your desk."Small Gong" is to be no smaller than half the size of the large gong. The large gong is to be thelargest gong that can be obtained, though I would not recommend anything exceeding eight feetin diameterThe Not in Strict Time section of the piece removes us from the constrains ofthe beat. Strangewords, coming from a percussionist. Nevertheless, the flautist should memorize this section of thepiece, so that she can better perform it. Hopefully, the performance shall be on a large stage, sothat this section does not pass too quickly. The diagram provided indications the lettered positionsin the score. The entire section entirely depends on the pace at which the flautist saunters to eachindicated position in the ensemble. The breath marks only indicate the end of the phrase, she maybreath where she likes. Also, the rhythm indicated is approximated and relative. In other words,do not pay attention to the exact length of the music, instead play it relatively to the others withinthe same phrase. Itis suggested that the flautist walk slowly, sometimes painstakingly, to thedesignated location. She may stop walking and pause if she wishes, then continue. Space is theimportance here. The other players have the flute part cued in their music, so they mayapproximate where the phrase is , and play their parts in relation to where the notes are indicated.(Ex. Player II would wait for the F sharp in the flute part before strike the F natural on the vibes).Percussionists I and IV also find they must move, and strike the notes randomly on their trianglesthat are indicated. The notes may be played closely, or may be played spread out, so long as thesense of space is kept.The waltz is self-explanatory, though it would be nice if everyone could seem cheerful at thissection. It is light and airy, carefree, like a feather in the wind.Unexpectantly must be that. Give little nonmusical warning that it is coming. (Ex. Getting yourbody tense with the anticipation of striking a brake drum as if there is no tomorrow, so incrediblyexcited at the prospect that your eyeballs seem about to fall out of your sockets.) Once the partstarts, though,The rhythmic motive in measure 177 is Morse code for SOS. (If it is OSO, I apologize for myignorance).For "spoken in a dull monotone", think Ben Stein, or like a group of brainwashed zombies thathave been led by some higher intelligence to quote incessantly words swimming about in themind.A whisper is just that.


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At 217, the flautist plays the given melody, and then begins to walk backstage, repeating it andimprovising new rhythms for it at random tempi. She continues to play it backstage until the finalmeasure. Keep the same dynamic level.Player II, make sure not to hurt anyone when you throw your sticks. It is bad PRoFollow the indications for movement instructed. Place yourself in this sound landscape, becomingthese bizarre characters in this play that never was. Utilize your ability to perform, makingyourself a part of this enigma. What the ear hears and what the eye sees play an integral part inthis piece.I thank the St. Aquinas Percussion Ensemble, "Rupe", and Sarah Makowski for being willing toembark upon this journey with me. I hope you will not regret it.


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VI

Ir-rs > - - /"\_. . .1-l L . . - - - 1 - - . , . \I \

t

I \~ U J


5/20

Perc III

Pe rc IV

FI

PH

PIlI

PIV

PV

Folds of the MindDedicated to Sarah Makowski and the St. Aquinas College Percuss ion Ensemble by Sabrina Pena

J , ro oFlute

A

~J. . Spoken with Agitation S.Cym Spoken in a dull monotone

~ 1.....1 f ~ . . . . _ . 1.....1f Emp-ty! The sw ing s aare emp - ty.1 mf:

J. . Spoken in a dull monotone

~ ~ . . . . _ . 1.....1The swings aare e rup- ty.m f

J. . Child's Pno

~ mpJ. . (Whispering) Small Gong (To BD wfWood Bea te rs )

~ 1.....1Emp-ty. p pm p

1 (Timp G,A,C,D) (Whispering) r---: .~~ I I ,- o r o r

Perc II

Perc VEmp-ty.mp f p p p p

II r-.tJ I f ' ' ! ' . . : ~.mp

(To Tri & S.Cym)A (To Thunder Sheet) (Thunder Sheet: Kick v io lent ly wlFoot) rr.~ I II I

ff ff8:

A Spoken with Agitation Spoken Angrily r-.~ ~ ~~ = I -1 I I I ISee them! 8shlm f f p f

A Spoken Angrily r-.. . ~ ~ ~~ ~. ~ . 'r ,- I ,- ,-m f Ssh!f p f

~ B as s D r Spoken with Agitation B as s D r Small GongtJ . . . . . . . . . . . . . . . = ~ VSee them! ff.ff m f ff8 Spoken with Agitation Slapstick rr.: =ee them! ffC Copyr ig ht 2 000 s. Pena m f


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Sweetly

II

A7 - .-----:: :- - . I> A -jO .~ ~ b~ ..; - = : : : : : : f ~mp = = = = = - p mpg Tri Tri.; = = I" = I" I ~ I S.Cy~(w/Stix) 1 I Ipp17 mp

:

g.;

A7 (To Tamb.) Tamb.

.; 1mf

A7 Tri

.; Bass Dr T 1 1 I" Imp

17 (Gong L.V. Throughout) (Tune Timp to F Sharp ,A,C,F Sharp): , . 1 "7

FI

III

IV

vpp p

26

II

, , '.;

~6 . . . . I .. , -- - - 3;----J ~3i.; 1 I" I 1 1 1 1 1 1 I .

f26:

~6 (To T.Blks) T.Blks

oJ . . . . 0::::1-P~ (To Child Pno).; ".mf~6 .- (L.H. to S .Cym w/Stix]oJ I" 1 1 "7 , . ~ I"~ r '"7"26 (To Chimes):

FI

III

IV

v

2


7/20

3

II

- - = : :: - :. . . Rubat~~ . . ~ ~~ f!:' ~ ~ mj' = = = = - P

A 5 3 ~,-, r-~__ r--ty


8/20

II

;"9/_ ~- ~~ J.60 . . . . . . . -. , 1 ~* * l!*~*' _I " ---"11*-#' ~= = = = - - pp mf p p~9

~49

:~9

~

;"9

~~9

~49:

FI

III

IV

II

~ l!~~~~r:-r:' : fl-R.,-., ;;...~ ~ f - I I n~ (toBongos) Bongos r+,fjTl ~~ mp65:

~5 (To Toms) S po ke n i n a d ul l m o no to ne Toms

~ " 1.......1 . . . . . . . . . . . . . .The swings are~emp- ty. 3mf mp~ Child's Pno (To Ratchet)~ " 1 1 * - .mp~5 S po ke n in a d ul l m o no to ne

(To Low Toms)

tJ . . . , . , 1.......1 . . . . . . . ~The swings a re - emp- ty. Emp - ty!mf f

65 S po k en in a d ul l m o no to ne (Tune Timp . G#,C,D, F#): " ~ . . . . . . . --=

V

FI

III

IV

VThe swings a re - emp- ty.mf Emp- tylf

-4 -


9/20

II

~3/1 . .tJ ~;_., . . .-. . ~mj'

3~3 r-ra r--r ,-3---, ,3~ -tJ . f pp

63

:Toms (ToT.Blks)3 ,-3~ ,3, ,---~---,

tJ L.J. .J - ~ I . . . . . J . . . . Imf 3 3 r '--I PP 3~3 Ratchet

tJ fLowTorns 3 (To BD wlHardBea~3 ,-3~ ,---3-, ,-3---, _ , . . . . . ,

tJ L.J..J - - ; - . . . . ppmf 3 3 l_3-J(To Timp Bowlswi timp mallets) (Timp Bowls) 363 , , _ ; : . . ,:

~"'i ' .J

FI

PPP

II

V

II

~o u;:- - - - - - - - -..~ I v-: I mf .........pp].0 .- r-,....,tJ . . .... . . . .(to MaL) f mp70: . . . . . . r r . . . . .~o T.B1ks (to Toms & S.Cym) (2 Med.Toms & S.Cym) -"-~ ~tJ 3 -......J --......

ty mf mpf70 Ratchet (ToChild Pno) Child's Pno_ r : : - . . . , _ _~ :tJ mf~ .r~o BD w lh a rd b ea te rs (To L ow Toms & BD)

tJ f.f70 (To Timp) -

" =..J i : : : : I . . J

120FI

II

V

f.f mf

-5-


10/20

Tratt

II

~6f\ . .;.~.:-::::; - ,~ - ..; j : : : ' ~ I f = = = = = - - = = = = mp p ~~6 - -tJ ~ '- J .J ~76

mp. . . . . . . - -1......1 ...1 . . . .~6 ~ v~ ( to Br. Drums)tJ

~6 ~ - .J< .J< & " " ' ~ ...r--tJ - - . . . . .- .- . . . .ppA 6 Low Toms ~ _ . . , (To Small Gong).; Bass Dr p _. .f76 {To Chimes} (To Timp A , C, D sharp ,E): . . . . . . J : l " t : : : : = " '

FI

II

.ff p -====.ff pp

V

FI

Spirited and Violent.J = 120

p

tJ : ifz

II~1 Brake Dr (to Toms & S.Cym)

f

II~1

~1 Small Gong (To BD and Low Toms w/Timp Mallets) Low Toms -"LV. ..- . . . . . . . . . . .Bass Dr

fV

81

6


11/20

II

",-

~~ . . . . . . , r-, ~~ . . nmf mp86 # J I - JI - J l - t i # JI - ~_L J l - t i # # J I -: . . . . . - . . . . . i.--" L.--'~ Dancing ~~ p = = = = - - -~ (To Shakers) Dancing Shaker~ ~ r r . . . . ._.. I I I

mf~ Dancing - -~ . ' . . . . . . .p

(To Chimes] Chimes r-3-, r--,6: -I ~ I'" ~ V

FI

mp n,v. throughout) pp

V

V

92 Rit,

II

"-. l

~2 . . . # r = ~~j!r = j! # r = # ~ ~~~j!~~ H * . . . . .f92 _ . . . . , # J I -: . . . . . i.--"92

-. l

92 (To Child Pno)

-. l

92 - - - - --. l .. - -~2 ,---3---, (To Triangle) Tri:

J I r I I I I rr -I

FI

II

Vmf mp

-7-


12/20

Moderato

II

~ Lyrically II=-- jL~ - /~ 1 1 1 j ' 1 1

~ I I /~ . . . . . ~

sub mp99 (To Sh 11Chimes) Shel l ChiT es /:

~9 To Vibes (Motor off) ,3, II //-.r I 1mp~9 - //~ p~ (To Wind Chimes) Wind Chimes (To Large Gong) //~ ~ mp99 (To Timp G,B,D,E) //:

1 ~

J 7585FI

Maestoso109 J 55

LivelyJ = 135

mp

I

v

II

;,' ,

tJ

),,09 ~~ ~ r - . . r o o . . ~ - - _ . . . . , .fLtJ f ~ I . J . . J -- I . J . . J -. ,-,r '" """-.I mp109 a a:l09

tJ

),,09 I I ~ I I . . r; " " I I . .: : :tJ f "mpl09 Large Gong

tJ ff LV

109: ~ ~ ", 1 1 ' 1

FI

II

IV

Vp

-8-


13/20

115

II

/I

~;"5 r - T " " ' 1 ti. #t. '" ~ J. _ I

t! - ~ - H * ~ "mf115 afL fL ~. r-r1 60 60:" -J .. . J . .. .. .. . . . . . . . . . . .;"5 (Motor on - ~pi~otor) ~ 1 1

t! V I I I ~ . . .mfcon pedale throughout

;"5 I I " I"'"'l I"'"'l I"'"'l I , . . . . ,t! H * . * * H * . * * ...... I Imf;"5

~ ' r P115 (B to B flat): :

1 1 ~ ~I ~ ~ m

FI

III

Rit.

IV

V

II

)..21 ; . . ; , 6 . . . ~. fL' Ht' ~.t! mp 1 l / ! f J

)..21 rnn . J , . J , ~t! ~ P (To WoodBlock)-; Woodblock121 - - . . :

pp p)..21 Spoken with Agitation Vibes ~ .!! !t! . . . I I . . . . . . 1 l / ! f J I'IT The swings are emp-ty.mp)..21 a. . . - . (To Shakers) Spoken with Agitation Shakers .

t! I I I . . . . . . mf ppThe swings are emp-ty.mpTri

)..21 (To Tri & Low Tom) a a a a

t! L ow T om l. Jpp p

121 (To Chimes) Chimes~ : ~

FI

III

IV

V= = = = - - p pp

-9-


14/20


15/20

II

);'Y- ~ ~ - - - : : : - - . . Walk to A Not in Strict Time I. lLJ . Walk to C ]l /~ p PP P mf Trif) . 3 8 j) )l ,A. I. J J.~ ,,,,1 3 8 Tri , (Unison wOO,:

pp. , . ; 8 1'- I. .h.-. J. )l ,A J.~f I i~ ~P con pedale throughout

.h.-. J. , (Uni; ' 3 8 A. I. )l J.~ I .. "I Vmp; ' 3 8 (To Triangle) j) J. )l ,A- J.~ Walk slow ly to C, st ri king T ri 5X before reaching C

) , 3 8 j) j )l ,A- I. J.tJ

FI

III

IV

VInnocently Large Gong

Walk to B WalktoE

II

),42 , . . . t i . , . . . . I (Walk to D)~ , n , rt-. I . , . . 1'- .tJ = = = = = - P mf fPP),42 J #J J J , J J , J , Marimbaa J_ f.\ I~ , , ,, , ,

, , ,, , ,142Walk slowly to A St riking T ri 3X be fore re' ;" hing A

, (At A) ,, , r-.:pp

),42 J ,J .1 J , I J_ , J ,J f.\ ItJ 1 ,- .L.V.;'42 J #J J J , J J , , Child'sPnoa _ . J J r-. I~ I 'I

_T r . . mf

;'42 J ,J 1 J,

I J,

(at C) J J, (ToBD) B as s D ra rt-. I

tJ pp T Imp

),42 J ,J J J , I J , J , (To Triangle) Tria J rt-. ItJ _. ~ ~ u-

FI

III

IV

Vmp i.v mp

-11-


16/20

II

~49 f\ ~ . . = : : : : : : : : : : - - - - .r::>.;

~49 I

.; 1mf

149

:~49 I'- .. .; mf Imp

con pedale throughout~49

.; mp I

~49

.; I I I

~49

tJ

Fl

II

f

I

V

Fl~60 I

f

II A60 I

tJ f

II),60 I (T o T amb. )

tJ fA 60 I (T o L ow T om & Wind Ch im es

I I

VA B O I (T o Ch im e s )

tJ I I If

12


17/20

UnexpectantlyJ, 110

II

171 >: - ~~ mfp171

~ P pp171 *l *_:

(To Brake Dr ) Brake Dli- 3, ,3, To Vibes171

~ff

171 Tamb ,3,

~ 1 - p -ffLow Tom Wind Chimes171 ,-,--.

~ I I I I I I I I I I I mpff171 I

-~- ~ ~

FI

-13-

I

V

II

179 * ~ ~~ E " 1> - - - -~ f = = = = - mp f m p179

.J

*l_ (ToBongo and Shell Chimes)179 ,.h. *. * ,.l * *. * "-,,h. * ._ *_ , . _ ,. - .:Vibes

f9 - - -.. 'I . . . . . . ~ -- pSenza Pedale ,. .,. (To Ratchet) Ratchet179 _ _ _ -

.J I V I ~ V I ~ V r' ~ mp(ToBD) Bass Dr

179

~ mp P

;,79 - (To slapstick)- r;>''J- -po I ,. .

FI

II

Vpp


18/20

188 accel. Chaotically ~.

II

11 .~ t-t.! ~ i#_ ffA 88 Bongos Spoken in a dun monotone !!!!! !!!!! (Shouting)t.! I' i--I . . . . . . . . J 1 , . . . . 0 0 0 ' 1- - . . . . . . . .The swings a re emp-ty. Emp - ty!

Shell Chimes mf ff88:

mp

A 88 (To T.Blks) Spoken in a dull monotone T.B1ks (Shouting)t.! I' i--I . . . . . . . . j o J . . . . . . . .The swings a re emp-ty. Emp - ty!mf ffA 88 S po ke n in a d ul l m o no to ne (Shouting)t.! I' i--I . . . . . . . . mf . . . . . . . .The swings are emp - ty. Emp - ty!mf ffA 88 S po ke n in a d ul l m o no to ne (Shouting)

t.! I' i--I . . . . . . . . . . . . . . . .The swings a re emp-ty. Emp - ty!mf ff;"88 Slapstick Spoken in a dull monotone (To Timp G,C Sharp ,D,F) :tJ ~ . . . . . . . . . . . . . . . .

Fl

III

IV

f mf pp

V

ff The sw ings are emp - ty.mfRit

MysticallyJ_ 80

II

; " 9 6 f~ 1 > , . . -tJ m f; " 9 6 (ToS.Cym) (Whispering) S.Cym . (Cym ~ome W~st ick) S po k en i n a d ul l m o no t on e

t.! 1 1f

I ~ IpEmp - ty. Stuck in-side. No

1 9 6 mp:

; " 9 6 (To T B lks . & S.Cym.) (Whispering) S.Cym ....----5-----, ~ S p ok en i n a d ul l m o n o t on e-tJ mp f ~ I I' I IEmp - ty. Stuck in-side . No

p mpA 9 6 (To Child Pno) (Whispering) Child's Pno

tJ . . . . . . . -pEmp - ty. mf pp

; " 9 6 (Whispering) S po k en i n a d ul l m o no t on et.! I I I' I I

pEmP - ty. Stuck in-side. Nomp

1 9 6 Timp Gliss: . . . . . . . . . . . . - - = =


19/20

II

~05 - - - ~ - - . - - - - . _ n o ~ . .eJ . . . . . .

pp~05 ,--,----, ,--,-, ,--,-,

eJ I I I pplon-ger es-cape. Stuck in side. No lon-ger C5 no es-cape S sh . . . Stuck side side205

:

~05 ,--,---,

eJ I I I I ,. . ,. . ,. . ppI on - g e r es-cape. In in-side No No No No No Ssh... Stuck side side n205 ~ I I IeJ . H . . H * ppp~05 ,--,----,

eJ I I I pp :lon-ger es-cape. In in-side No No No No No Ssb .. ==-=-- III in-side No205 r----,.--,---,:

I I I ,. . I I I I I I I ,. . ,.. I I

FI

III

II

II

~ c~ ___________ ~ ___ " Repeat Melody Etc. tomp

)..'2 _r-:- 3 -=:J r-----, ~eJ I I I I I I I I I I

Ion - ger es no Ion - ger cape Ssh. . .212:

~'2 .-3----, .-3----, (To Toms)~eJ I I I I I I I I I I

I on - ger es no I on - ger cape Ssb...

A 1 2 (Whispering)-eJ v I ,. . . . . . . . . . ~

no, no.no.no

(To Large Gong) mp~'2 ._~ I I I ,. . I

no no no no pp

(To Timp Bowls wi timp mallets) ,---3-1,---3, i3"212 , . . . . . , . . . , . . . , . . . ,:I I I ,. .

IV

V

Stuck in - side. No Ion - ger es no es - cape Ssb... pp in in-side Nomp (Walk Slowly Backs tage while repea ting melody con tinuously.212

FI

III

IV

Vppp

15


20/20

220

II

, , --if

~20 (To Triangle) (Walk rapidly offstage)

tJ If220:

'f0 Toms (Throw sticks to g round, a nd walk to B , D , E, and of fst ag e)

tJ = = = = = : i : : : I : : d.ff~20 (To Shaker) (Walk to C, B, E, then return to origina l spo t, p laying shaker sporadica lly througout)

~ 1pp

~20

~

220:'-J . . . .

FI

1II

IV

V

I'm too young.

230

II

;;

.>

~30

.J

230:

~30

.J

~30 (W h en a n iv e a t o r ig in a l p o si ti on , p la c e s h ak e r o n g ro un d . S it q ui et ly w / ey es c lo se d ) (Whispering)

.J . . . . . . _ _ _ . II'm too young.

~30

.> I

230 (Whispering): . . . . . . _ _ _ . I

Fl

II

V

music for flute and percussion

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