pear tree
DESCRIPTION
orchestral pieceTRANSCRIPT
Pear Tree
By Bobby Halvorson
Duration: 10 minutes
Pear Tree INSTRUMENTATION
Piccolo 2 Flutes Alto Flute Oboe English Horn 3 Bassoons (Bn. III = C.Bn.) 1-2 Horns in F 2 Trumpets in Bb Trombone Tuba Tam-tam Tambourine Triangle Glockenspiel Marimba Harp Piano Violins I Violins II Violas Cellos Basses
Pear Tree INSTRUCTIONS
Rehearsal A: Given durations are approximations. Rhythmic certainty is of very minimal importance. Notes should be placed where the performer sees fit between conducted cues or within the given duration. White arrows indicate hard cues from the conductor. If the performer gets lost in his or her part, he or she should look to the conductor for these hard cues. Black arrows are soft cues given specifically in the brass section by a section leader to indicate the chords they are playing are in unison. Rhythmic accuracy of these brass chords is more important than the notes between hard cues in other parts. Those instruments that are playing repeated figures over extended periods of time should not feel bound by rhythmic accuracy. The pitches and contour are more important than a specific rhythmic pulse. Horizontal arrows pointing forward indicate that the player should sustain what he or she is playing until the next hard cue. For the string instruments that are tapping on the bodies of their instruments: the specified rhythmic motive should be the same each time. Players are meant to be mimicking the sound of pears falling from a tree and striking the ground. The space between rhythmic motives may vary but the motive itself should be static. Durations of sections are to be interpreted by the conductor. Dynamics should start at a mezzo-piano unless otherwise indicated and should very slowly crescendo until Rehearsal B. Rehearsal B: Explode and then continue as a normal determinate piece of orchestral music with the utmost sensitivity. Rehearsal C (The Tree): The first collection of instruments to enter is the group playing “The Leaves.” Motives are indicated in between double barlines and each motive is displayed in the Treble Clef. A player may enter on the motive of their choice playing at any pace they wish. THERE IS NO GIVEN TEMPO. Each motive may be repeated but NO MORE than three times. Once the player has finished playing his or her chosen motive he or she must move on to another motive either connected by dotted line or adjacent to the motive he or she just played. The player is finished when he or she has played every motive in “the leaves” section and should then stop playing. Some instruments will finish before others, as naturally each performer will choose a different pace. If the written notes are not possible on the instrument playing the motive, the performer must choose an octave at which the notes will be possible to play. After a given amount of time (determined by the conductor), the conductor will then cue “The Trunk”instruments. Their instructions are identical to “The Leaves.” However, since all motives are connected by a dotted line, they may play any motive from the given motives in their section. Again, every motive is in treble clef so the performer must choose an octave where the notes are playable. Lastly, “The Earth” instruments have the same instructions. The piece should naturally fade out as the straggling performers finish their final motives.
-For Brass players (The Pears): Within “The Leaves” section, you will notice in the midst of the motives are spaces and markings that look like parentheses ie: ( ). This indicates a place where you will play. You must listen to the motives played by “The Leaves” section and where ( ) indicated must play a splat note. The note should be without definite pitch and should be very short, starting at fortissimo and ending at piano. The note should gliss down from where the note began. Brass players stop playing when “The Leaves” section has stopped.
Copyright Bobby Halvorson © 2009
Piccolo
Flute
Oboe
English Horn
Clarinet in Bb
Bassoon
Contrabassoon
Horn in F
Trumpet in Bb
Trombone
Tuba
Glockenspiel
Harp
Piano
Violin I
Violin II
Viola
Violoncello
Contrabass
f
mp
mf
*Transposed Score Bobby Halvorsonq=40
Pear Tree
pp
3
p
3
f
mp
3 3
3pp
mf3
3
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1.
pp
3
p pp
3
ppp3 ppp mp
ppp
3
ppp
con sord.
ppp
col legnodiv. senza sordino
q=40
ppp
con sord.
ppp
col legno
mf
ord.
ppp
con sord.div. uni div.
ppp
col legnouni
mf
ord.
div.
ppp
con sord.div. uni div.
ppp
col legno
mf
ord.
ppp
con sord.
mf
ord.
div.
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
Cl.
Bsn.
Cbsn.
Hn.
Tpt.
Tbn.
Tba.
T.-t.
Tamb.
Glock.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
6
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f
3
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3 3 53
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3
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3
5
6
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1.
2.
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5
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f
3
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ord.uni.
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3
senza sordino
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mp 3
senza sordino
mf3
senza sordino
2
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
Cl.
Bsn.
Cbsn.
Hn.
Tpt.
Tbn.
Tba.
T.-t.
Tamb.
Tri.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
9
f
f
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rit.
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5
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6 6
5
6 65
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pizz.div. uni div. uni
6 6 5 6 6 5
div.
mf
pizz.uni div uni
5 5
3
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
Cl.
Hn.
Tpt.
Tbn.
Tba.
T.-t.
Tamb.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
12
mf
mp
mf
mp
mp
mp
mp
mp
3
3
3 3
3
3
5
5
6 6
5
6 6
5
f
6 6
6 6
arcouni div.
arcouni div.
div. uniarco
6 65
arco
arco
4
Picc.
Fl.
Ob.
Eng. Hn.
Bsn.
Cbsn.
Hn.
Tpt.
Tbn.
Tba.
T.-t.
Tamb.
Glock.
Mar.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
p
14
ff
ff
3
mf 3p
2
3
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p33
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3
5
5
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5
5
mf
6 6
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f p
2.
1.
f
p
fp
f
p2
mf
3 3 3
3 3 3
ppp
uni.
pp
arco
ppp
uni.
pp
arco
ppp
div.
ppp
div.
ppp
5
Picc.
Fl.
A. Fl.
Eng. Hn.
Hn.
Tpt.
Tbn.
Tba.
T.-t.
Tamb.
Glock.
Mar.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mp
19
mp
mp
mp
mp
mp
mp
mp
mp
O played randomly at individual tempo
R
(dur. appx. 18 seconds)
Aq=70
3
O played randomly at individual tempo
R
7
p
A q=70
arco
p
as you progress, make intervals between statements smaller
tap on body of instrumentcontinue rhythmic figure ad libitum
arco
7
5
arco
6
Picc.
Fl.
A. Fl.
Hn.
Tpt.
Tbn.
Mar.
Vln. I
Vln. II
Vc.
Cb.
24
(dur. appx. 30 seconds)
6
7
O
arpeggiate randomly
R
O
R
p
as you progress, make intervals between statements smaller
tap on body of instrumentcontinue rhythmic figure ad libitum
col legno battuta
7
Picc.
Fl.
A. Fl.
Hn.
Tpt.
Tbn.
Tba.
Tamb.
Mar.
Vln. I
Vln. II
Vc.
Cb.
27
(dur. appx. 20 seconds)
5
3 7
2.
1.
O R
O
R
O
behind finger board repeat randomly
R
p
as you progress, make intervals between statements smaller
tap on body of instrumentcontinue rhythmic figure ad libitum
cresc.
O
sul tastodiv.
R
sul tastoarco
8
Picc.
Fl.
A. Fl.
Hn.
Tpt.
Tbn.
Tba.
Tamb.
Mar.
Vln. I
Vla.
Vc.
Cb.
32
(dur. appx 22 seconds)
5
6
3
2 3
cresc.
cresc.
cresc.
p
as you progress, make intervals between statements smaller
tap on body of instrumentcontinue rhythmic figure ad libitum
col legno battuta ord.
9
Picc.
Fl.
A. Fl.
Ob.
Cl.
Bsn.
Cbsn.
Hn.
Tpt.
Tbn.
Tba.
Glock.
Mar.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
36
(dur. appx. 17 seconds)
cresc.
cresc.
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B q=60
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cresc.
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English Hornfff
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cresc.
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cresc.
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div.
Bq=60
cresc.
cresc.
ff
arco
ff
arco
cresc. cresc.
cresc.
ff
arco
3 3
as you progress, male intervals between statements smaller
tap on body of instrumentcontinue rhythmic figure ad libitum
ff
arco
10
Picc.
Fl.
A. Fl.
Ob.
Cl.
Bsn.
Cbsn.
Hn.
Tpt.
Tbn.
Tba.
Glock.
Mar.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
43
mp
p
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1.
2.
2.
1.
pp
2.
1.
ff
uni div.
p
pizz.uni.
mp
arco
div.
p
pizz.uni.
mp
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div.
p
pizz.uni.
mp
arco
p
pizz.
arco
11
Picc.
Fl.
Eng. Hn.
Glock.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
51
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
Cl.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
54
p
p
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mf
pizz. arco
f
pizz.
pizz.
f
arco3 pizz. 3 3
pizz.
f
div.3
f
pizz.
f
pizz. arco
ppp
ppp
1.
2.
ppp
ppp
ppp
ppp
arco
arco 3
3
3 3 3
pizz.
3
3
3 3
pizz.
3
12
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
Cl.
Hn.
Tpt.
Tbn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
59
f
3
3
f 3
f
f
mp 35
mp
6
pizz. arco
pizz. arco
3
3
3 3
3
3
pizz.
3
3
3
3
arco pizz.
3
3
13
Picc.
Fl.
A. Fl.
Ob.
Eng. Hn.
Cl.
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
65
Eng. Hn.
Hn.
Tpt.
Tbn.
Tba.
Hp.
70
ff
rit.
ff p
3
p
mp
p
ff mf
3
3
f
p
rit.
3
p
p
arco
p
arco
p
arco
3 3
3
mf
mf
mf
mf
14
Hn.
Tpt.
Tbn.
Tba.
80
To Rehearsal C
15
