Small Movements in the Soul
18
Small Movements in the Soul for Pipa, Yangqin, Erhu, and Guzheng Jared Redmond 2013
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pipa, erhu, yangqin, guzheng. 14', 2013
Transcript of Small Movements in the Soul
Small Movements in the Soulfor Pipa, Yangqin, Erhu, and Guzheng
Jared Redmond2013
Written for Music From China
Dedicated to Wang Guowei, Helen Yee, Sun Li, and Hui Weng
www.jaredredmond.com
Program Note:
In ancient philosophies of both the East and West there seems to be a commonality: the preference of restraint over decadence, moderation over extremity. The Chinese Record of Music held that the “true glory of music” lied in omitting tones rather than including them; Greek philosopher Democritus attested that “souls which move across large intervals” (in response to too much excess) “are neither stable nor content”. Restraint and moderation is characterized as ethical, aesthetically elegant, and even a defense against emotional or spiritual harm.
Small Movements in the Soul is a musical reflection on just this sort of restraint. Throughout, the pipa, a four-stringed Chinese lute, acts as a solo voice, exploring its individual expressivity. The other three instruments respond, occasionally commenting on what the pipa plays, occasionally proceeding as if having taken little notice. Sometimes the pipa engages with the ensemble in dialogue; rarely, the ensemble seems to be drawn in, and all four instruments tentatively unify. The ancient Chinese phrase “one sings, and three join in harmony” resonates here. According to scholar Stephen Owen, in ancient Chinese thought the “perfect music holds back from overwhelming force; the sense that something is omitted brings response from others, draws them in. The phrase 'one sings, and three join in harmony' will come to be commonly used for precisely such aesthetic restraint as engages others.”
For both the “solo” part and the rest of the quartet, every musical action takes place in an expansive silence, as if placed carefully on a vast, white canvas. The single note becomes a beacon of meaning and delicacy; a gentle, sensuous gesture in the whole ensemble carries surprising sonic impact.
A dialectical relationship thus obtains between the voice of the one and the voice of the many, and between decadence and asceticism. The pipa, associated during the Song Dynasty with erotic poetry, also carries connotations of seduction or longing, bringing new meaning to its moments of temperance or sensuality. Furthermore, the work's aesthetic of restraint ultimately “escapes” its own boundaries, extending even into the concert hall. A listener is encouraged, through the music's sparsity, to focus in on individual sounds decaying into silence, the spaces (like slow breathing) between phrases, and subtle differences between bell-like chords. Small Movements aims to be more than an exploration of old ideas; it is an invitation to listen – and experience – with an intensity we are in danger of losing.
Duration: 10-12 minutes
"The true glory of music is not the extreme of tone; the rites of the Great Banquet are not the ultimate in flavor. One sings, and three join in harmony: there are tones which are omitted."
– The Record of Music (Yue Ji 樂記) (circa 5th c. BCE – 2nd c. CE)
“Here [in the Yue Ji] the aesthetics of omission, so important in later Chinese literary thought, is given its earliest expression in an ethical context. The perfect music holds back from becoming an overwhelming force; the sense that something is omitted draws others in and brings response. The phrase 'one sings, and three join in harmony' will come to be commonly used for precisely such aesthetic restraint that engages others. […] [O]mission is the embodiment of the principle of proper limits in sensuous satisfaction.”
– Stephen Owen
“For men gain contentment from moderation in joy and a measured life: deficiencies and excesses tend to change and to produce large movements in the soul, and souls which move across large intervals are neither stable nor content.”
– Democritus (c. 460 – c. 370 BCE)
Notation:
Note is bent up from its normal position
Denotes vibrato. Sometimes a specific style of vibrato is specified.
Guzheng tuning:
Pipa:
For tremolos and repeated notes, do not use lun unless explicitly notated.
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&?
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Erhu
Pipa
Guzheng
Yangqin
~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~
≈jœ
œbbflŒ Ó
∑
≈ .jœnflŒ Ó
≈ .Jœb> ˙ ‰ Jœ-
∑
≈ ....jœœœœ
bbb flŒ Ó
∑
Pz
Pz
Pz
Fz
pizz.
p
*) Imagine the sound of tied notes as if continuous throughout.
*)
Tempered, restrained, cultivated q = 40 c
∑
∑
∑
.œ œb ˙ œrœ Jœ>3
∑
∑
∑
(vibrato) slow
∑
∑
∑
w
∑
∑
∑
∑U
∑
∑U
.˙( ) ŒU
∑
∑U
∑U
**) Notes in parentheses do not actually
sound; vibrate without striking.
vibrato noise
∑
∑
∑
≈ .Jœb( ˙ )
∑
∑
∑
(vib.) fast**)
Small Movements in the Soulfor Pipa, Yangqin, Erhu, and Guzheng
Written for Music From China
Jared Redmond 2013
Dedicated to Wang Guowei, Helen Yee, Sun Li, and Hui Weng
3
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Er.
Pa.
Gz.
Yq.
~~~~~~~~~~~~~~~
6
∑
∑
∑
≈ .Jœb> ˙ œ ≈ jœ
+œn
∑
∑
∑
(bend)
p Fz
∑
∑
∑
Jœ .œ- ˙
∑
∑
∑
p
∑
∑
∑
œ œœœ œb + œ Jœ .œ+
∑
∑
∑
∑
∑
∑
œ œb+ œ œ œ œ œ> œ œ œ œ œ œ
3 7
∑
∑
∑
quasi vibratosim.
F
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&?
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Er.
Pa.
Gz.
Yq.
~~~~~~~~~~~~~
10
‰ .rœ
œnbfl
Œ Ó
∑
‰ . rœnfl
Œ Ó
≈ rœb> .Jœb> œ œ œn œ
∑
‰ .rœœœœ
bb# flŒ Ó
∑
pizz.
Fz
Fz
Fz
pFz
∑
∑
∑
œ Jœ œb œ œb> œ
3
∑
∑
∑
Fz
slow
∑
∑
∑
œ œb œ- .œ œ ˙
3
∑
∑
∑
π
∑
∑
∑
Œ œb œ œ>̇ œ .œ
∑
∑
∑4
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Er.
Pa.
Gz.
Yq.
~~~~~~~
14
∑
∑
∑
≈ .jœb-
œ
Uœ œb œ .œ œ
œœo
>˙
5
∑
∑
∑
P
poco f
∑
∑
∑
œ œ
>œb œJœ ˙ œ œ
3
∑
∑
∑
p
vib. ad libitum
∑
∑
∑
œ œbœœo œ
.œb - .œ œœJœ5
∑
∑
∑
poco dim.p
∑
∑
∑
œ œb œ œ œ œ œ œ œ œ œ ŒU3 3 5
∑
∑
∑
∏
long
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Er.
Pa.
Gz.
Yq.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
18
∑
∑
∑
œbœœo
.œb - rœ Jœ
3
∑
∑
∑
π
∑
∑
∑
œ œb .œ œœœ œœœo>
3
∑
∑
∑
dolciss.poco
∑
≈ . .œbæ œæ Œ
≈ .Jœb .Jœ ≈ Ó
˙
≈.jœb
>.˙
∑
∑
‰ œb + œb œ .œ@ œ œ rœ#
rœn œ r
œ
‰ .3 5
5
p
π
fast to slow
senza vib.arco
π
sub.f
∏
gliss.
let ring
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
5
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&?
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Er.
Pa.
Gz.
Yq.
23
œ œ# Rœb œ œn œ# œ œb œn œb œA rœn œ ≈ ŒU
∑
œ œ# Rœb œ œn œ# œ œb œn œb œA rœn œ ≈ ŒU
∑U
∑
œ œ# + œn œ .œ# + œ œb ≈ ŒU
∑
π
π
(π)
(long)
(long)
(long)
(long)
more motion, vague q = 58 c
∑
∑
∑
∑
œ# œ ...˙˙U̇
∑
∑
p dolciss.
Tempo Primo
∑
∑
∑
∑
œn œ ...˙˙U̇
∑
∑
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&
&?
&?
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Er.
Pa.
Gz.
Yq.
26
Ó ‰œ œ# Rœb œ œn œ# œ
∑
Ó ‰œ œ# Rœb œ œn œ# œ
∑
...˙˙˙ Œ
Ó ‰œ œ# + œ œn œ# +
œ œ# + rœ œ
+ œb œ œb@ œn!+
œ! œb! ‰ Œπ
more motion
œb œn œb œb rœn rœ ‰ . ÓU
∑
œb œn œb œb rœn rœ œn !
œb !œb ! r
œn œ!œ# ! ‰U
∑U
∑
.œ œb Œ ÓU
∑
P
P π
π p
(long)
(long)
(long)
(long)(P)
6
&
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&?
Er.
Pa.
Gz.
Yq.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
28
∑
∑
∑
‰ jœ# œ> .œn
+œ œ œœ .œ
∑
∑
∑
p
vib. ad libitum
Tempo Primo
∑
∑
∑
.˙ Œ
∑
∑
∑
∑
∑
∑
Ó˙(
∑
∑
∑
vibrato noise
∑
∑
∑
.˙ œ ) jœ
3
∑
∑
∑
senza vib.
p
∑
∑
∑
œ Rœ> œb ˙
5
∑
∑
∑
push
Fz
∑
∑
∑
.˙( ) rœb>+œ
∑
∑
∑
&
?
&
&?
&?
Er.
Pa.
Gz.
Yq.
~~~~~~
~~~~~~~~~~~~~~~~
34
∑
∑
∑
œ œ œb œ œn - œ œ œUœ œ œ œ
-œœbœb œ
3 3 5
3
∑ ?
∑
F pp
∑
‰ . rœœfl
Œ Ó
∑
∑
w-
‰ . rœfl
Œ Ó &
‰ . rœœœ
#b flŒ Ó
p
p
∑
∑
∑
Ó Œ ≈ rœn .Jœb
-
.˙ Œ
∑
∑
più p
∑
Œ ‰ . rœœfl
Ó
∑
œœ
œ œn
3
.˙# -
∑
Œ ‰ . rœœbfl
Ó
più p
più p
7
&?
&
&?
&?
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Er.
Pa.
Gz.
Yq.
~~~~~~~~~~~~~~~~~~~~~~~~~~~
38
∑
≈ ..jœœflŒ Ó
∑
∑
.˙ Œ
∑
≈ ..jœœbfl ˙
(bend Eb to E and back)fast
p
p
∑
∑
∑
∑
∑
∑
œ ..˙˙bslow
∑
∑
∑
∑
∑
∑
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ wwwU
∑
∑
P espress.
∑
∑
∑
∑
œn œ wwwU
∑
∑
p
∑U
∑
∑U
∑
wnu
∑U
∑
slow
più p
&
?
&
&?
&?
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83
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83
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Er.
Pa.
Gz.
Yq.
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w
æ
∑
Ó ˙
Ó Œœ# æ
∑
Œ.˙
æ
∑
gentle vibrato
∏
∏
∏
∏
Very spacious and serene. .œæ ≈
∑
˙
æ̇
∑˙
æ
∑
wbæ
∑
Ó ˙#
Ó Œœæ
∑
Œ .˙næ
∑
.Ͼ
∑
.œ
.œæ∑
.Ͼ
∑
wbæ
∑
Ó ˙n
Ó Œ œæ
∑
Œ .˙#æ
∑
.˙æ
∑
.˙
.æ̇
∑
.˙æ
∑
p
p
p
p
wæ
∑
JœN Œ Œ˙
3
jœæ Œ Œ Œ
œb æ3
∑
Jœaæ Œ .˙æ3
∑
∏
∏
∏
∏
8
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&
&?
&?
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83
83
83
83
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Er.
Pa.
Gz.
Yq.
52 .Ͼ
∑
.œ
.œæ∑
.œæ œ# œ œb œ#
∑
gliss.
Jœ. ‰ Œ Ó Œ
∑
jœ
‰ Œ Ó Œ
∑
˙˙˙# æ ...˙˙˙æ
Jœ. ‰ Œ Ó Œ
∑
∏3-string lün
Contemplative. Listen carefully
∑
∑
∑
∑
˙˙˙n æ ...˙˙˙æ
∑
∑
∑
∑
∑
∑
˙˙˙# æ œœœæ
∑
∑
∑
∑
∑
∑
...Jœœœ@ ‰ .
∑
∑
∑
∑
∑
∑
...˙˙˙# æ ˙˙˙æ
∑
∑
∏
&
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&
&?
&
?
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Er.
Pa.
Gz.
Yq.
58
∑
∑
∑
∑
Jœœœ@ œb - œn - ...˙˙̇æ œœœœææ3
∑
∑
P
∑
∑
∑
∑....˙˙˙˙æ
œœœœæ
œœœœ
bb æ
∑
∑
poco
∑
∑
∑
∑....˙̇˙˙æ
˙˙˙˙n# ææ
∑
∑
∑
∑
∑
∑....˙̇˙˙bb æ
æ ˙̇˙˙æ
∑
∑
≈ ..
jœ
œbbflŒ Ó
∑
≈ .jœnflŒ Ó
∑
∑
≈ ..jœœbb flŒ Ó
≈ ..Jœœ#b˘
Œ Ó
p
p
p
pizz.
Like distant bells
tempo primo (q = 40 c)
9
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&?
&?
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Er.
Pa.
Gz.
Yq.
63
∑
∑
∑
∑
∑
∑
∑
≈ ..
jœ
œbbflŒ Ó
∑
≈ .jœnflŒ Ó
∑
∑
≈ ..jœœbb flŒ Ó
≈ ..Jœœ#b˘
Œ Ó
p
p
∑
∑
∑
∑
∑
∑
∑
Œ ‰ .rœ
œnbfl
Ó
∑
Œ ‰ . rœnfl
Œ ‰œ œ#
∑
∑
Œ ‰ .rœœœœ
bb# flÓ
∑
Pz
Pz
Pz
∏
arco
&
?
&
&?
&?
Er.
Pa.
Gz.
Yq.
67
∑
∑
Rœb œ œ œ# œ œb œn œb œb rœn rœ ‰ . Œ
∑
∑
∑
∑
π
(in tempo of its previous appearance)
‰ .rœ
œbbflŒ Ó
∑
‰ . rœnfl
Œ Ó
∑
Œ ‰œœ œ
Jœœœœ
Ó
‰ .Rœœœœ
bb# ˘ Œ Ó
Œ ‰ jœb @
Ͼ Ͼ
pizz.
p dolce
π
p
p
p
∑
∑
∑
∑
∑
∑
∑
≈ ..Jœœb˘ Œ Ó
∑
≈ Jœb˘ ≈ .˙
∑
∑
≈ ....Jœœœœ
#bb#˘ Œ Ó
∑
Fz
Fz
Fz
∏espress.
arco
10
&
?
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&?
&?
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43
Er.
Pa.
Gz.
Yq.
71
∑
∑
œ œ# œœœ œ œ ˙
∑∑
∑
∑
gliss.
π
‰œb > œb œ j
œ# . .œ rœ
∑
Rœ ‰ . Œ Ó
∑∑
‰œb > œb œ j
œ# . .œ rœ
∑
π p
π p(bend)
jœ
œnæ .˙æ3
∑
Œ ˙n Jœ ‰
∑∑
Œ Œ jœb .
3
Ó œb . œ# .œ. œæ
3
P
P π
∏
espress.
π poco
&
?
&
&?
&?
43
43
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Er.
Pa.
Gz.
Yq.
~~~~~~~~~
74
∑
∑
∑
‰ œn - Œ Ó3
‰ . rœ# - œ œ# œ
œ œ œbœb œ
œn œa5 6
∑
rœ
‰ . Œ Ó
p
Ó Œ . . Rœœb˘
∑
Ó Œ . . Rœ#
∑
∑
Ó Œ . . Rœœœœ
#bb#˘
∑ π
π
∏
11
&
?
&
&?
&?
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47
Er.
Pa.
Gz.
Yq.
76
∑
∑
œ œœ Jœ# œ œœJœ-
RœU
œœœœœœœœœœœœœœœ œœœœœ
3 3
∑
∑
∑
∑
molto
ad lib.
∑
∑
∑
∑
∑
∑
∑
Absolutely motionless
&
?
&
&?
&?
Er.
Pa.
Gz.
Yq.
78
œ# œ œ RÔœ Rœ RÔœa Jœ œ œ œ
œ# œœw
w# w
*)
*) grace notes fast, and on the beat
∏ pale, with slight vibrato
∏
∏]
let ring always
improvise in like manner (pitches given)
with periodic short rests
very gentle tone; center of strings
[
Inward, suspended q = 30 c Very free and patient; approx. change points shown
ŒU œn œ œ
wn
w w
poco
][
.˙#,œœ œ#
w# w
poco
ŒU œ# œ# œ œ
œœ w# ,
wb ww#
[ ]
∏
12
&
?
&
&?
&?
44
44
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44
Er.
Pa.
Gz.
Yq.
œ# œ# œ œœ œb œn
ŒU ˙b
wb ww#
(cont'd.)
][ ][
π
(cont'd.)
ŒU
œb œœ wb œœœ
œ œ w wn +
∏
π
œb œ œœ
.jœ w
Ÿi
][
(bent)
∏
∏.˙
U.˙b
œb œœ
jœ w
ŸÈU
...˙˙˙b æU
wn +æU
poco
∏
3-string lün
&
?
&
&?
&?
44
44
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43
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Er.
Pa.
Gz.
Yq.
~~~
~~~~~~~~~~~
~~~~~~
79
∑
∑
∑
...˙˙˙æU .œ>
œb5
Ó Œ
∑
∑
f Fz
In Tempo Primo (q = 40 c)
∑
∑
∑
.œ œ> œb œ œ+
Rœ-œœbœb>
3
5
3
∑
∑
(bend)
∑
‰ Jœ
œbb˘
Œ Œ
‰ jœbfl
Œ Œ
˙b - œ œ
∑
∑
‰jœœœ
b#fl
Œ Œ
Fz p
pizz.
p
p
p
∑
∑
∑
œ œœJœ œbœb œ
œ œ# ‰ .œb -3
5
Ó>̇o
∑
∑
13
&
?
&
&?
&?
45
45
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45
45
45
45
Er.
Pa.
Gz.
Yq.
83
∑
∑
∑
œrœ#œb œ œ œ œb
Jœ .œ- ˙
∑
∑
π dolce
vib. ad libitum
∑
∑
∑
.˙ œ(
∑
∑
∑
∑
∑
∑
jœ) r
œb +>.œ .œ ‰U
∑
∑
∑
∑
∑
∑
∑
œb œb œw>æ
∑
∑
ƒ
lün
∑
∑
∑
∑wæ
∑
∑
F
∑
∑
∑
∑wwww
bbæ
∑
∑
&
?
&
&?
&?
45
45
45
45
45
45
45
44
44
44
44
44
44
44
Er.
Pa.
Gz.
Yq.
89
∑
∑
Ó Œ Œ ≈ .œ œb5
∑....˙̇˙˙æ
....œœœœn# ææ
Jœœœ@
∑
∑
p
psempre espress.
∑
∑
˙jœ œ œ
3
∑
wwwæ
∑
∑
π
legatissimo
Floating, ethereal q = 34 c
∑
∑
.œ œ# œ œ
jœ œ
3
∑
wwwn æ
∑
∑
poco portamento
≈ .Jœ@ œæ .œ#@ œ#! œæ
∑
˙ .œ# œ# œ
∑
wwwæ
Ó Œ œ#æ∑
sempre espress.p
legatissimo
14
&
?
&
&?
&?
Er.
Pa.
Gz.
Yq.
√
93 œæ Jœ#@œ
æœ
!.œ#
æœ
æ3
∑
œ Jœ#@ œæ œ! .œ#@ œæ3
∑
...˙˙̇æ œœœæ
œæ Jœn@ Jœ@ œ#æ œ!.œ#@ œæ
3 3
∑
legatissimo
dim. al niente
dim. al niente
dim. al niente
dim. al nientep
œ
æ Rœ
!œ
æ.œ
æ Jœn@
5
∑
œæ Rœ! œæ .œæ Jœn5
∑
...œœœæjœœœb @
˙˙̇æ
œæ Rœ! œæ .œæ Jœn@5
∑
no trem.
˙
æ Ó
∑œ œ .œ Jœ
∑
wwwæ
œæ.˙
æ
∑
gliss.
∑
∑.˙
Œ
∑
˙˙̇b æ Ó
.˙æ Œ
∑
∑
∑
∑
∑....˙˙˙˙ggggg
œœœœæ
∑
∑
p(arp.)
∏
Tempo Primo
(q = 40 c)
&
?
&
&?
&?
43
43
43
43
43
43
43
44
44
44
44
44
44
44
43
43
43
43
43
43
43
44
44
44
44
44
44
44
Er.
Pa.
Gz.
Yq.
98
∑
∑
∑
∑wwww
æ
Ó ‰ jœbfl
Œ
Ó Œ Jœb˘
Jœb˘π
∑
∑
∑
∑
∑
∑
jœbfl
‰ Œ Ó
∑
∑
∑
∑
∑
∑
∑
œb œb .œ œ# œ
.œnœ ˙
5
5
∑
∑
∑
∑
∑
∑
π
Free, distant, without desire q = 34 c
.˙
∑
∑
∑
∑
∑
∑
15
&
?
&
&?
&?
44
44
44
44
44
44
44
Er.
Pa.
Gz.
Yq.
103
∑
∑
∑
∑
∑
œb œb + .œ œ# œ
.œnœ ˙
5
5
∑π
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
œb œb .œ œ# œ
.œnœ ˙
5
5
rœœœ
ggggg
∑
∑
IVI
vib. ad lib.πno bend
arp. espress.
wb æ
∑
≈œbfl
Ó Œ5
rœ œb ˙ œœœ
5
∑
∑
œnflŒ Ó
∏
pizz.
p
π
&
?
&
&?
&?
Er.
Pa.
Gz.
Yq.
107
wæ
∑
∑
.˙ ≈ .jœb -∑
∑
∑
Pz
∑
∑
∑
˙ œ œb œ œ- œ œ œ œ3 5
∑
∑
∑
poco
∑
∑
∑
˙b @ œ œ œ œ œ œ œ œ œ œ
6
∑
∑
∑
alternatelün
∑U
∑
∑U
œb œ œ œ œŒ ÓU5
∑
∑U
∑
Ø
slow lün
16
