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  • Exam Number Y3848919

    Homo Ludens

    For Vocal Ensemble, Flute and Clarinet in Bb

    3 Movements

    Duration: 18 minutes approximately

    2016

    'The course of the world is a child at play, moving figures on a board, back and forth; it is the kingdom of a child'

    Heraclitus

  • Homo Ludens: Performance Notes

    Homo Ludens 1

    Homo Ludens is about freedom, joy and the element of play in creation. The character is folkloric and it challenges the performers to play not only with

    conventional techniques but also embodying features of other instruments such as percussion or winds. Performers are encouraged to approach the

    piece with a very expressive color, with strong staccatos and accents.

    SINGERS:

    Spoken whispery voice: There is no precise pitch but

    a suggested area. The changes of notes are related to

    intonation.

    Decay: Expressive and fast descendent glissando,

    similar to a sigh.

    Gutural hit: Emulating the low sound of "bombos".

    Lowest note: More related to the expressive effect

    than to physical possibilities.

    Indistinct muttering and annoying murmur while the

    note lasts.

    Inhale: Take deep breath and hold air.

    Exhale: Not in precise tempo but until the movement

    is completed.

    SINGERS:

    Spoken voice: Emphasize "s" sound. Fast

    tongue movement to prioritize

    percussive effect rather than sound

    projection.

    In syllables, such as "tum" or "tm"

    emphasize the percussion of "t" and the

    resonance of "m" with a lowered sound

    vowel, like a double bass.

    Slow vibrato, almost a trino.

    Boca chiusa: Conventional humming

    with soft M sound.

    Contralto Solo: Decays dragging each

    note as in folkloric style. Soft ‘r’ sound.

  • FLUTE AND CLARINET:

    It’s preferable to use key slaps (4 approximately). But

    in case the acoustic conditions make it inaudible, use

    body percussion, alternating chest and hands.

    Mostly air, like pan flute sound.

    Slow vibrato produced by air control.

    Expressive decay, a tone descendent glissando

    approximately.

    Inhale and exhale inside the instrument. As long as

    breathe.

    Percussive slap tongue imitating "bombo"

    accompaniment.

    Whistle Tones: Not precise pitches, fast and soft

    alternation.

    Lowest note.

    BODY PERCUSSION:

    Stem up: One hand beat on chest.

    Stem down: Both hands beat on legs.

    Hand claps.

    Feet march.

  • Homo Ludens 2

    This second movement is for unaccompanied voices. The score is like a board game that presents certain questions for the performers to answer within

    the context. The performers should followed the proposed instructions, being the piece subject to different possible interpretations.

    Bar 1: Every singer selects a

    random note and from there

    follows the melody glissando.

    Have in mind the note to come in

    bar 10. The duration of the first

    note is as long as the breath.

    Spoken voice: There is no precise

    pitch but a suggested area.

    In general is in a loud volume

    except when it says ‘whispery’.

    Lowest and Highest note.

    Male voices in bar 14 have fried

    note with slow vibrato.

    From Bar 15: Solo parts are

    suggested to emphasize

    percussion of the rhythm with a

    strong staccato articulation. Each

    voices follow the proposed

    instructions.

    Tenor bar 28: Choose a word from

    the proposed phrase and repeat it

    with the written rhythm in a

    medium spoken voice.

    Emphasize "h" sound with a soft

    spoken voice. Rather than

    following the rhythm strictly, say

    the word dragging its “h” sound,

    stressing the rhythm with its air.

    Emphasize "s" sound. Fast

    tongue movement to prioritize

    percussive effect rather than

    sound projection.

    Emphasize "l" sound with tongue

    movement before the glissando.

    Slow vibrato, almost a tremolo.

    Emphasize percussiveness of "c"

    and resonance of the "n" sound

    Basses bar 74: You can take time

    to pick the note with a tuning fork

    before.

  • Homo Ludens 3

    SINGERS:

    Spoken voice: There is no precise

    pitch but a suggested area. The

    changes of notes are related to

    intonation. Bar 5, 6, 30, 31 and 39:

    The rhythm is a suggestion to

    speak the text in a soft voice. It

    doesn´t need to be read in a

    rigorous way.

    Bar 80 to 85: All the notes should

    be connected by a glissando. The

    pitches do not need to be exactly

    precise.

    Highest and lowest notes.

    FLUTE AND CLARINET:

    Mostly air, like pan flute sound.

    Flutter-tongue.

    Whistle Tones: Not precise pitches, fast

    and soft alternation.

    Wind tones or residual tones: Percussive

    and airy effect.

    Bar 82-85: Inhale and exhale randomly

    inside the Clarinet.

    Key slaps preferably, if not body

    percussion as explained in movement 1.

  • °

    ¢

    °

    ¢

    Soprano

    Soprano Body

    Percussion

    Alto

    Alto Body

    Percussion

    Tenor

    Bass

    Bass Body

    Percussion

    Flute

    Clarinet in Bb

    pa

    mp

    pa

    q. = 135

    pp

    mp

    pa

    mp

    pa

    pp

    mp

    pp mp

    pp mp

    q. = 135

    p

    3

    4

    3

    4

    3

    4

    3

    4

    3

    4

    3

    4

    3

    4

    3

    4

    3

    4

    3

    4

    &

    #

    ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

    >

    whispery voice

    >

    Homo Ludens 1

    /

    chest legs

    &

    #

    ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

    >

    whispery voice

    >

    /

    chest legs

    &

    #

    ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

    / Tenor Body

    Percussion

    chest legs

    ?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

    /

    chest legs

    &

    #

    ∑ ∑ ∑ ∑

    mostly air

    &

    # #

    #

    ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

    Œ Y û

    Œ Y û

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ

    Y û

    Œ

    Y û

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ ‰

    Œ ˙ ‰ œ œ

    Œ _ ‰ - - ‰ Œ _ ‰ - - ‰ Œ _ ‰ - -

    ‰ Œ _ ‰ - - ‰

  • °

    ¢

    °

    ¢

    S.

    S. Perc.

    A.

    A. Perc.

    T.

    T. Perc.

    B.

    B. Perc.

    Fl.

    Cl.

    pa pa pa um pa chi cun tum tu tum pa chi cun tum tu tum pa

    13

    pa pa pa um pa chi cun tum tu tum pa chi cun tum tu tum pa

    pa

    mp

    um pa ta ka ta um pa tan kin ka tum pa chi cun tum tu tum pa chi cun tum tu tum pa

    pa

    mp

    um pa ta ka ta um pa tan kin ka tum pa chi cun tum tu tum pa chi cun tum tu tum pa

    mp

    p mp

    &

    #

    >

    >

    >

    > > >

    /

    &

    #

    >

    >

    >

    > > >

    /

    &

    #

    whispery voice

    > > > > >

    gutural hit

    > >

    /

    ?# ∑

    whispery voice

    > > > > >

    gutural hit

    > >

    /

    &

    # ÍÍÍÍÍÍÍ ÍÍÍ

    very airy

    ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

    3

    3

    &

    # #

    #

    very airy

    ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ 3

    3

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    Œ Y û

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    Y û

    ¿

    j

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    O ¿

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    j

    ¿ Y û

    Œ ˙ ‰ œ œ ‰

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    Œ ˙ ‰ œ œ ‰

    Œ ˙

    Œ

    Y û

    Œ

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    ¿

    j

    O ¿

    ¿

    j

    ¿ Y û