I dont currently own a scanner, so Im limited in what types of scores of mine I can present here. But I can post scores consisting largely of verbal text - many of my experimental-type pieces of recent decades are in verbal score form. Here is one of my earliest verbal scores, a piece entitled MUSIC FOR KEYBOARD & STRINGS (& THINGS) (1980), co-composed with Patrick Hogan (who is now a professor of English in Connecticut). This piece is for two pianists, one performing mostly on keyboard, and the other performing mostly on piano strings, other areas of the piano interior, and nearby percussive objects. Its been performed a number of times, and also broadcast. I have some recordings of the piece on cassette tape. Paul Goldstein & Patrick Hogan MUSIC FOR KEYBOARD & STRINGS (& THINGS) Experimental work for two pianists/ one grand piano (1979; revised, 1980) (The score consists of a set of directions plus score chart.) ----------------------------------------------------------------------------------------------------------------- DIRECTIONS Throughout most of the performance one pianist (“Player 1”) sits at the keyboard; the other (“Player 2”) stands at the side, or in back of, the piano in order to perform in its interior. The top of the piano must be completely up so that the full interior (all strings, sounding board, etc.) is available for use. Player 1 in this piece has the primary responsibility for keyboard sounds and sounds of the wooden exterior in close proximity to the keys; Player 2 has the primary responsibility of sounds from the piano interior (strings, sounding board, etc.), as well as any parts of the (non-keyboard) exterior beyond the immediate reach of Player 1 (such as the lid or case). These responsibilities at times may overlap and intersect with one another; the points where such occurs are indicated in the score chart. Both players must be equipped with a number of objects (the “things” of the title) to be used in various ways to expand the possibilities of obtaining sound resources from or by means of the piano. For example, objects can be used to strike, tap, or rub parts of the piano exterior; to strum, hit, rub, pluck, or scrape the strings; to “prepare” the piano by being inserted between strings or being placed on top of them; or to strike other objects placed on or in the piano. Player 1 should make use of these objects occasionally; Player 2 most or all of the time. In general an object used must either make direct contact with a part of the piano, or with another object placed on or in the piano. However, it is permissible ON OCCASION to make sounds with (e.g., by striking) other nearby objects that may not be connected with the piano. Either player MAY make such sounds away from the piano, but only for very brief periods, and for the sole purpose of sonic variety. Neither player, however, may begin or end one of the piece’s 18 sections with these sounds, except if such a sound functions as a cue (see below). The piece consists of 18 sections outlined in the score chart, divided into three large groupings of six sections each. For each section each player is assigned specific directions with regard to use of strings vs. keys, register, dynamics, and tempo. (It is suggested that each player use a “part” in performance, a page outlining his/her own directions for the 18 sections.) Each section should last between 30 seconds and 2½ minutes, but each of the three large groupings must be at least 5 minutes in length, so that the entire performance will last between 15 and 45 minutes. (These timing guidelines are meant to be suggestive only; small deviations are possible.) One specific sound is designated as the “cue call”, which signals changes of section. For this sound one may hit a designated section of the piano, or a designated object placed on or in the piano, with possibly a specific agreed-upon tool (object used for striking). Alternatively, a nearby object may be struck in a designated fashion. Whatever the mode chosen, the sound must be loud and have a special acoustic quality plainly recognizable to the performers. The method of producing the cue call must be predetermined, and agreed to by both players before performance. Such method MUST NOT CHANGE during the piece, and MAY NOT be used in any way during the performance by either player, except for cueing purposes. Players alternate the responsibility of cue calls from section to section, beginning with Player 2 who signals the opening of the piece. Between the large six-section groupings (between Sections 6 and 7, and between Sections 12 and 13), the cue call is given 4 to 7 times in succession, in any rhythm. At all other cueing points the cue call is only given once. [A cue call is also given by Player 2 at or very near the end of the work, to signal conclusion.] Throughout this work performers should explore as fully as possible the range of sonorities and sound-constructions obtainable by working on, in, through, and by means of the keys, strings, and other internal and external areas of the piano. Generally stated, within each large (six-section) grouping the music should evolve from a soft, slow, docile character to that of a rapid loud rhythmically agitated nature. (Exception: the first two sections of Large Grouping II – Sections 7 and 8 – remain agitated; docility returns with Section 9.) Player 1 should gradually develop a melodic/rhythmic motif at the keyboard, to act as a unifying musical gesture for the piece. This motif does not have to be fully pronounced until Section 16, and must be prominent in at least the final three sections. The motif need NOT (and should not) appear constantly, however, and should generally be presented in a fragmentary state in the early stages of the work. Performers must also bear in mind that the work is to be heard as a COMPOSITION; and though choices of specific sounds and rhythms are spontaneous, they must be made so as to “blend in” with the compositional development and general sound fabric of the piece. Performers are referred to the score chart below. ----------------------------------------------------------------------------------------------------------------- SCORE CHART (Refer to accompanying directions for instructions on use.) Each entry is assumed to refer to BOTH players except when noted. P1 = PLAYER 1, P2 =PLAYER 2. NOTE: The designation of keys vs. strings for each player is NOT meant to exclude other internal/external areas of the piano, as well as the possible use of other nearby objects in performance. Other abbreviations used: S = SECTION K-S/R = KEYS vs. STRINGS, and REGISTER D = DYNAMICS T = TEMPO LG = LARGE GROUPING ---------------------------------------------------------------------------------------------------------------- LG I S 1 K-S/R: P2 – low strings [P1 – generally silent, operates pedals; MAY OCCASIONALLY assist P2 with the low strings or misc. sounds from piano interior or exterior, but NO sounds from keys] D: P2 - pppp to pp T: P2 – Largo S 2 K-S/R: P1 – low keys, P2 – low strings D: ppp to p T: Largo S 3 K-S/R: P1 – high/middle keys, P2 – low strings D: pp to mp T: Adagio S 4 K-S/R: P1 – low/middle keys, P2 – low/middle strings D: p to mf T: Allegretto S 5 K-S/R: P1 – high/middle keys, P2 – low/middle strings D: P1 – pp to mp, P2 – mp to f T: P1 – Allegretto, P2 – Andante S 6 K-S/R: P1 – all keys usable, P2 – all strings usable D: mf to ff T: Allegro LG II S 7 K-S/R: (Both P1, P2) all keys usable [no strings] D: f to fff T: Allegro vivace S 8 K-S/R: (Both P1, P2) all strings usable [no keys] D: f to fff T: Allegretto S 9 K-S/R: P1 – high keys, P2 – high strings D: P1 – pp to mp, P2 – mp to f T: Andante S 10 K-S/R: P1 – high keys, P2 – high/middle strings D: p to mf T: Adagio S 11 K-S/R: P1 – low/middle keys, P2 – high/middle strings D: p to mf T: Andante S 12 K-S/R: P1 – all keys usable, P2 – all strings usable D: f to fff T: Allegro vivace LG III S 13 K-S/R: P1 – high keys, P2 – low strings D: pp to mp T: Moderato S 14 K-S/R: P1 – low keys, P2 – high strings D: p to mf T: P1 – Andante, P2 – Allegretto S 15 K-S/R: P1 – low keys, P2 – high/middle strings D: P1 – pp to mp, P2 – mp to f T: P1 – Allegretto, P2 – Allegro vivace S 16 K-S/R: P1 – low/middle keys, P2 – low/middle strings D: mf to ff T: Presto S 17 K-S/R: P1 – low/middle keys, P2 – low strings D: f to fff T: Presto S 18 K-S/R: P1 – low/middle keys [P2 – generally silent, except for conclusion cue; MAY OCCASIONALLY assist P1 with sounds from piano interior or exterior, but NO sounds from strings] D: P1 – ff to ffff T: P1 – Allegro vivace ----------------------------------------------------------------------------------------------------------------- This revised version of MUSIC FOR KEYBOARD & STRINGS (& THINGS) was given its première at the International House of Chicago, Feb. 10, 1980; the première broadcast was given by WCUW-FM, Worcester, Mass., Apr. 8, 1980. SUBSEQUENT PERFORMANCES: Reynolds Club, University of Chicago, Mar. 12, 1980 International House of Chicago, June 1, 1980 (All the above performances were with the co-composers as pianists.) Two new recordings of the work were made with Paul Goldstein and David Garrigues, Mar. 26, 1989, on a piano at Clark University, Worcester, Mass. ---------------------------------------------------------------------------------------------------------------- Copyright 1980 by Paul Goldstein and Patrick Hogan. All rights reserved, including public performance for profit.
Posted on: Fri, 28 Mar 2014 23:24:18 +0000
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