ruach (for 2 flutes (doubling on piccolo and alto flute), transposed score) (2004)

8/12/2019 Ruach (for 2 flutes (doubling on piccolo and alto flute), transposed score) (2004)

1/26

Ruach12 Miniatures For Two Flutists

ransposed coreby Christian Asplund

Provo: February 2004

Performance Notes:

Alto flute parts are transposed (i.e. written a perfect fourth higher than sounding)in this score. Piccolo parts are written an octave lower than sounding. A concert

pitch score also exists under separate cover.

This piece requires two flutists, each of whom needs a flute, a piccolo, and an altoflute.

Flutists may play different parts in different movements.Program Notes:

Movements are titled after letters of the Hebrew alphabet. Quotes in footnotes andinterpretations of Hebrew letters are taken from Friedrich Weinrebs VOR BABEL, DieWelt der Ursprache, translated by Owen Clark and Rebecca Clark. The movements are

as follows:

d (Daleth: Door)

h (He Window)

w (Waw: Hook)

z (Zayin: Sword)

x (Cheth: Enclosure)

m (Mem: Water)

n (Nun:Fish)

( (Ayin: Eye)

p (Peh: Mouth)r (Resh: Face)

# (Shin: Tooth)

t (Taw: The Cross)

Ruachis a Hebrew word meaning, variously, spirit, wind, sound, tone, voice, vowel. TheRuachis the part of the tripartite soul that animates the nephesh, or body, and binds it to the neshamah,that part of the soul that comes directly from God. Weinreb describes ruachin terms of its role in


2/26

language as the vowels, which have no written representation, and which give voice to theconsonants that provide the form of language. Each of the Hebrew letters has a symbolicmeaning and a number that it represents. The sequence of Hebrew letters symbolically outlinesboth the creation of the universe and the conception and birth of a person. Quotes below and infootnotes throughout the score are from Weinreb.

"Daleth/4: the door of decision[,] conveys that when our experiences carry us to the limits ofusual perceptions and expectations, we face the possibility of going outside of them."

"He/5: the window of life. Helets us know that rather than leave the confines of our world, wemay let in the light of what cannot be expressed here."

"Waw/6 binds the worlds. Waw, as man of the 6th day, is the hook which can bind worldsin a way not possible previously. The story of the Bible likewise binds our world to eternity."

"Zayin: man as weapon. Zayin, man acting in the gratuitous fashion of God, is the weapon tofight the utilitarianism which is the enemy to God."

"Cheth/8: the enclosure of self-satisfaction. Cheth/8 represents the temptation to believe that our

struggles can end while we are yet in this life. It is a small step from the light let in by theopening of he/5 to the darkness of being closed off to all but our own devises and understanding."

"Mem/40: time passes. Mem is 4 on a new level; it is the full duration of movement, hence time."

"Nun/50: the fish swims in time. Nun/50 brings life to time just as the window of he/5 bringslight into the house. Man risks drowning in time, which means losing his individuality inconforming to the demands of this world."

"Ayin/70: the eye sees. The form of ayin/70 shows the connection of waw/6, man andzayin/7,this present world. Ayin takes in everything that can be seen."

"Peh/80: the mouth speaks. From peh, the mouth, comes forth the word, whose poetry andharmony can bring redemption."

"Resh/200: the full head of man appears. With resh/200, the head, man's full face, first appears."

"Shin/300: the tooth digests our experiences. Shin/300,... has 2 forms, dependent upon how man"speaks" his "6's and7's", how man encounters life."

"Taw/400: all ends in the sign of the cross. [It] is truly the end, and also the purpose ofsuffering."


3/26

*"Daleth/4: the door of decision[,] conveys that when our experiences carry us to the limits ofusual perceptions and expectations, we face the possibility of going outside of them."

Transposed Score

= c. 90 Smooth yet precise.Sweeping and Expressive

Christian AsplundProvo: February 2004

d(Daleth: Door)*

Flute

Alto Flute

p

#mf

$ $ & & $( $ $ $ $ $ $ $ & Plain and distinct$ $ & & $ $ & $# ) $+ & $ $ & , & $ $

3

Fl.

A. Fl.

, $f

$( & ) $ & & $ & $( $ $ $ $ $ $ $ $ $ $ $ $ $

5 ##

Fl.

A. Fl.

& $#ff

$ $ & & $ $ , $ $ & & $ $ , $ $ & $ $ &

2


4/26

7Transposed Score

Mysterious. Airy.

q= c. 118-134

H

(He- Window)*h Christian Asplund


*"He/5: the window of life. Helets us know that rather than leave the confines of our world, we may let in the light of what cannot be expressed here."

Alto Flute

Alto Flute

$mp

% & ') ' ' ' ' ' ' , '-$

mp

' ' ' ' ' ' ' ' % & ') ' ' ' ' '

10

.. ..A. Fl.A. Fl.

$ & ') ' '' ' ' ' ,- & ') ' ' '

' '$ % & ') ' ' ' ' , '-

.

.13 /

/A. Fl.

A. Fl.

$ ,- & ') ' ' ' ' ' ' , ,-$ & ') ' ' ' ' % & ') ' ' ' ' ' ' ' '

16 A. Fl.A. Fl.

$ & ') ' ' ' ' ' ' , '- & ') ' ' ' ' '$ % & ') ' ' ' ' ' , '-

3


5/26

19A. Fl.

A. Fl.

$ % & ') ' ' ' ' ' ' ' %$ & '0 ' ' ' ' ' ' % & ') ') ' ') ' '22 /

/11

.

.A. Fl.

A. Fl.

$ % & '0 ' ' ' ,$ & ') ' ' ' ' ' ' ' '- & '0 ' '.

.25 -

- q= c. 80 -

-A. Fl.

A. Fl.

$ & ') ' ' ' ' ,- SlowerTake piccolo2 2$ ,- & ' ') Vamp until other flutist is ready(as few times as necessary).' ' % 3 ,29

Picc.

A. Fl.

$Piccolo4mf

'5 & 6 &- '' '' &- 3 ' ' ''' '4 6 & ') 6 6 ' ' ' '$mf

espressivo% ' , ' 6 ,-32

Picc.

A. Fl.

$ ' ' ' ' ' ' ' '5 4 3 3 4 ' ' ' ' 4 6 3 & ' ')$ ,- 6 % , ,

4


6/26

35

Picc.

A. Fl.

$ '5 &- 6 4 '5 & 6 ' ' '' ' '6 &-- '5 ' 2 ' ' ' ' 3

$ % 3 , % ' ,-39

Picc.

A. Fl.

$ & ' ') '' ' '& 6 '5 4 & 6 3 ' ' & 6 3 ' ' & 6 6 '$ % 3 , % ' ,-43

Picc.

A. Fl.

$ ' ') 6 & ' ') '- ') ' 6 2 2 & ') ' ' ' ' ' '$ % % % , 3 , ,48

Picc.

A. Fl.

$ 3 6 ' ' ''' ''' & ') ' ' '& 3 4 '-) ' ''& 6 & ')$ , , % %51

Picc.

A. Fl.

$ ,- ' ' , 6 & ' '4 ' '4 ' '4 3 2$ % ,- 6 , , , ,

5


7/26

55

Picc.

A. Fl.

$ 4 ' ' ' '' '''' ' '' '3 3 & ''4 6 & ') 6 6 & ')$ ,- 6 % , 358

Picc.

A. Fl.

$ & ' ', ' 3 6 '' '' % %$

' ,- , , 4'-) ' 6 4''& 4 ''''' ' '362

Picc.

A. Fl.

$ , , , , %$ & ' ' ' & 2 6 4 ' ' ' ' 365

Picc.

A. Fl.

$ ,- 6 % , ,$ ' ' ' ' ' ' ' '' ''3 ' '-- ' 3 4 ' ' 4 ' ' ' ' 668

Picc.

A. Fl.

$ % % 3 6 '$ 6 ' ' ' ' ' 6 ' ' &- 6 3 8 ' ' ' ' ' 4 6 6 & ')

6


8/26

71

Picc.

A. Fl.

$ , , ,- ' % 3 ,$ '- & &- '5 6 2 ' ' '

'& 6 3 '

' ' '& 6 375

Picc.

A. Fl.

$ , 3 3 , % %$ 4 '-) ' '

' ' 3 &- '5 '- ' 3 4 ' '' ' '6 6 ' ' 3 6 '79

Picc.

A. Fl.

$ % % 2 %$ ' ' '' ' '& ') , 2 4 '9& '9& '9 6 & '0 '' & 6 ' '& 683

Picc.

A. Fl.

$ 2 % 2$ 3 6 & ' ' & ') ' & '0 '0 & '9 4 & 6 '9 4 & 686

Picc.

A. Fl.

$ % 2 % %$ 4 ' '& 6 3 4 '- ' '94 & 6 & '0 6 6 & 2' '

7


9/26


10/26

Transposed Score

= c. 95-110

z(Zayin: Sword)* Christian Asplund


102

Flute

Alto Flute

#mp

$ Non vibrato. Smooth and somewhat breathy.$ $ $ $ $ $ $ $ $ $ $

mp

Precise and marked.$) * $+ *, $)* $+ *, $) * $+ *, $)* $+ *, $) * $+ *, $)* $+ *, $)105

Fl.

A. Fl.

$ $ $ $ $ $ $ $ $ $ $ $ * $+ *, $) * $+ *, $) * $+ *, $) * $+ *, $) * $+ *, $) * $+ *, $)108

Fl.

A. Fl.

$ $ $ $ - Sweetly$ ., * $+ *, $)* $+ *, $) * $+ *, $)* $+ *, $) $ $ * *

$/ * $/ $,/ #111

Fl.

A. Fl.

$ $ $ $ $ $ $ $ - $ $ * * $/ * $/ $,/ # $ $ * * $/ * $/ $,/ # $ $ * * $/ * $/ $,/ #114

Fl.

A. Fl.

p

. . . . . .

*"Zayin: man as weapon. Zayini, man acting in the gratuitous fashion of God, is the weapon to fight the utilitarianism which is the enemy to God."

$ $ * $/ $/ * $ $ * $ $ * $ $ * $/ $/ * $ $ * $ $ *

9


11/26

117

Fl.

A. Fl.

. . . . . . $ $ * $/ $/ * $ $ * $ $ * $ $ * $/ $/ * $ $ * $ $ *120

Fl.

A. Fl.

. . . . . . $ $

* $/ $/ * $ $* $ $ *

$ $* $/ $/ * $ $ * $ $ *

123

Fl.

A. Fl.

. . . . . . $ $ * $/ $/ * $ $ * $ $ * $ $ * $/ $/ * $ $ * $ $ *126

Fl.

A. Fl.

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ - -128 0

0

Fl.

A. Fl.

$ $ $ $ rit.$ $ $ $ $ $ $ $ -1 - . -1

10


12/26

131Transposed Score = c. 108-132x

Christian AsplundProvo: February 2004

*"Cheth/8: the enclosure of self-satisfaction. Cheth/8 represents the temptation to believe that our struggles can end wh

we are yet in this life. It is a small step from the light let in by the opening of he/5 to the darkness of being closed of

to all but our own devises and understanding."

(Cheth: Enclosure)* Alto Flute

Alto Flute

# mp$ $ $ $ $ $ $ $ $ $ $ $ $ $ mf$ $ $& $' $ $ $# $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $& $' $ $134 (

(

A. Fl.

A. Fl.

# $ $ $ $ $ * $+ $& $ $ f$ $ $ - $ $# - $ $ $ $ $ $ $ $& $ $+ $ $ $'138 A. Fl.

A. Fl.

#mf

$& $' $ $ $ $mp-# $ $ $ $ $ $ $ $ $ $ $ $ $

140 &&A. Fl.

A. Fl.

# $ $ $ $ $ $ $ $ $ Switch Parts$ ,# $ $ $ $ $ $ $ $ $ $ ,

11


13/26

142Transposed Score = c. 110-155 Christian AsplundProvo: February 2004m

(Mem: Water)* $$

Alto

Flutes

%f

. . . . . . . . & & & &% # #*

* ** #

* **

*#

**

* *& & & &

145 $$

A. Fl.

% # # # #p

& & & * *% . . .

** *

*. . .

** *

. .

* * * * , & * * & *148 $

$

A. Fl.

%f

& *- . * * & *- .p

* * . * * */ & & 0% * * * *- . * * * * * *- . * * * * * & * 0

153 ##A. Fl.

%f

* * * * * * * * * * * * * * *% . * * *- *- * * */ */ * * */ */ * * *- *- * * */

##

158 A. Fl.

% * * * * * * * * * * Switch Parts*%

*"Mem/40: time passes. Mem is 4 on a new level; it is the full duration of movement, hence time."

*/ * */ */ * * *- *- * * *- *- * * *-

12


14/26


15/26

174

Fl.

% % % % % % % % % % % % % % % % % % % % %% % % % % % % % % % % % % % % % % % %176

Fl.

% %% %

% %% %

% %% %

% %% % % %

% %% %

% %% % %

%% %

% %

178

Fl.

% %% % % %

% % % %% %

% %% %

% % %% % % % % %

% % % % %% %

180

Fl.

% %% % % %

%% %

%% % % %

% % %% % %

% % %% % %

% %% %

% %

182

Fl.

%% % %

% %% %

% % %% % %

% % %% % % %

% %% %

%% %

% %% %

14


16/26

184 00

11

Fl.

( % % % % ( % %

% %% %

% %% % + %2 % % % % %

% %% %

% % %%

%% %

11

A bit faster

186 Fl.

%%% %

%%%% %

%% %

%%%%

%%% % %

% %%%%%

%%%

% % % % %%188

Fl.

%% %

%%%% %

% % %% % %

% % %% % % % % % %

% % % % %% %

%190

Fl.

% % % % % % % % % % % % % % % % % % % % % % % % %

% %% %

% % % % %% % % % % %

% %% %

192

Fl.

% % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % %

15


17/26

194

Fl.

%%%% %

%

%

% %

%

% %

%

% %% % %

% % %% % % %

% %% %

% % %196

Fl.

%% % % % %

%% %

%% %

%% %

% % % % %% % % % %

%% %

%% %

%

198

Fl.

/ , , , , % %

% % %

%

% %

/ , , , ,203

Fl.

p

) % % % % / % % % % % % % % / % % % % /205

Fl.

/ % % % % / % % % % ,3

% % % % / % % % % / ,3

16


18/26

208

Luminous

((Ayin: Eye)* Christian Asplund


Flute

Flute

Sing lower pitch

p

# % % % # % %Sing lower pitch

% % # % % % %215

Fl.

Fl.

% % % % % % % % ( #) % ( #) % % % % %223

Fl.

Fl.

% % * ( # %pp

% % # % % %

# %

229

Fl.

Fl.

* ( # %p

% % % % % % % % % %235

Fl.

Fl.

% %pp

% % % %

*"Ayin/70: the eye sees. The form of ayin/70 shows the connection of waw/6, man andzayin/7, this present world. Ayin takes in everything that can be seen.

% % % % % %

17


19/26

241Trasnposed Score

= c. 95 With Intensity.(Peh: Mouth)*

sChristian Asplund


##

%%

Alto FluteFlute

&p

mp

'( ' '(Triangle notehead on first space = exhale audibly (not into flute)

Triangle notehead on fourth space = inhale audibly (not into flute)' ) )( +(&inhale audibly

(not into flute)

' # # ' ' ' # # ' # ' # , #- '- # '( # #.245 /

/00

$$

A. Fl.

Fl.

& '( 'exhale audibly

(not into flute)' '( ) '( )(& ' # # ' # , #. ' # , '- #( ' # # , ' # # , '- # # ,

$$

249 ##

$$A. Fl.

Fl.

& 3 ) )& ' # # , '- # # '. # # ' ' ' # # 4 ' # # 4 #5 # # #

$$

252

A. Fl.

Fl.

&exhale audibly

(not into flute)

mp

# # ,inhale audibly

(not into flute)# # , '- , '- , # # , # # , '- , '- ,&

*"Peh/80: the mouth speaks. From peh, the mouth, comes forth the word, whose poetry and harmony can bring redemption.

pp'5 4 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54

18


20/26

254

A. Fl.

Fl.

& # # , # # , '- , '- , # # , # # , '- , '- ,& '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4256

A. Fl.

Fl.

& # # , # # , '- , '- , # # , # # , '- , '- ,& '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4258

A. Fl.

Fl.

& # # , # # , '- , '- , # # , # # , '- , '- ,& '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54 '6 4 '6 4 '54260

A. Fl.

Fl.

& # # , # # , '- , '- ,& '6 4 '6 4 '5 4 '6 4 '6 4 '5 4 '6 4 '6 4

19


21/26

261

Dolcissimo

Transposed ScoreChristian Asplund


*"Resh/200: the full head of man appears. With resh/200, the head, man's full face, first appears."

= c. 72-88r

(Resh: Face)*

Piccolo

Alto Flute

mp # # # # # # # # # # ' # # # # # # # # # # #

264

Picc.

A. Fl.

( # # # # # # # #) #* # # # # # # # # # # # #267

Picc.

A. Fl.

#) # # # # # ) # # # # # # # # # #270

Picc.

A. Fl.

# # # # # # # # ) # ( # # # # # # # # # # # # (

20


22/26

274q= c. 100#

(Shin: Tooth)*Christian Asplund

Provo: February 2004##

Piccolo

Piccolo

$f

%& %& ' ' ' ' ' ' %&$

f

' ' ' ' ' ' %& %& %&

##

278 Picc.

Picc.

$+& + +& ' ' ' ' ' ' %& ' ' ' ' ' '

$ +& + +& %& %& ' ' ' ' ' '282 #

#

Picc.

Picc.

$% + ' ' ' ' ' ' ' ' +

$ + % ' ' ' ' ' ' ' ' +

285 ##

Picc.Picc.

$ ' ' '' ' ' ' ' ' ' ' ' ' ' ' '

' '' ' ' ' ' ' , ' ' 6

$*"Shin/300: the tooth digests our experiences. Shin/300,... has 2 forms, dependent upon how

man "speaks" his "6's and7's", how man encounters life."

' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' , ' ' 6

21


23/26

287 ##

Picc.

Picc.

$ ' ' ' - ' ' ' ' ' ' ' ' '' ' ' ' ' ' ' ' ' ' ', ' '6 6

$ ' ' ' - ' ' ' ' ' ' ' ' '' ' ' ' ' ' ' ' ' ' ', ' '6 6

##

289

Picc.

Picc.

$' ' ' ' ' ' ' ' ' ' ' ' ' - ' ' '

$ ' ' ' ' ' ' ' ' ' ' ' ' ' - ' ' '

290 Picc.Picc.

$ '' ' -

' ' ' -'. -

'.

' ', - '

' ' ' ' ' ' '' ' '

$ ' ' ' - ' ' ' - '. - '. ' ' , - ' ' ' ' ' ' ' ' ' ' '

292 ##

Picc.Picc.

$ ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' -

$ ' ' ' ' ' ' ' ' ' ' ' ' '' ' ' ' ' ' ' ' ' ' ' , ' ' 6

22


24/26

294 ##

Picc.

Picc.

$ , ' ' '. - '. - ' ' ' - ' ' ' ' ' ' - ' ' ' '

$' ' ' - '

' ' ' ' ' ' ' '' ' '' ' '' ' '' ' , ' '

6 6

##

296

Picc.

Picc.

$ ' ' ' ' ' ' ' ' ' ' ' , ' ' ' ' ' ' 6

$ ' ' ' ' ' ' ' ' ' ' ' ' ' - ' ' '297

Picc.

Picc.

$ ' ' '' ' ' ' ' ' ' ' ' ' ' - ' '

'6

$ ' ' ' - ' ' ' - '. - '. ' ' ,298

Picc.

Picc.

$ ' ' , '' ' ' ' ' 'dim. poco a poco al fine

'' ''' ' ' ' ' ' ' ' ' ' ' ' ' '6

$ -' '' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '

23


25/26

301 Picc.

Picc.

$ ' ' ' ' ' ' ' ' ' '

$ '' ' ' %&

303

Picc.

Picc.

$ %& / ' ' ' ' ' ,p

%&$ / ' ' ' ' ' %& , %&

24


26/26

306simple. profound. optimistic = c. 90-118t

(Taw: The Cross)*

Christian Asplund

Provo: February 2004Flute

Flute

#Cross to opposite sides of the stage (this movement only). Flutist on stage left should

move to edge of stage right. Flutist on stage right should move to edge of stage left.

mp

$ & $% & $ ( $ $ $ ) $ $ $ $ )# * mp$ & $+ & $ ( $ $ $ ) $ $ $ $309

Fl.

Fl.

# $ $ $ $ $ $ $ $ $.f

$% /# ) $ $ $ $ $ $

f

$ $ $. $% )312

..Fl.

Fl.

#$ $ $ $ $ $ $ $ $ $ $ $

p

Switch Parts(attacca)

$ $ $+ $ $ $ $ $ $ $ $ $ $p

$ $

25

ruach (for 2 flutes (doubling on piccolo and alto flute), transposed score) (2004)

Documents