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Transcript of strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the...
![Page 1: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/1.jpg)
stephen lewis
strange body
![Page 2: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/2.jpg)
![Page 3: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/3.jpg)
![Page 4: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/4.jpg)
Performance Notes for "strange body"
Sorpano
Throughout most of the work, there are no lyrics. Instead, combinations of consonant and vowel sounds are indicated using English letters, along with certain German vowels marked with umlauts. Smooth transitions between vowels are marked with an arrow; these vowel shifts should feel like "chewing" and the change of vowel emphasized throughout.
The backwards arrow above the staff in measure 9 indicates a voiced inhalation. This is combined with a glissando up a minor third; the whole gesture should sound like a mannered gasp.
In measure 28, 30, and 63, there are unvoiced inhalations and exhalations. Dramatically, it may make sense to hold the breath between the inhalation in measure 28 and the exhalation in measure 30, or at least to pretend to if it is too demanding.
In many places, there are glissandi marked between pitches. These should be absolutely smooth and evenly distributed across the entire rhythm, rather than performed like a portamento. Final grace notes should be barely touched, quickly left.
In measure 15, there are three tongue clicks notated. These should be performed by pressing the tongue against the hard palate, creating a vacuum behind the tongue, and then allowing it to forcefully pop open, instigated by a flick of the tongue.
![Page 5: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/5.jpg)
English Horn
All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones.
"Glissandi" in the English Horn part are pitch bends, and either return to the primary pitch or end part way through.
The multi-phonics are based on those given to me by the player for the premiere; in future versions, I will include fingerings for these.
Cello
msp = molto sul ponticellosp = sul ponticellopsp = poco sul ponticellonorm. = normalpst = poco sul tastost = sul tastomst = molto sul tasto
Arrows between the above indicate a smooth and gradual transition between these bow positions.
In the final four measures, each phrase should be played very freely and spaciously.
Piano
A functional sostenuto pedal is required.
Releases are as crucial as attacks, and should be very strictly observed.
Final Five Measures
The soprano, English Horn, and piano will all have specially tuned aluminum pipes and a mallet. In the final bars, they will hit the pipes and allow them to ring, hitting them again if it becomes necessary, so that the sound lasts through the end of the piece.
After hitting the pipes, they will whistle, beginning beneath the pitch of the pipe and ending a major seventh beneath/minor second above the pitch of the pipe, depending on the range of one's whistling. Upon arriving, the players will then slowly pulse their whistled pitch on and off at their own rate.
![Page 6: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/6.jpg)
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strange bodyStephen Lewis
© 2014 Stephen Lewis All Rights Reserved
In C
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8
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9
![Page 16: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/16.jpg)
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10
![Page 17: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/17.jpg)
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11
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![Page 19: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/19.jpg)
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13
![Page 20: strange body - · PDF fileEnglish Horn All microtones should be played as distortions of the equal tempered pitch that they are derived from, rather than as precise quarter tones](https://reader033.fdocuments.in/reader033/viewer/2022052708/5a716bd07f8b9a98538ce045/html5/thumbnails/20.jpg)
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66 w
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brilliant but light
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67 w
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%
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norm. psp msp
14
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norm.
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