The piece is commissioned by and dedicated to Nadar Ensemble
Mezzosopran
Flöte auch Piccolo, Bassflöte und Claves,
Klarinette in B auch Es-Klarinette und Bassklarinette in B
Posaun
Perkussion
Sampler
Synthesizer
E-Gitarre
Violine auch Cowbell
Violoncello
Besetzung / Instrumentation bb
Mezzo Soprano
Flute also plays Bass Flute, Piccolo and Claves
Clarinet in B , E and Bass Clarinet
Trombone
Percussion
Sampler
Synthesizer
Electric Guitar
Violin and Cowbell
Violoncello
CopyrightbyRicordiBerlin/Onlyforperusal
Dauer: ca. 50’
Uraufführung: 30.05.2019, Brugge
Nadar Ensemble
explanation of signs
general signs
The score is in C with standard octave transpositions
Following common practice, accidentals apply for the whole measure in that particular octave. Cautionary accidentals are given frequently and do not cancel this rule. Microtones are treated in the same way and last the whole bar unless cancelled by a different accidental.
2. Tower
All instruments are amplified in such a way as to make the amplification almost imperceptible.
The Electric guitar, Synthesizer and Sampler players need individual monitors. The singer has a wireless head-set with microphone.
It is recommended that the Sampler is projected to the all the other players to assist synchronising with the samples.
Synthesizer
Non-vibrato should be the normal style unless expressly indicated otherwise. dal/al niente.
ªSinger speaks before the beginning of part 1: toNadarEnsemble
quarter tone lower/higher (±50 Cent).
HERMETIKA IX
Quarter tone section: all notes lowered a quarter tone.
spoken with approximate pitch curve
Exaggerated vibrato.
C’est moi la partie de ma mère
Et c’est moi la mère
C’est moi la femme
C’est moi la jeune fille
add 1-2 eighth rests, vary with each loop
C’est moi la femme enceinte
C’est moi la sage-femme
C’est moi la consolatrice des douleurs de l’enfantement
Bernhard Lang 2018
Register-Clef on a 3-lined staff indicates approximate pitches in high, medium and low register.
C’est mon époux qui m’a engendrée
Et c’est moi sa mère
x3 play/sing 3 times, or other number as indicated. add rests with each loop, so varying the loop length.
Et c’est lui mon père et mon seigneur
C’est lui ma force
Ce qu’il veut, il le dit clairement
add 1-2 eighth rests, vary with each loop spoken
∞ “infinite notes”: hold as long as indicated, imperceptible change of bowing, circular or imperceptible breathing, no breaks.
play the loop asynchronously, entering in the order indicated by numbers.
syncmaster cues loop starts and other sync events.
approximate synchronisation of meter (metronome beat).
precise sync of loop start.
play loop 5-6 times, changing the length of the rest at the end of each loop (“scratching the loop”), so varying the loop length.
improvisation: use the notation as a guide to gesture, density and complexity. The graphic notation is to be used as a suggestion only.
synchronise metre with the Sampler as much as possible.
woodwind & brass
add 1-2 eighths rest at the end of each loop
add 1-2 eighths rest at the end of each loop
rough tone, as used by jazz players like Dolphy: dirty embouchure subtone, underblowing.
key clicks. Audible clicks, preferably amplified through microphone.
slap (Clarinet), tongue-ram (Flute).
sound with high air-stream content.
air only, no pitch.
add 1-2 eighths rest at the end of each loop add 1-2 eighths rest at the end of each loop f add 1-2 eighths rest at the end of each loop
pizzicato articulation(Flute only, see Artaud).
add voice below. Sing the lower note through the instrument while playing, resulting in a diffuse harmonic structure. (Player can change octave according to their voice). free multiphonic
multiphonic: the white diamond notehead indicates the fingered note, the black notehead indicates the resulting tone that should be perceptible. (Alternatively the diamond notehead can be sung.)
move towards higher partials without losing the fundamental (overblowing).
c.l.b. col legno battuto , strike with the wood of the bow.
c.l.t. col legno tratto, play with the wood of the bow.
c.l.t. + crini play using both the wood and the hairs of the bow.
n.v. non vibrato.
s.p. sul ponticello: play near the bridge.
s.t. sul tasto: play near the fingerboard.
ord s.p. move from normal to sul ponticello position. half pressed, muted strings (half harmonic).
a.h. artificial harmonics: all notes are to be produced using quart-stop harmonics.
s.t. arco flautando, sul tasto. exaggerated bow pressure. bow noise only, no pitch.
sampler
The Sampler is played via a master keyboard, the individual samples assigned to the keys. The label above the note indicates the sample name. See full list on following page.
synchronize loopstart with other players
CopyrightbyRicordiBerlin/Onlyforperusal
synchronize loopstart with other players
Part 1
File name
synchronize loopstart with other players
BarRootMIDI
HIX Part01 Sample C3 bar 7 Version transponders G.wav7C360
Hermetika IX Score Part 03 loop4 G.wav (not used)G479
HIX Part 03 Sample 5 G#4.wav 323G#480
HIX Part 03 Sample 6 A4.wav 335A481
HIX Part 03 Sample 7 Bb4.wav 339Bb482
HIX Part 03 Sample 08 H4.wav 345H483
HIX Part 03 GuitImproLoop02_C5.wav 484C584
HIX Part 03 Coda_C#5.wav 534C#585
synthesizer
The Synthesizer used in the first performance is a Yamaha SY99 (models SY77 or TG77 with a master keyboard are possible alternatives). The sound patches are available as either Sounddiver Lib or SysEx MIDI files. See full list below.
Chromatic cluster using elbows (and forearms if necessary) to play all notes between the indicated pitches)
Part 2
File name
HIX pt.02 Snd 01 non vib Organ
PresetTG short nameBar
A1HIX nv org3
HIX pt2 snd 02 non vibrato Organ tuned quarter tone lower A2HIX2nv4org96
Part 3
File name
PresetTG short nameBar
HIX pt.03 Snd 01 non vibrato Organ II tuned quarter tone lowerA3HIX3nvor23
HIX pt03 SND 02
A4HIXpt3snd222
HIX pt.03 Snd 01 non vibrato Organ II tuned quarter tone lowerA5HIX3nv4or279
HIX pt03 SND 03
A6HIXpt3snd385
HIX pt.03 Snd 01 non vibrato Organ II tuned quarter tone lowerA7HIX3nv4or2104
HIX pt03 SND 04
A8HIX3snd4113
HIX pt.03 Snd 01 non vibrato Organ II tuned quarter tone lowerA9HIX3nv4or2141
HIX pt03 SND 05
A10HIXpt3snd5184
HIX pt03 SND 06 A11HIXpt3snd6227
HIX pt.03 Snd 01 non vibrato Organ II tuned quarter tone lowerA12HIX3nv4or2267
HIX pt03 SND 07
A13HIXpt3snd7299
HIX pt03 SND 08 A14HIXpt3snd8369
HIX pt.03 Snd 01 non vibrato Organ II tuned quarter tone lowerA15HIX3nv4or2464
HIX pt03 SND 09
A16HIXpt3snd9473
HIX pt03 SND 10 B01HIXpt3snd10498
stage whisper. sprechgesang (Berg) with discernible pitch
spoken, no definite pitch
defined rhythm, highest register
sound descriptions, associative and open for interpretation. In this case use e-bow.
Delay line specified in milliseconds.
use steel finger-slide (bottleneck).
move slide finger quickly up and down the finger-board (blues trick).
vibrato using tremulator/whammy bar.
muted near the bridge (“Iron Maiden mute”).
strike with fingernail.
4. The Angel’s Song
The players can use metronomes/clicks for synchronisation, the playback is in loose synchronicity except start and stop.
Feedback-delay “Frippatronic”, 6774ms, 70%–80% feedback, dampening during 7–8 delays op Volume Pedal Crescendo singing overdriven q = 62 A
the loops shown in the score result from the guitar delay-line, they are notated here approximately for orientation only, not for synchronisation
special technique invented by Daevid Allen (Gong) using a screwdriver to agitate the string by making a slide tremolo (as above) and adding reverb and delay space.
feedback delay creating a dampened loop (in this case 6774ms), getting softer and darker during 7-8 repetitions. Could be created using a patch or jam-master, or similar.
HERMETIKA IX Vox Angeli II
Singer speaks before the beginning of part 1:
C’est moi la partie de ma mère
Et c’est moi la mère
C’est moi la femme
C’est moi la jeune fille
C’est moi la femme enceinte
C’est moi la sage-femme
C’est moi la consolatrice des douleurs de l’enfantement
C’est mon époux qui m’a engendrée
Et c’est moi sa mère
Et c’est lui mon père et mon seigneur
C’est lui ma force
Ce qu’il veut, il le dit clairement
1. Studio
Bernhard Lang 2018
synchronize loopstart with other players
synchronize loopstart with other players
sul G synchronize loopstart with other players c.l.t. + crini
synchronize loopstart with other players
synchronize loopstart with other players
sing lower voice octavize ad lib
synchronize loopstart with other players
add 1-2 sixteenth rest at the end of each loop add 1-2 sixteenth rest at the end of each loop
synchronize loopstart with other players
col legno tratto senza crini
synchronize loopstart with other players
approximate synchronicity with sample, try to sync meter
approximate synchronicity with sample, try to sync meter
sing lower voice octavize ad
HIX Part01 Sample D3 Bar 13
approximate synchronicity with sample, try to sync meter
approximate synchronicity with sample, try to sync meter
approximate synchronicity with sample, try to sync meter
add 1-2 eighths rest at the end of each loop add 1-2 eighths rest at the end of each loop f add 1-2 eighths rest at the end of each loop
add 1-2 eighths rest at the end of each loop add 1-2 eighths rest at the end of each loop
approximate synchronicity with sample, try to sync meter
approximate
with sample,
approximate synchronicity with sample, try to sync meter
with
meter
approximate synchronicity with sample, try to sync meter
Mezz.
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
B & & ? V
with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
synchronize loopstart with sampler, try to synchronize Sample
? & & ?
? & & ?
?
? & & ?
continuous gliss. with string-change, using slide
(continuous gliss.: neither emphasize nor hold the indicated pitches)
? ? & & ? V
? ? & & ? V
B & & ?
& B & & ?
add 1–2 eighths rest at the end of each loop
& & & ?
add 1–2 eighths
at the end of each loop
add 1–2 eighths
at the end of each loop
add 1–2 eighths rest at the end of each
add 1–2 eighths
add 1–2 eighths rest at the end of each loop
& † & ? ã & &
& † & ? ã & &
& † & ? ã & &
C’est moilamèredemonpère
moilasœurdemonmari,
C’estmoilamèredemonpère
& ? & & ? & ?
& ? ã & ?
& & & ã & ?
Sprechgesang
Sprechgesang
Sprechgesang
Sprechgesang
Sprechgesang
& & B
¿ c ¿ j ¿ ‰ demonnom. ¿ c ¿ j ¿ ‰ demonnom. ¿ c ¿ j ¿ ‰ demonnom. ¿ c ¿ J ¿ ‰ demonnom.
demonnom.
demonnom. ¿ c ¿ J ¿‰ demonnom.
demonnom.
c ¿ J ¿ ‰ demonnom.
c ¿ J ¿ ‰ demonnom.
c ¿ j ¿ ‰ demonnom.
c ¿ J ¿‰ demonnom.
c ¿ J ¿‰ demonnom.
& & & B
Synth Solo, preferably using an Analog Synth (Moog, EMS, ARP) 2 Keyboards ! HIX pt03 SND
Bassklarinette
Cowbell sehr groß
Cowbell sehr groß
cellequifutaiméeentoutlieu.
Improvise:
B. Kl.
ôôôôôô ô, Zôza
Mezz.
B. Kl.
Mezz. Fl.
4. The Angel’s Song
The players can use metronomes/clicks for synchronisation, the playback is in loose synchronicity except start and stop.
q = 62 A
Mezzosopran
Elektrische
Volume Pedal Crescendo singing overdriven
Feedback-delay “Frippatronic”, 6774ms, 70%–80% feedback, dampening during 7–8 delays op
the loops shown in the score result from the guitar delay-line, they are notated here approximately for orientation only, not for synchronisation
