NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the...

32
NATHANIEL BARTLETT FOR FOUR GLOCKENSPIELS COMPOSED APRIL 2017 NATHANIELBARTLETT.COM © NATHANIEL BARTLETT, 2017

Transcript of NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the...

Page 1: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

NATHANIEL BARTLETT

FOR FOUR GLOCKENSPIELS

COMPOSED APRIL 2017

NATHANIELBARTLETT.COM

© NATHANIEL BARTLETT, 2017

Page 2: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

GUIDE TO THE NOTATION

page i // solar sequence

TIME

In this score, time is strictly graphically represented in the horizontal domain. Horizontal distances in the score are exactly proportional to duration (a horizontal distance of 2cm represents a span of time twice as long as a horizontal distance of 1cm). The vertical gray dashed lines serve as a guide for the performer in orienting musical events in time. These dashed lines are different from conventional measure lines in that they represent specific points in time. However, the time span between two adjacent gray dashed lines will be referred to as a measure.

The time scale of the piece (tempo) is given at the beginning of the piece (two seconds per measure).

Note B is longer than note A

A B

A headless dashed stem located between the first and final stems may be used to show a precise point in time, such as the exact temporal location of a dynamic marking.

Ametric notes which are laissez vibrer or that quickly decay naturally (for example, a single bongo strike with a snare drum stick) are depicted with a short, hollow, pointed beam and no terminal stem. In this abbreviated notation, the beam does not reflect duration. Such notes, if temporally close enough, will share a single beam.

p f

Grace notes are notated with smaller note heads, narrower beams (w/ 45 degree hash mark), and thinner note stems. Grace notes are anchored to the principal note, which has a precise temporal location. The horizontal location of a grace note's stem does not necessarily correspond to its temporal location.

In this composition there are two different types of grace notes: single hash and double hash. Single hash grace notes are to be played fast, but not "crushed." Double hash grace notes are to be played very close (flams).

Purple bars are used to highlight even, repeated notes of two different speeds: slow (three to a measure) and fast (eight to a measure).

NOTES

A note begins at the point in time designated by the horizontal position of a stem, which is attached to a circular note head. In my notation system, four different colors are used to distinguish between notes with different metrical and temporal properties: ametric notes (blue), quasi-metric notes (green), metric notes (dark gray), and time-shifted metric notes (purple). In this composition, only ametric notes are used. Ametric notes have no metrical properties. An ametric note's duration is graphically represented by the length of its beam. The termination of an ametric note is shown by the horizontal position of a final stem attached to the beam.

Page 3: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

PERFORMANCE NOTES

POSITIONING OF SETUPS

The four glockenspiels may be positioned around the audience (ideal) or in front of the audience.

page ii // solar sequence

If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective).

Electronics may be used to spatialize the sound of each glockenspiel. If using electronic spatialization, the idea is to translate the high-to-low (left-to-right) space of the instrument into a vertical space (low notes at bottom). If using a horizontal-only loudspeaker array, the glockenspiels may be spatialized horizontally (see diagram above).

2

performer

1

performer

3

pe

rform

er 4

pe

rform

er

audience

GLOCKENSPIEL TECHNIQUES

dead stroke

DYNAMICS

solar sequence is to be performed at a consistent / narrow dynamic level.

Page 4: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 1 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

� �� �

�� ��� � � �

0

� �� ��

5

10

� � � �

� �� � � �

����

� �

� � � � �

� ���

� �

� � � � � � � �

TIMESCALE: 2 sec. per measure

Page 5: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 2 // solar sequence

15

20

25

1

2

3

4

1

2

3

4

1

2

3

4

� � �

� �� � �� ��

� � � �

�� � ��

� ��

��

� �

� �

� ��� �

�� ��� ��

� ��

� � �� � �

��

Page 6: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 3 // solar sequence

30

35

40

1

2

3

4

1

2

3

4

1

2

3

4

�� ���

��

��

���� � � � � �

�� ��� �

� ��

�� � � � � � � ��

��� � ��

� � �

( ( � ��

�� �

� �� � ��

� � �

� � � � �� � � � � ��

Page 7: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 4 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

( (45

50

55

�� � � ��� ���

� �� ��

� � �

� ��

�� � � � �� ���

� �� � �

�� � �

����� � �

� ���

�� � �

��� � ��

� � � � � � � � �

Page 8: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 5 // solar sequence

60

65

70

1

2

3

4

1

2

3

4

1

2

3

4

�� � ��

� � ���

� �

�� � � ��

� � �

� � � �

�� � � � �

� � ��

� � � ��� �

� ��� �

� � �

���� � � �� �

Page 9: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 6 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

75

80

85

���

� � �� �� �

( ( �

� �

( ( �� �

�� ��� �� �

���

�� ��

� � � � � �

� � � � ��

�� ���

Page 10: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 7 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

90

95

100

����

� ��� �� ��

� � �� � � � ��

� � � ��

� � � ��

�� �

�� �� � �

� �

( ( ��

���

� �

�� � � � � � �

�� �

� ��

�� � � � � � �� ��

� �

� �� � � �

Page 11: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 8 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

105

110

115

( ( ��� �

�� ��� � ��

( (� ���

��

�� �

�� �

���

�� � ��

��� �� � �

���

( ( ��� � � � � � �� �

� � �� �

Page 12: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 9 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

120

125

130

�� ��� � � � � � �

���� �� ��

�� � ��

� � � � �

� � ���

� � � �� �

� � � � ��� �

� ��� � � �

� �� �

�� � �

�� � �� � �� � � � �

�� ��� � ����

Page 13: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 10 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

135

140

145

� � ��

� � � �

� � �

� � � � � � ����

� � � �� � � �

� � � �� �

� �� �� ����

� �

� � � � � �

�� ��

( (

Page 14: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 11 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

150

155

160

�( ( �� ��

��� � � � � �

��

� �� � � � � � �

��

� � � � � � � �

� �� �

� � � � �� � �

� �� � � � � � � � � � � � � ��

� � � � � � �

��

�( (

� �

Page 15: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 12 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

165

170

175

� � � � � �

�� �

�� �

� � � � � � � � � � � � � � � � � � �

� � � � ��

���

�� �

��

��

� � � � � � � � � � � � � � � � � � � ��� �

��

�� � ��

� � � �� �

���

��

� ��

� �

Page 16: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 13 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

180

185

190

� �

� � �

� �

� �

� � � ��� �

� � � � �

� � ��

�� �

� �� � � � �

( (

Page 17: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 14 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

195

200

205

� �

� � �

� ��

� � �

� �� � ���

� � � � � � �

� ��

��

Page 18: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 15 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

210

215

220

� �� � � ����

� � �� � � � � �

��

�� �� � �

� � � � �

� ��

� � � ��

( (

Page 19: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 16 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

225

230

235

� � � �

��

� �

� � �

� � �� �

�� �� �

� � ��

� �� � � � � ��

��

� � � �

� �

Page 20: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 17 // solar sequence

1

2

3

4

1

2

3

4

1

2

3

4

240

245

250

� ��� � ���� �� �

��

��

�� �

��

��

� � ��

� � � � � ���� � � �

����

� ��� ����

�� � �� ��

�� � � �

� �� ��� �� �

��

��

������ � � � �

� �� � �

� � �

� � �

Page 21: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 18 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

255

260

265

� � � � �� ��

� �

�� ��

��� � �

�� �

� � � �

� ��

�� � ���

�� �

���

� �� �

Page 22: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 19 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

270

275

280

�� �� � � � �

�� � � �

� � � ��� �� � �

� � � � �� �� � � �

�� ���

��� �

� � � � � � � �

�� �� �� � �

� �

� � � �

� � �

��

Page 23: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 20 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

295

285

290

��� �

� � �

� � ��

� � � � � � �

� � � ��

���

� � � �

� � �

� �

��

Page 24: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 21 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

300

305

310

� ��

�� ��

� ��

� ��

� �

�� �

�� ��

� � � � ��� ��

�� ��

��� �

�� � ��

� �� � �

Page 25: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 22 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

315

320

325

��� ���

��

� �

��

� �

�� ��

��� ��

� �

�� � � �

� ��� � �

�� �� �

Page 26: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 23 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

330

335

340

� �� � � � � �� ��

�� ��

��

� � �� � �

� ��

� � � �

� � � �

�� � � � �

�� � � � � � � � � �

Page 27: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 24 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

345

350

355

�� ��

��

��

��

� � ��

�� �� �� � �

� � �

� �

� � �� � ��

� �� � �

Page 28: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 25 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

360

365

370

��

��

( ( �� �

�� �

�� �

��

� ��

�� � � ��

��

��� � �

��

�( ( � ��

� �

���

�� �

���

�� �

� �

Page 29: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 26 // solar sequence

1

2

3

4

2

3

4

1

2

3

4

375

380

385

��� �

��

( (

� �

� �

� ��

� � � � ��

� �

��

� � �

� �� ��

� ��

� � � � ��

Page 30: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 27 // solar sequence

390

395

400

1

1

2

3

4

2

3

4

1

2

3

4

��

� � � �

��

� � � � ��

� � � � � �

Page 31: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

page 28 // solar sequence

1

1

2

3

4

2

3

4

1

2

3

4

405

410

415

� �� �� � �

��� �

�� � ��

�( ( � � � �

�� �� � ��

� � � �

� � � � � ���

� � �

� � � � � � �(7)

� � � �

��

� � � � � � �

� � � � � � �

Page 32: NATHANIEL BARTLETT · page ii // solar sequence If performing in front of the audience, the configuration should be 1, 4, 2, 3 (from left to right, audience's perspective). Electronics

The last two pages of the score are not included in this PDF. To acquire a score for performance, please email me:

[email protected]