macronectes
DESCRIPTION
"Macronectes" is a piece for prepared piano played by one to two performers. The duration of the piece is 10 minutes. The piece was written in 2009 and performed the next year by Neel Teilmann & Manuel Esperilla.TRANSCRIPT
Y l v a L u n d B e r g n e r
m a c r o n e c t e s [ I : V, I V : V & V : V ]
f o r
p r e p a r e d p i a n o
– 2 - 4 h a n d s –
D u r a t i o n : 9’ – 11’
– 2 0 0 9 –
M A C R O N E C T E S
1:V: Blickens sten viker inte undan. Solen lyser också om natten. The gaze stone do not turn aside. The sun shines aven at night.
Macronectes; I:V is played both inside the piano and on the keys. Right hand/Piano 1 plays inside of the piano and the left hand/Piano 2 plays on the keys. Inside the piano there are many prepared screws between the strings and you should softly touch the screws. Be careful that the screws don’t fall off. Try out the size during rehearsals to see what works the best. Since the pedal is pressed down the whole time, it will ring for a long time. The tones the left hand plays will be damped because of the preparations with eraser between the strings (two eraser parts for each tone). It is important to play in tempo until the end.
IV:V: En stjärnas hävstång i ögat. The leverage of a star in the eye.
Macronectes; IV:V is different from the other two parts. It is meant to be a curious examination of the piano. A try to get closer to the instrument and find new sounds and possiblities. Imitation and playfulness is important words to describe the character.
V:V: Genombrytande olika skikt av minnet- Piercing various layers of the memory-
Macronectes; V:V should sound like a choir of bells which are out of tune, but still beautiful. The preparations can be different from time to time. The screws can be in front of the dampers or behind. Sometimes it can be necessary to use two screws on a string to get the right sound.
E X P L A N A T I O N S
Play it with the a part from an inner tube (better if it is used) from a bike tire on a string. The material is rubber so in the score it is called ’bike rubber’. Slide and press the ’bike rubber’ against the string. Let ring. Needs some practise to get the right touch!
Soft twinkly sound. Roll a ball on the strings in a high register in the area between the hitch pins and agraffes. Be careful and avoid to touch the pegs. That makes a non preferable percussive sound.
Damped knocking sound with a distinct tone. Two examples on how to do this: 1. Let the lid prop fall down inside the piano. 2. Knock with a finger or knuckle on the side of the piano (find a good spot).
The reversed version of the one above. Two examples on how to do this: 1. Take up the lid prop. It can either sound like an old rusty door or like someone strolling with slippers. 2. Drag your hand along the surface of the piano to make a noise or touch the bottom of the inside of the piano box to make a soft ’woody’ sound.
Flip a soft plastic piece, credit card or even softer and bigger (so that it doesn’t fall down inside the piano) stucked between strings in the low register. No distinct tone. Flip it and let it ring. You have to stand behind the piano to be able to do this. The best piece of plastic that has been tried was something you use to measure the size of screws.
Play inside the piano in the back.
This sign refers to the sound that is best described as a screaming ringing sound. Several times it has been performed with balls (from an old computer mouse; similar to pool balls). You put the balls in the web (holes in the cast iron frame) in the piano. The size of the ball should fit the hole. Then you turn it to make a sound. Another option, if the holes doesn’t fit, is to put it on the bearing bolt (in the plate strut; the bearing bolt is the one that holds up the lid when the piano is closed.). The sounds that comes out of that can be very different: screaming sound or dark coughing sound, or maybe the best effect is just to let it swirl on the top of the bolt. If the grand piano doesn’t give you many options to play with the screaming sound, you are free to find another solution. Glide up and down the strings with the balls or something else that sounds and looks intriguing. Give the balls numbers to keep track on where to move.
Blow up the balloon and squeeze the opening of the balloon while you slowly let the air out to make melodies according to the glissando marks. Needs a lot of practise to be sure that the situation doesn’t feel awkward. The most important is to make a melody, sad and with sighs. It should feel like it is singing. Put the balloon close to the web in the piano to let it ring.
This sound is similar to a vocoder; when you sing a tone into a microphone and the
synthesizer that is attached to it creates a harmony and all the overtones are amplified. A robot like sound. Have a balloon underneath a bass string (there should a lot of space for you to play on). Hold the balloon with both your hands and drag it up and down the string. The pressure on the balloon should be a lot. Don’t be afraid for it to break. The solution for that is to have balloons of better
quality. Prepare this moment before the concert and put a balloon under the string you think works the best for this.
Pick 8 tones to play pizzicato on from the backside of the piano. The strings should be stretched and tense and are between the pins and the bridge. Sometimes it is hard to find good strings in the back (but if it is possible, they usually are amazing) and then you can try on the right side instead. The 8 tones should make a melody that you like yourself and if you play the 4-hand-version it should be possible to play for both of you (not too far away from each other, but it is nice if it is close). Give
the tones numbers and play the score according to that. Pick 6 tones to play pizzicato on from the ’keyboard side’ of the piano. The tones should be in a high register between the hitch pins and the agraffes. The actual pitch is not as important as the sound quality that should be brilliant and with a clear pitch. Pick tones that makes a melody you like and give them a number. Then play the score according to that.
P R E P A R A T I O N S Start to prepare the piano with something heavy on the pedal. For example a metal door weight or a wedge on the backside of the pedal. When the pedal is up, and you prepare with screws and other things, it will not damage the hammers. Spread the strings with your fingers before putting anything in between and do the same when you remove it. All preparations should be done before playing and should not be moved while playing.
A 2 – A # 2 A wedge (wood) between the strings (deep tone and timbre)
A # 1 –H 1 A pencil or thick screw between the strings (deep short percussive sound)
R U B B E R P I E C E S O R B L U – T A C K B E T W E E N S T R I N G S
1. a # 4. f 1
2. c 1 5. g1
3. e 1
S C R E W S B E T W E E N S T R I N G S ( NYLON OR METAL ) (note that c 1 here is the middle c (C44
))
1. g # 10. f # 2
2. h 11. g # 2
3. c # 1 12. a
2
4. d 1 13. a # 2
5. d # 1 14. h
2
6. f # 1 15. c # 3
7. g # 1 16. d # 3
8. a 1
17. f # 3
9. h 1
NOTE: There is a recording of the piece in the score from a live performance in Copenhagen 2011. This can be a guideline and inspiration to find sounds that fit. Try to keep in mind that this piece is visually very important. Be close to the audience.
P I C T U R E S O F A P I A N O F R O M A P E R F O R M A N C E
Grand piano with preparations from above.
Preparations with screws & blu-tack. Balls & balloons
The piano lid prop that makes The plastic flip and balloon in the sounds when it falls down. back of the piano.
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Left hand: Play on keys which are prepared with blu-tack or rubber pieces on the strings to amplify the overtones.
Blickens sten viker inte undan.Solen lyser också om natten.
Right hand: Play on the screws inside the piano. Tap on their heads to make a soft sound.
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Bike rubberon string.
Roll ball on strings.
Always let ring
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Fermata on the barline:Free tempo
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Let the break be as long as you wish.
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Let the piano lid prop up.
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a tempo
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Flip a plastic card that is put under a low string.
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En stjärnas hävstång i ögat.The leverage of a star in the eye.
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gliss.
Blow up the balloon.It will take a few secondstoo fill the balloon. Do not hurry!
Let the air out slowlywhile squeezing the endto make melodies.
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Piercing various layers of the memory –
All tones are prepared with screws except for the last one, which is prepared with a wedge. The timbre that is preferable in this part is clocks. All tones should be let ringing as long as possible. It should not be percussiv and to make a smooth playing should the keys be held down most of the time.The pauses in the score are only meant to give a light image. The tempo is not precise. Play freely with the score as a base.
Genombrytande olika skikt av minnet –
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Piano II
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Piano II: Play on keys which are prepared with blu-tack to amplify the overtones.
Blickens sten viker inte undan.Solen lyser också om natten.
Piano I: Play on the screws inside the piano. Tap on their heads to make a soft sound.
1
The gaze stone do not turn aside. The sun shines aven at night.
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‰ "œ#>" "
3:2
œb œ œ
œ œ
œb œ
f∑
‰ " " œ#> "3:2
œ
œ
œ
œ
œbœ œbP
F
® œ#- " œ > ‰ "3:2
‰ " " œn> "3:2
œ
œ
œ
œ
œbœ œb!
P !
‰ ®œ#-‰ "
3:2
‰ " œ#> " "3:2
œ
œ œ
œ œbœ œb
p‰ . " œ# "
3:2
" ‰ œ> " œ#> "6:4
œ
œ
œ
œ œbœ œb
‰ ® œn˘‰ .3:2
‰ "œ#>" "
3:2
œ œ
œb œ œœb œp
2
&
?
&
?
Pno. I
Pno. II
accel.
accel.
37 ‰ Rœ#> ‰ .3:2
‰ " œ#> " "3:2
œb œ œ
œ œ
œb œ"
® œ#- " œ > ‰ "3:2
‰ " œn> " "3:2
œ
œ
œ
œ
œbœ œb
!"
‰ ®œ#-‰ "
3:2
‰ " œ#> " "3:2
œ
œ
œ
œ
œbœ œbp
p‰ . " œ# "
3:2
" ‰ Rœ> ‰ R
œ#>3:2 3:2
œ
œ œ
œ œbœ œb"
!‰ ® œn˘‰ .
3:2
‰ "œ#>" "
3:2
œ
œ
œ
œ œbœ œb
"‰ R
œ#> ‰ .3:2
‰ " œ#> " "3:2
œ œ
œb œ œœb œ!
!® œ#- " œ > ‰ "
3:2
‰ " œn> " "3:2
œb œ œ
œ œ
œb œ"
!
‰ ®œ#-‰ "
3:2
‰ " œ#> " "3:2
œ
œ
œ
œ
œbœ œb
‰ . " œ# "3:2
" ‰ Rœ> ‰ R
œ#>3:2 3:2
œ
œ
œ
œ
œbœ œb
! p
&
?
&
?
Pno. I
Pno. II
46 ‰ ® œn˘‰ .3:2
‰ "œ#>" "
3:2
œ
œ œ
œ œbœ œbF
fF
‰ Rœ#> ‰ .3:2
‰ " œ#> " "3:2
œ
œ
œ
œ œbœ œb
® œ#- " œ > ‰ "3:2
‰ " œn> " "3:2
œ œ
œb œ œœb œ
P‰ ®
œ#-‰ "
3:2
‰ " œ#> " "3:2
œb œ œ
œ œ
œb œ
p‰ . " œ# "
3:2
" ‰ Rœ> ‰ R
œ#>3:2 3:2
œ
œ
œ
œ
œbœ œb
!‰ R
œ#> ‰ .3:2
‰ " œ#> " "3:2
œ>
œ
œ
œ
œbœ œb
e. = 138
!
e. = 138
® œ#- " œ > ‰ "3:2
‰ " œn> " "3:2
œ
œ> œ
œ œbœ œb
p
‰ ®œ#-‰ "
3:2
‰ " œ#> " "3:2
œ
œ
œ
œ œb>œ œb
‰ . " œ# "3:2
" ‰ Rœ> ‰ R
œ#>3:2 3:2
œ œ
œb œ œ>œb œ
P
3
&
?
&
?
Pno. I
Pno. II
(°)
(°)
55 ‰ ®œ#-‰ "
3:2
‰ ‰ Rœ#> "3:2
œb œ œ
œ> œ
œb œ
p‰ . " œ# "
3:2
" ‰ Rœ> ‰ R
œ#>3:2 3:2
‰
œ
œ
œb
‰ . " œ# "3:2
" ‰ Rœ> ‰ R
œ#>3:2 3:2
‰
œ
œ "
!∑
" ‰ Rœ> ‰ R
œ#>3:2 3:2
∑
‰ œ ‰
∑
" ‰ Rœ> ‰ R
œ#>3:2 3:2
∑
∑
‰ . " œ# "3:2
" ‰ Rœ> ‰ R
œ#>3:2 3:2
∑
∑
!∑
‰ œ> " ‰6:5
∑
∑
"‰ œ#¯
" ‰6:5
Œ œ#> "6:5
∑
∑
∑
∑
∑
‰ "œ>
*"U
3:2PInside piano
* Prepared with a pencil (wood) between A
1 and H
1
4
��
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��
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��
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Inside piano I (front)
Inside piano II (close front)
On the side I
On the side II
Inside piano III (back)
Inside piano I (front)
Inside piano II (close front)
On the side I
On the side II
Inside piano III (back)
Piano II
Piano I
~~~~~~~~~~~~~~~
~~~~~~~~~~~~
rit.
rit.
— !œ œ ‰
U
Œ . Œ — !
e = 44
e = 44
f p
F
!
Bike rubberon string. Roll ball
on strings.
Bike rubberon string.
Always let ring
Always let ring
Œ œ ‰
œ
Uœ
F
P
Roll ball on strings.
Let piano lid prop down.
.œ ‰
Œ ‰ œ
" f
P
Roll ball nr 1in the web.
Let piano lid prop up. Roll ball nr 2
in the web.
.œ Œ Jœ
ŒJœ œ
U
‰
qn
qn
P qn
a tempo
a tempo
f
.œ
U
Π.
ŒJœ œ ‰qn
F
ƒ
Œ ‰ œ> !
U
œ œ ‰
U
pizz.
pizz.
Fqn
Ï
Flip the plastic piece.
Roll ball nr 3in the web.
Ylva Lund Bergner
������ ��������En stjärnas hävstång i ögat.
1
The leverage of a star in the eye.
��
��
��
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��
Ins. pno I (front)
Ins. piano II (close front)
On the side I
On the side II
Ins. pno III (back)
Ins. pno I (front)
Ins. pno II (close front)
On the side I
On the side II
Ins. pno III (back)
Pno II
Pno I
Œ œ5 œ6 œ7 ‰ œ85:2
œ6 ‰ Œ
Œ Œ . œ4
‰5:2
e = 69
e = 69
pizz.
p " P
Ppizz.
œœ35
‰ œœ43 Œ3:2
Ó
‰ œ>
U
œ1
œœ23
! œœ23
Œ3:2
f "
Ïf "
P
Flip the plastic piece.
‰
U
! œ5 ! œ6 ! Œ5:2
œ6
‰ Œ
‰ œ4
! œ3
! œ2
‰ œ25:2
Œ œ1
‰ œpizz.
pizz.
F
F " P
Œ . Œ ! œ7
Œ .Jœ5 Œ
‰
1
œ2 ‰ ‰ ‰ œ2 ‰3:2
‰ œ4
œ3
‰ Œ3:2
PŒ
Jœœ56
Œ
U
5:4
œœ54
‰ ‰ ‰ œœ23
5:4
‰ œ4
‰ œ4
‰5:4
p
"pœœ54
‰ ‰ ‰ œœ23
U
5:4
‰ œ4
‰ œ4
‰5:4
" !
2
�������� ����������
��
��
.... ....
......
..
..
..
..
......
..
..
..
..
Ins. pno I (front)
Ins. piano II (close front)
On the side I
On the side II
Ins. pno III (back)
Ins. pno I (front)
Ins. pno II (close front)
On the side I
On the side II
Ins. pno III (back)
Pno II
Pno I
~~~~~~~~~~~~~~
.œ ! .œ .œ ®
e = 56
e = 56
! p ! P
Ad lib.
∑
∑
œ .œ ! .œ .œ !p qn F P qn
gliss.
Blow up the balloonand let the air out slowlywhile squeezing the endto make melodies.
Œ ! œ .œ ! ‰
Œ . Œ ! œ
œ œ œ ! œ œ
p " qn F f
F
qn
qn
Œ Œ œ> ‰
œ .œ ! Œ
.œ œ .œ ! Œ
[ ]
Ad lib.
Ad lib.
ƒ p qn
F
"
F
Let the piano lid prop up silently.
‰ — Œ Œ
œ> ‰ Œ ‰ ‰
Œ œ œ
e = 44
e = 44
f
P"
[ ]
3
�������� ����������
��
��
Ins. pno I (front)
Ins. piano II (close front)
On the side I
On the side II
Ins. pno III (back)
Ins. pno I (front)
Ins. pno II (close front)
On the side I
On the side II
Ins. pno III (back)
Pno II
Pno I
— ‰ Œ Œ
Œ œ> ‰ Œ
Œ œ4 ‰ œ2 ! œ4 ! œ3 œ43:2
pizz.
F
P
P " p
œ6 ‰ œ5 ‰ Œ
‰ œ2 œ3 œ4 Œ ‰ œ2 !3:2
fF
P f P
‰ œ œ ‰
œ4 ‰ Œ
pqn
"pizz. ! œ4 ! œ3 œ2 ‰
e = 56
P "
Œ ‰ œ
œ4 œ5 ! œ4 œ3 ‰F f p
pŒ ‰ œ
œ1 ! œ3 œ2 œ3 œ4 œ6 Œ5:2" F p
"
4
�������� ����������
��
��
Ins. pno I (front)
Ins. piano II (close front)
On the side I
On the side II
Ins. pno III (back)
Ins. pno I (front)
Ins. pno II (close front)
On the side I
On the side II
Ins. pno III (back)
Pno II
Pno I
Œ Jœ ‰ J
œ ‰3:2
œ3 ‰ ŒP
P "
pizz.
œ> ‰ œ
œ3 ‰ Œ
!p
p
œ ! œ .œ !
U
p qn "œ
Jœ œ ‰
Π.
U
.œ
qn P
qn
Œ ‰ œ œ
œJœ œ ‰p !
qn
.œ Œ .
Œ Jœ œ
Jœ
F
qn P
5
�������� ����������
��
��
��
��
Ins. pno I (front)
Ins. piano II (close front)
On the side I
On the side II
Ins. pno III (back)
Ins. pno I (front)
Ins. pno II (close front)
On the side I
On the side II
Ins. pno III (back)
Pno II
Pno I
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ œ .œ !
œ Œ Œ
Œ ‰ œ œ
!
qn F !
qn
œ ‰
U
œ ‰
U U
p
fDrag the balloonthat is placed under a low string, up anddown with both your hands. Let the soundbe a 'robot-like' and chopped tone.
œ ‰
U
F
ƒ— ‰
U U
œ
U
‰
U
F œ ‰
U
P œ ‰
U
f
p
—
U U
‰
U
–
UU
fP
Free tempo
Free tempo
– ‰ ‰
—
U
‰ ‰
"
P
6
�������� ����������
&
&
&
&
��
��
Piano I
Piano II
°
°
Ó Œ œœ> ‰
œ# Œ ‰ œ# œ
Œ ‰ œ# œ Œ
∑
q = 72
q = 72
fp
P
F
Always let ring
Always let ring
Œ ‰ œ#> œ Œ
œ Œ Ó
Ó Œ œ œœ
Œ œ# ˙
F
P
P
Œ Œ jœ# œ ‰ Œ Jœœ>3:2
3:2
Ó ‰ . œ# œ
œœ Œ ‰ œ# Œ3:2
Ó Œ ‰ œ3:2
p f
p f
PŒ ‰ œ# Ó
œ Œ Ó
∑
∑
Fœœ>
Œ œœ#-
Œ
Ó Œ Œ Jœ#3:2
∑
∑
PÓ ‰ œ Jœ#
Ó œ# œ ‰
œœ# Œ Ó
∑
p
P
&
&
&
&
Pno. I
Pno. II
7 œ œ ‰ Ó
Ó œ# œ ‰
Ó Ó
Ó Œ ‰ œ#
p
p
!Œ œœ
>Œ ‰
œ#>
‰ œ# œ Œ œ#
Ó Œ ‰ œœ#>œ Œ Ó
f ƒ
ƒ
P fŒ œ œœ# œœ ‰ Œ
˙ œ ‰ Œ
œœ œœ ‰ Ó
∑
F∑
∑
Ó Œ ‰ œ
∑P
Œ Œ Jœœ œœ ‰
œ#3:2
Ó ‰œ# Œ3:2
œ ‰ Œ Ó
Ó Œ ‰ œ#
P
F
Fœ#
‰ Œ ‰œ œ
‰
∑
œœ##>œœ
‰ Œ œœ>œ œ ‰ ‰ œ# Œ
ƒ
F
ƒF
Ylva Lund Bergner
����������� �
All tones are prepared with screws except for the last one, which is prepared with a wedge. The timbre that is preferable in this part is clocks. All tones should be let ringing as long as possible. It should not be percussiv and to make a smooth playing should the keys be held down most of the time.The pauses in the score are only meant to give a light image. The tempo is not precise. Play freely with the score as a base.
1
Piercing various layers of the memory –Genombrytande olika skikt av minnet –
&
&
&
&
Pno. I
Pno. II
( II ) ° *"
(°)
(°)
13 ∑
∑
∑
∑
∑
∑
Ó œ# ˙̇3:2
œ# œœ# œœ ˙̇3:2
Free tempo
Free tempo
∑
∑
ww
ww
Ó ˙̇##
Œ ‰ œ ˙
˙̇ ˙̇
˙̇ ˙̇
Fww
w
ww
ww
ww
. . .˙ "?
ww
ww
œœU Œ Ó
œ#U Œ Ó
œœU Œ Ó
œœU Œ Ó
p
2