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Composition recital Steenhuisen, Paul Brendan Allister 1990

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COMPOSITION RECITAL By PAUL BRENDAN ALLISTER STEENHUISEN B.Mus., The U n i v e r s i t y of B r i t i s h C o lumbia, 1987 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC i n THE FACULTY OF GRADUATE STUDIES Department o f M u s i c We a c c e p t t h i s t h e s i s as c o n f o r m i n g t o the r e q u i r e d s t a n d a r d THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 1990 © P a u l Brendan A l l i s t e r S t e e n h u i s e n 1990 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Music The University of British Columbia Vancouver, Canada Date 26 A p r i l 1990 DE-6 (2/88) ii ABSTRACT - MUSIC COMPOSITIONS BY PAUL B.A. STEENHUISEN The thesis is a concert of seven original musical compositions presented in the Recital Hall of the U.B.C. School of Music on February 18, 1990. NONTI RICORDl NON TI RICORDl was written for a sextet of clarinet, two percussionists, piano, violin, and cello, and is an exploration of the vast timbral possibilities of this heterogenous ensemble. In visual arts, colours are mixed, juxtaposed, and isolated; similarly, in NON TI RICORDl the timbres of the individual instruments and combinations of instruments are used to emphasize the form and highlight important points in the piece. The title, which means "I don't remember you", is taken from a painting by Francesco Clemente. The painting contains the bust of a man who, from the chin up, is transformed into a mountain. In keeping with the metamorphosis in the painting, the motive of NON TI RICORDl is stated virtually unchanged throughout the first six minutes of the piece (despite the continuous rhythmic and timbral development), after which it is gradually transformed, until no longer recognizable, in the concluding two minutes. STIPE STIPE means tree trunk, and is my representation of the strength and density of construction that is seen when examining the trunk of a healthy tree. The short chords which punctuate the silence of the opening form a harmonic cycle in which the intervals of the chords expand outward, much like the age-rings of a tree. Each successive section of the piece is a cyclic, ordered progression through one of the harmonies stated in the introduction. On a more local level, an important element of the work is gestural similarity -a quick flourish at the outset is the basis of all subsequent melodic material, often developed through registral expansion. STIPE won first prize in the 1989 Vancouver New Music Society Competition for Young Composers, and was premiered on their concert "WORKS- RECENT DISCOVERIES". WIRE Manipulations of natural sound sources form the majority of the material for this electroacoustic composition. Breaking glass, squeaking bicycle brakes, fireworks, wooden blocks, and rain are just a few of the sounds that were transformed by altering their length, pitch, volume, and envelope. Multiple layers of these timbres were combined with sounds generated on synthesizers to create an exciting and colourful sound world. With its use of both analog and digital synthesizers, musique concrete techniques, digital sampling, and sound sculpting, WIRE can be seen as an overview of many of the techniques utilized in electroacoustic music since its origin in France in the 1940's. This eleven-minute work was composed in the University of British Columbia's Electroacoustic Music Studio. TWO RIVERS The initial inspiration for this seven-minute piece for chamber choir was the choral music of my former composition teacher, Dr. Stephen Chatman. The piece begins in the conservative tonal language found in much of his choral music, but through the addition of clashing tones, becomes non-tonal. Throughout the work one can hear a smooth movement between these seemingly disparate approaches, and at times the traditional textures co-exists with the more chaotic textures. Overall, however, there is a gradual transformation from a clearly contrapuntal area to one of aleatoric sound blocks. TWO RIVERS won first prize in the choral category of the 1989 Performing Rights Organization of Canada's Competition for Young Composers. iii AMARANTH This four-movement work for solo cello is the longest piece on the program, lasting sixteen minutes. Each movement concentrates on a different form of the pitch-motive and explores one of the many extended techniques possible on the instrument, such as multiple-stops, pizzicato, sul ponticello, and col legno. The title refers to an imaginary flower that never fades away. This idea is represented in the music by the frequent reference to the primary melodic motive. As well, each movement (Ka, Golden Wave, Elatum, and Nova) is named after a flower which blooms in one season. The complete cycle represents one year of continuous presence and growth. DEEP MOUNTAIN DEEP MOUNTAIN is a twelve-minute electroacoustic work, and is the result of my study of computer applications to music with Dr. Keith Hamel. One of the topics covered was sound synthesis, more specifically the generation of complex sounds from a personal computer. Procedures for the synthesis of these sounds were written in the Object Logo programming language. After being generated, the sounds were then transferred digitally to a sampler, after which I began composing the piece. Using multi-track recording equipment, synthesized sounds from a Macintosh computer, and a number of environmental sounds, DEEP MOUNTAIN was composed in the Electroacoustic Music Studio at the University of British Columbia. It was a selected work in the 17th International Electroacoustic Music Competition in Bourges, France. THRESHOLDS When composing THRESHOLDS (written for two homs, four trumpets, two trombones, bass trombone, tuba, and two pianos), two compositional elements were at the forefront of my technical concerns. The first was to approach the work from a cinematic standpoint- the pitches would be organized in a recognizable, coherent manner, yet the textures and moods would change quite rapidly, much like the quick cuts and changes of scene one finds in films. The other important factor in this work was my desire to control strictly the emphasis which was to be placed on certain notes- even though there would be a high number of pitches present throughout most of the piece, the function of each pitch would be clearly defined. With such a powerful ensemble, doubling two or more instruments on a single pitch or rhythm can very subtly draw attention to one line, placing others in the background and thus creating a hierarchy within the ensemble. The aural result is seven minutes of multi-levelled, harmonically rich and dynamic music which enables the ensemble to display its virtuosity. iv TABLE OF CONTENTS Abstract ii Table of Contents iv Recital Program ; 1 NON TI RICORDI 3 STIPE 31 TWO RIVERS 44 AMARANTH Ka 72 Golden Wave 75 Elatum 78 Nova 80 THRESHOLDS 83 1 THE UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC R e c i t a l H a l l . Sunday, F e b r u a r y 18, 1990 8:00 p.m. GRADUATE RECITAL * PAUL STEENHUISEN, COMPOSER Non T i R i c o r d i A n n e - K a t h e r i n e Coope, c l a r i n e t Ken M o r r i s o n , p e r c u s s i o n Marc Crompton, p e r c u s s i o n A d r i e n n e P a r k , p i a n o N i c h o l a s L o z o v s k y , v i o l i n E l i n o r H a r s h e n i n , c e l l o Doug S m i t h , c o n d u c t o r St i pe A l a n C r a n e , p i a n o W i r e Bob P r i t c h a r d , d i f f u s i o n Two R i v e r s U n i v e r s i t y Chamber S i n g e r s Leanne Patenaude, soprano Marsha J o h n s t o n , soprano L e s l e y S u t h e r l a n d , soprano Amy Step h e n , a l t o Joy A l l i s o n , a l t o Lynne M c M u r t r y , a l t o C o l i n d e B o u r c i e r , t e n o r B r i a n Day, t e n o r J o n a t h a n Q u i c k , t e n o r Andy H i l l h o u s e , b a s s D a v i d F a n k h a u s e r , bass D e r r i c k C h r i s t i a n , b a s s C o r t l a n d , H u l t b e r g , d i r e c t o r - INTERMISSION -I 2 1 Amaranth ( K a , G o l d e n , Wave, E l a t u m , Nova) L a u r a M c P h e e t e r s , a m p l i f i e d c e l l o Deep Mountain Bob P r i t c h a r d , d i f f u s i o n T h r e s h o l d s B l a i r F i s h e r , t rumpet John K o r s r u d , trumpet A k i r a S a t o , trumpet Kaamran H a f e e z , trumpet Brenda Chatman, horn C h a r l e s MacDonald, horn I r f a a n H a f e e z , trombone Ken S u r g e s , trombone Cameron Dunlop, bass trombone Pa u l F e s t e r , t u b a A d r i e n n e P a r k , p i a n o Grace Q u a g l i o , p i a n o Howard Bashaw, c o n d u c t o r * I n p a r t i a l f u l f i l l m e n t of t h e M a s t e r o f Music degree w i t h a major i n C o m p o s i t i o n . There w i l l be a r e c e p t i o n i n t h e f a c u l t y l o u nge f o l l o w i n g t h e c o n c e r t . Thank you t o Don Chow, Ian C r u t c h l e y , P a u l D o l d e n , K e i t h Hamel, M i c h a e l a Lawrence, M a r i a Kowan, Doug S m i t h , P.H.S. and A.O. S t e e n h u i s e n . 5 6 9 SI: o in It \ Y ft V-4: 4-11 12 13 14 15 16 18 19 II 1;:: i 5 II k C4 ri 20 21 22 24 IA r y> 4 1 J o - / V _5 25 27 ) i I 4 1 5~ _ 4 " C 0 A.* 8 _ l _ o : r . ' _0 > 28 29 30 S T I P E for solo piano by Paul B.A. Steenhuisen 15-j y y • J 3 V i i < t y y y -sempre i r Hi, ftp-. p i J.=~56 r3-> J=~60 poco riL. fir mp X /K S t S 3 JL PP PP VP sempre PP a- accidentals apply until the end of the dotted line. 2. b- Interrupt repeated pattern to play 3 grace-notes in added staff. Once grace-note has been played, go back to repeated pattern until next grace-note in added staff, and continue in this manner, where appropriate. c- clusters 5. c 1 1 t f -jf a ua t l " " f f f tf f T 7 f""f"f 1,1 i 1 j » j 4 4 4 H j i i || mm 11 ri a — a - - - c- - - -1 1 'j=~84 -5" • , g. poco a poco acc. to J=~H6 J=~104 lEfEEtE if* 8 I pocoriL A T E M P O , 6 , -sempre mp tt,J? ^ns—t j» : ± l t 3 d- roll hand and fingers over all pitches between those specified acc. to as fast as possible $ % $ I " 1 ii Bk=XM- *A 4 I M fa =^ =*= — " bj J - 3 — • = - = f =4 - 3 — i =# *—m-9 ' ^-'5 —^—J I — PJ — J J=~50 J=~40 r.h. acc. ,1 A T E M P O 3* ab.pp p pp PP -sempre 0 0 B S L_ u both hands poco a poco acc. to J=~69 l.h. sKght acc. A T E M P O * t f E X A C T T E P  p p f P nf p r -"3-< f> e- rhythms and synchronizations are approximate until the marking " E X A C T ' . 8. 41 tf* yti* ^ x J * * 3 * ' . ^ * l & I I ^ I >r;r> W i w r i — J=~6( _ _ c J? > Wlfl i l3B3=i^ t=i p i Hi Ihfl4 1* J=~84 1 2" ,1 i SUbj£ .--11 IM-MI IM+ I s s ^ * - * s 1 ~7"-i a-1 i --4-— 1 1 iF 120 -3-, r - 3 — i i L i " W« = * " f — > a- -c — r-3 i x poco a poco molto acc. to / m ll = 5 4 « — c — : a1 •—; \*— toff* T^T* " i — 3 — ' ' 3 1 '—3 11. ff f F T f 12. 44 TWO RIVERS for twelve solo voices (SATB) b y Paul B.A. Steenhuisen 45 for twelve solo voices TWO RIVERS Paul B.A. Steenhuisen J=S4 # Soprano 1 Soprano 2 Soprano 3 Alto 1 Alto 2 Alto 3 Tenor ] Tenor 2 Tenor 3 Bass 1 Bass 2 Bass 3 46 47 SI S2 J=63 PP acc. to J-72 J=63 I see love PP in your eyes the acc. to sun the sea coy J=72 o - te moun- tains I see love in your eyes the acc. to sun the sea coy -J=72 o - te moun-tains Sun sea coy- o coy- o 48 49 I see all be hind me is shin - ing I see all be - fore me is light - ened ,17 J=72 J=80 I, L B l I see all be ^ slow portamento J«80 fc> hind me is shin - ing V -I see all be -. J-72 J=80 foremeis light - ened B2 K i . •L IF stow portamento J=72 J=80 iy B3 K i . 50 against harmony son the sea coy 51 J=92 S2 S3 J=92 I I J=92 J=92 pp as in "peninsula' J=84 J ? p or in "peninsula" •NlJL-J -Ha -a - a-a J=84 or in "peninsula" Ha-a - a-a - a-a - a - a J=84 a-a - a - a- a -a J=80 - a-a fJJl H«- a - a-a - a-a - a-a - a - a - a- a - a-a - a-a - a-a - a - a I I I a" J=»4 J=K) a-a -a-a J=80 i i i •lry J=80 o - te moun- tains I see fish swim through your see blades of grass in your I see long roads walk- ing 52 32 si S2 S3 A l HA a -a-a - a - a - a - a - a I 32 I J F ^ A2 A3 T l T2 T3 a I I I 1 1 1 1 1 I o 1 f f f f I I I I Ah Ah Ah B l B2 B3 (fn ? n f? r N L ftSjt^ • 4 0 P r 1 I I Ah v y Ah Ah V Ah J=«> - pass you by I am a - lone J=60 n pass you by I am a - lone 53 SI J=63 A9 <*P J=84 J=60 J=76 I see ha- tred in your eyes the storm the pain coy- o - te dark - cncc J=84 sky I see sor-row J-76 S2 I see ha- tred J=63 mp in your eyes (he storm the pain coy- o- te dark-ened J=84 I see sor -=76 S3 I see ha - los in your eyes the storm the pain the tiers coy - o - te dark- ened skies J=60 J=76 B l B2 B3 J=63 portamento Haic_ pam_ J=63 PO"<^"^ J=84 J=76 Hate_ pain. J-« 9. 54 a little faster mnf IT * rliwuHo "ktalsfasA" ^J^ JJK tn-giGO ibc fiat bat d mrifnrr 49 55 poco a poco acc. A2 H -JUL poco a poco acc. . X J U U crying running dragging A 3 Ah cry Ah Ah A h A h poco a poco acc.. cry crying crying crying screaming running dragging Ah cry Ah Ah A h A h cry crying crying crying screaming running dragging poco a poco acc. •f -r ,U ^ TI T2 fore me is dy- ing fro-zen all be poco a poco acc... I £ "f hind me is fright-enec m cry- ing stag- ger drag-ging call-ing 1 scream -ing run-ning fore me is dy- ing 4>/2— fro - zen all be poco a poco acc. iiind me is fright-cnol cry- ing stag-ger drag-ging call-ing running dragging 56 56 ff 1 ^ „ i l l - ing rush - ing rip-ping blind-ing flash-ing steal-ing yell-ing r ^ grab-bing 1 4 rush-ing ii i i -) ? »l J v J-tT* r*—fl v * j — * crying rush-ing bleed-ing rip-ping blind-ing f i t flash-ing steal-ing r p y yell-ing r .-1 grab-bing 1 K * 4 rush-ing II 1 1 -i ? * i Jv 1 **l "?*r f»—fw crying rush-ing bleed-ing rip-ping blind-ing flash-ing steal-ing r p' yell-ing r ^ grab-bing [ 1 7 4 rush-ing 56 II t \ ^ \ a .1 A 1*7 •J -^7 P—fit r^ ? i 11 * cr^ * crying rush-ing bleed-ing rip-ping blind-ing flash-ing r * steal-ing 1 r1 yell-ing grab-bing 1 '4 rush-ing II 1 I - " i ? * l *i 1 r»7 rt, crying rush-ing bleed-ing rip-ping blind-ing flash-ing r steal-ing i K * yell-ing 1 r ' grab-bing nuh-ing II 1 1 " ' i ? *l ^ . f 1 —-""IT •* ri^71 1" * * crying rush-ing bleed-ing rip-ping blind-ing [ V* flash-ing f r ' steal-ing r K ' yell-ing 1 r ' grab-bing rush-ing Lri r1>71 call-tng pull-ing rush-ing bleed-ing rip-ping blind-ing flash-ing steal-ing yell-ing 1 r T grab-bing ' 7 4 rush-ing n i 1 -1 ? *l ^ 7 —•--IT r p 7 1 crying rush-ing V bleed-ing rip-ping [ P> blind-ing flash-ing 1 f ' steal-ing 1 K ' yell-ing 1 r ' gr&b-bing 1 r 7 4 rush-ing II i 1 - i ? * l ^ . 7 •*J--ff«i r""1if r i , i •s crying rush-ing V bleed-ing rip-ping blind-ing " r ' flash-ing r ^ steal-ing i K 1 f yell-ing 1 r 7 grab-bing 1 r 7 4 rush-ing 56 ? * l 1 M %t ••I -^ T*Y _.-""IT r1>71 y \\ II rush-ing V bleed-ing rip-ping blind-ing flash-ing \ ^ steal-ing r v y yell-ing 1 r " grab-bing " r F 7 4 rush-ing ? *l »t • • J -^ r*«r — - I T 1 I ^ rush-ing bleed-ing rip-ping f P v blind-ing P T flash-ing | r ' steal-ing r K i r yell-ing i » grab-bing i '4 rush-ing ? * l _ » 7 L i**r «—f? v f i N caiaa ibould be marc ycOcd dm l k pitch for ncfa pntanmo i ft faalf-ooceJUgrtom should be BJUCI % rush-ing V bleed-ing rip-ping •linagl f r blind-ing 12 flash-ing r * y steal-ing | K i r yell-ing i ' grab-bing rush-ing 57 B l B2 wash - ing flow- ing soak- ing flood- ing pour- ing seep- ing drip - ping rush- ing push- ing <i r ^ ? y jrT^ y rn^ y rT^^ r^ T^ y r^ TP ^ r^ 7l>y r^ jT ^  ^ r wash - ing flow- ing soak- ing flood- ing pour- ing seep- ing drip - ping rush- ing bleed- ing pass J=176 - ing flow- ing soak- ing flood- ing pour- ing seep- ing drip - ping rush- ing bleed- ing whip- ping by wash J=176 wash - ing flow- ing soak- ing flood- ing pour- ing seep- ing drip - ping rush- ing bleed- ing whip- ping scream -ing am B 3 i , j = ™ t f ^ T ' ^ * A high note, ocn-ixraon, wixh good *• poco a poco cookoacc. aDtQiicoa 13. 58 Suddendcactxabyperfectfounh (taxsvate ** NouadiutuJpcpc«icp>ny. wtbcw wiiitcD below (be odxs imply » descent, pomu (/) JM shooM quickly move op while chose shove the DOU* men to ascend between ooe-qusm? sod coo-balf • \A dK prescribed kaervil). tooe«ndf— M • ' ' J pass wa-59 15. 60 SI S2 91 A l A2 A3 .91 B l B2 B3 Hummed * "52 one octave above basses i f 2 1 -2 J > l 1 "2 1 1 "2 I' 1 m J a J J " Z -2 -2 J J -2 J * J=52 Hummed ma one II 1 ' 2 J " 2 octave above basses J > l 1 "2 1 1 " 2 J -m -2 -2 J J -2 J=52 J=52 J=52 J=52 J=52 J-52 J=52 J=S2 J=52 Hummed i m — J=S2 Hummed -2 -2 M r -2 - 2 16. 61 97 SI J = r £ a /ittk slower +2 not hummed J = 6 ° S2 S3 a little slower +2 a little slower 97 A2 A3 5 4 5 4 a little slower a little slower a little slower J= « 0 4 4 J=eo 4 4 J=60 4 4 97 T2 T3 a little slower a little slower a little slower J= « 0 4 4 J=60 J=60 4 4 97 Bl B2 B3 + 3 I +2 a little slower a little slower not hummed J=60 4 4 J=60 a link slower r-J. » J=60 Any biffa oats A todrleo bum of cacrgy 17. 62 102 102 102 102 as in "love" ' +2 -+2-18. 63 SI S2 S3 A3 TI T2i T3 B l BZ B3 108 108 BydsspoontSl sbould ray praed 19. 64 113 / H o ~~ JT ,1 _ • r f l V H5 1 Ah h 5 t " 2 1 1 I '2 J "2 r3n r-3-, I _hj J KI i 1 Ah +2 1 1 1 II 7 r I Ah find Si's pitch « . P > si 1 V a- Ah Hummed «9» -2 -2 •i r w rtrv J J m J J J J n J f J -2 m 113 find Sis pitch p II 1 \ I Hummed t a p -2 -2 1 " 2 1 > I" 2 J "2 J M 1 M +2 1 1 I B J j J why ^ J J m J J * - J * -2 .2 — J ' J -2 m k / rr f • fj / II 7 r 1 Ah K y Ah-ah 1 ~ ^ II 7 C 1 Ah 113 ST ii - 7 P N > faintly I J Ah CT Ah-ah ll / r 1 Ah >- eese vul ni faintly ni roy zed * • ~ - — nus eat 1* yock z now I ii 7 r 1 Ah find Si's pitch s j ) « — >• eese vul Hummed _ _ -2 T i royz 1 "2 1 i 0 eth eese 2 J -2 o nate r»-i r-3-, J Al J H m +2 1 1 1 113 find. '« , f fhy Si's pitch h > J J m ummed T " 2 i '2 J J * -2 1 1 i I"' J "2 -2 . 2  J _h>| 1 M J 1 J -2 m +2 1 1 1 11 r f a -why ST „ _ ,[T|V J J m J 1 ^ J J n w — ^ J S>J -2 -2 * ^ ~ J * J -2 m K ft Hummed II 7 K1 ' Ah sr B — r - f i ^ i ST' P > Ah s> P Ah 65 119pp r. n n n n n acc. — «f LA K *f J=48 nnnnn ^ ^ f f f f Ah-ah ah ah ah ah ah ah ah ah II N — ^ h r -7 ry/ 7 J0010000009 ohohohohohohoneeeeoh J-« u LT eeee ohee ohoh eeee n n n n***< crcrcrcrcrcr ohohohohohohohohohohohoh acc. "J * 1— ohohohohohohohohohoh j JJJJ JJ Jr_f fj* ohohoheeohoh eccceece ahah J " 2 f " > -2 119 il 1 "2 1 — m 1 I J J=48 J ^ J J " 2 r " 2 " J J .2 J _ = J _ m II fff II 119 II • acc. J=48 Ohohohohohoh Oh i—5—i i— 5 — i —. f f f f f f r T f l f 1 . i h ob i t K hw fi r* P ^ ah ah oh oh ah fT » _P ft ft * 11111 11111 ? i v Oiahahahahahah Oh ' m * er ah oh la J=4« P P 11 ^ ' J ee d in cc cc ah 11 #  I vul ri ^ s roys d eth vir ric no I J»48 0 la ni ceb " - *" II ^ » eese ni H ^ - i -nah er A * \— * ulck as isle J-» J - J J eese d eem J " 2 r " 2 , -2 119 i i j "2 J m J i J J=48 1 " j " J " r " m II II n P L jn acc ^ — •< 1/^^ J=48 Ah acc - 1 ufi "jS •.•--*•« «h p --*- -ay _. V V 7 *Rhydniioucl ** Rhythm U DMXnprcporticDml 21. 66 123 Jfpp jgrpp SI J JJ PP -10"-•OTP PPPM alittU loiter ah ee oo oo tee tee PPP cc cc cc cc acc. ee cc cc cc S2 Jfpp / p oh oh oh oh if*-tee tee a tffde faster ah ah ah ah ah ah ah ah oo oo acc. -2 S 3 a /iH/e faster +2 tee tee gradually change to "tee see" 123 occ. sir rr^r A l a UM« /alter J» +2 y  m _ ^.PP A2 ah ah ah eeee •ffp <•"•---cc cc cc ah ah ah 1 % tec tec PPP tee tee gradually change to "tee see" p a little faster us us coy o A3 i r slower gradually change to "tee see" p see ah see ee ah ee bee dee tee tee tee tee tee tee gradually change to "tee see" 123 acc-T l mf p mf Jf 4 i-4-f J-ni ni sh la eeb n coy o ee ee ah T2 CCCQ acc. raf eem dec tile coy ah ah o ah ah ah 2 f . * * f \\ ft t c P tee ck ck clc ah ck 1+2 +2 ck ah ah ah ck ck ck ck key. Pitch Ii ^ynuumMs Give one COB. DO BKX but ttmo. riti—|»",,,",,"<r 22. 67 SI slower  v faster P +2 faster ff faster +2 *lf +2 f +2 +2 +2 gradually change to "pee see bee" +2 +2 +2 change to "we see" +2 S2 slower faster • -+2 p +2 +2 *V f faster ff +2 +2 -3 . gradually change to "pee see bee" +2 +2 slower S3 A l faster faster f change to V « jet* ff -2 -2 .• -3 gradually change to "bepee see" . _ change to "we see" p +2 /"•""• +2 +2 ff ^gradually change to "pee see bee" +2 +2 ff -2 A2 -2 -2 -gradually change to "bee pee see" A3 TI T2 T3 B l B2 +2 +2 +2 JT7 +2 +2 +2 , gradually change to "bepee see" . +2 *£fft pee see bee. J-E-+3 ff+3 +3 if p4 seebe_ < P +2 +2 +2 he see-faster portamenti he be ff JE-faster portamenti ff* faster portamenti B3 23. 68 69 as fast and as loud as possible SI S2 S3 A l • m i A2 A3 TI T2 T3 B l B2 B3 ru-sa-lia. as fast and as loud as possible ru-sa-lia _ as fqgt and as loud as possible ru-sa-lia _ or fast and as loud as possible i—3—i ru-sa-lia _ as fast and as loud as possible m ru-sa-lia _ asfqft and as loud as possible ru-sa-lia _ yell a high pitch Ah yell a high pitch Ah_ yell a high pitch Ah_ yell a high pitch A h . yell a high pitch A h . yell a high pitch K A h . 1 A tri(b pucb, with ( K M Mlrrny "m" m m loan"; m to "day"; "TU" at m "csngna* 25. COPYRIGHT 1989 Paul B A. Steenhuisen A M A R A N T H for solo cello b y Paul B.A. Steenhuisen o Notes for performance Bowing grid. A line at the top of the grid means to bow sul tasto, whereas a line at the bottom means to bow sul ponticello. Where there is no grid, the last bow marking remains valid until the next bowing grid. A line from top to bottom means that the bowing should be a smooth transition between sul tasto and sul ponticello. Repeat the same notes in the specified rhythm until the next note-change. Pluck the specified pitch (pizzicato) with the same hand as it is fingered. In some cases both hands are playing on the fingerboard, plucking and fingering notes. In such instances each hand is given a separate, clearly marked stave. As fast as possible. A line between any two pitches means you should smoothly glissando from the first to the second. Any special directions as to speed of the glissandi appear directly above the slide in question. col legno tratto col legno battuta col legno gettato Bow with extreme pressure on or just behind the bridge on the G,D, and A strings, or the C,G,D, and A strings respectively. The resultant sound should be mostly noise, with very little defined pitch. Snap pizzicato f , ,, AMARANTH D l B A c ' / i n o n N for solo cello Paul B.A. Steenhuisen (1989) KA J =33 poco a poco motto acc. V 3" P m vtp J=50r-3^ -3-, 4" > > > poco a poco molto acc. J= 72 - i r* r -3 - , r-2 A l - i ft _ 5- A r3- , m r3 r 3 - , ; 2 < \ 5 6 7 8 9 - > ma D •* | L = J . = i = i=Lj ntf — = f j -S G • do not let this figure become a tremolo »* no gliss. on the D string dampen immediately arco 7" Hi — 1 — slowly put bow down and prepare for next section pizi. until otherwise indicated GOLDEN WAVE inf P J=50 Snap pizz. followed immediately by rapid, random pizz. fastgliss. pizz., but not S S snapped dower gltsses P f P f P f P J=100 -] pizz. Left Hand / p / p Right Hand — • jf ^ — > > ——k-> M k4— •> > not synchronized r f l — B • acc. . •10" J=133 I (not synchronized) Depress notes with both thumbs, while plucking with remaining fingers. (not synchronized) 5" J=66 pizz. ff'-PP J=100* . 3" (not synchronized) Left Hand Right Hand\ the plucking should be very fast and somewhat touvtn, with the hands not synchronized It is understood, and even desired, that in Ou effort to attain a maximum speed, the open G and D strings will sormtomti be acadenlaUy plucksdWhU the thumbs depress the written notes, all other fingers should be plucking frantically. 3" 1, 3" tap with fingertips (not fingernails) on body of instrument, immediately on either side of the fingerboard. 3" a--r-f pick up bow with right hand and proceed, after a 1" break, into the next section. ELATUM J=66 one bow for each beat motto acc sub. J =66 J=50 ik> WsHs'-s--— r y V • 3- | /nrltQ^^r^ T I P i p j i i y n y i i j M ^ M A T A — ^ ' '-3-' i_3"!J T " 3 - ' \f^=-p tap .J-66 molto rit. =66 short, weeping glisses NOVA tremolo on GondD strings with wood of bow, J=100 c l . b . arco 12" c.l.L i z r a r =150 J=100 ^jji—,i>i>i>i iji fflro BTfl J=ioo 3 V M M 3" ]5" starting with UttUprusurt and btdkHng to Left Hand curt** pressure. The Itfi hand should dampen upper injtntmeiu ' ' x all strings throughout so there is no open string im^wuh knuckles . L L U c.l.gea. Right Hand stop the strings from ringing by prtssing the how against the fingtrbotupdwhen not playing. J=75 C.l.L gentle c l .b until light c.l. getl. otherwise specified 8" more forcefully d .b . trfPlfP /T"\ acc. ml /TV .iff J=66 r - 3 - , JL A JL M. A - 3 - / III ^ "-=-5 • body tapping rit. J=100 C.l.L 8" J=-15 body tapping , 3 — mm txtnm* bow prtsntrt =66 1 — J — • y '9 9 mi J=66 «-3-< mp 10" c.l.t alternate between strings CT.—S 1  J | - J I J J Right hand put down the bow — 3 - mf- jJur 1 1 i i I l_ >y i 3" —PP J=75 1 J ,1 J - , m , m j $ nip slight acc motto rit.. sub. J=33 *r-»-»^3-» J J J-a J »-»,i-»i-»< J J J J"">]—>0—J—*3—*d-fe-XH-; Gradually let the hands become un-synchrordzed by acc. did right hand until it is the same speed as the left hand, although not sounding together. One* this is done, acc. both hands. OO II J=66 nc 6 N 1 t synchronized poco a poco motto acc. to 10" j II II • ,n. Gradually work your way down from striking the body of the cello on either side cf the fingerboard to the beOy of the instrument, near the bridge. Strike cello body near the bridge with a great deal afforce using the knuckles of both hands II 83 THRESHOLDS for brass choir and two pianos by Paul B.A. Steenhuisen 84 INSTRUMENTATION 4 Bl> Trumpets 2 Horns in F 2 Tenor Trombones 1 Bass Trombone lTuba 2 Pianos (lids removed) DURATION: ~8 minutes STAGING |Trombone 1 ||Trombone 2 |[Bass Trombone[|Tuba|  [Trumpet 1 ||Trumpet 2 |Trumpet 3 [Trumpet 4 |  |Piano l||Horn l | [Horn 2||Piano 2| | Conductor] 85 by Paul B.A. Steenhuisen 2J Copyright 1989 Paul H A . SteenlnuKaa 2 86 Thrahold* 2 87 3 Threiholdi 3 88 HmthoLds 4 89 T W b o l i k 5 90 6 91 Threshold* 8 93 Thresholds 9 94 Threshold* 10 95 T b a h o l d i 11 12 96 T t p t l 4J I K E ' TO 5J 4J 3J 4J T i j t 4 Th ic i ln ld l 12 97 98 14 J-66 J-72 J-80 0 trr ^ f T i p t l JT +• -h-h 1>pt2 r r - 3 rr -*—*—r TIJ * 3 Trpt4 r * i r r r — ITT Ptdal-lcmt am amy pitch. Play a Thresholds 14 difftrtnlp<dal-to*4 OH tach itxtry. 99 100 El J-176 J-80 2J 3J 4J 70 J-176 J-80 101 17 Threshold! 17 102 Tteotnold. 18 103 104 Thresholds 20 105 106 Thrcsholds 22 107 Thndtabk 23 108 109 Threshold* 25 26 110 Tip l4 J-50 J-66 J-84 J-104 ThrccholdB 26 112 28 }ntirrupt Move* of dusters with accented slash a al piano keys. Thresholds 28 113 Thresholds 29 114 Throhoidi 30 115 31 T r p t l Trpl2 1>TX3 Trpc4 TbuliDlda 31 116 ThnnJ r tb 32 117 Thraholtk 33 118 34 

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