...

C:\Documents and Settings\Adam Neal\My

by user

on
56

views

Report

Comments

Transcript

C:\Documents and Settings\Adam Neal\My
NYMPHOLEPSY
FOR SOLO FLUTE
ADAM SCOTT NEAL
2
PERFORMANCE NOTES:
1. "Nympholepsy." 1) In ancient times, a state of frenzy that was believed to seize any man who looked upon a nymph. 2) A violent emotional
state, especially that believed to result from desire for some unattainable ideal. (Webster's Dictionary).
2. The beginning and ending sections are unmeasured and may be performed fairly freely. However a quick tempo of 80 beats per minute is
optimal. The middle section, which is meausred, is slower and is intended to be more strict in tempo.
3. Accidentals pertain only to the note they precede except in cases of immediate repetition.
4. All dynamics not preceded by crecendo or diminuendo markings should be subito.
5. Beginning on page 5 there are gestures in which the dynamics read f > mf > mp > p. In these gestures, the first diminuendo should diminish
beyond mf, then the performer should play mf when marked. The second diminuendo should diminish beyond mp, then the performer should
play mp where marked, and so on. The effect here should resemble an echo or an electronic delay line.
6.
4"
= 4 seconds
7. Nympholepsy was premiered on February 15, 2005 in Atlanta, Georgia by Sara Booker as part of the neoPhonia New Music Ensemble concert
"Red Clay Connections."
8. Duration is approximately 6'30"
Adam Scott Neal (b. 1981) is a native of Atlanta, Georgia. He holds a Bachelor of Music degree with an emphasis in Sound Recording from Georgia
State University, and is currently pursuing a Master of Music degree in composition from Georgia State, where he studies with Robert Scott
Thompson. Neal has recently been selected to participate in the 2006 June in Buffalo Festival, in which the New York New Music Ensemble will
premiere his 2005 work, Deviations. Neal is the Graduate Assistant for the Composition and Music Technology departments at GSU, where he is also
the president of the student chapter of the Society of Composers, Inc. Outside of GSU, Neal is an active performer in a variety of genres, a freelance
recording engineer, and a private teacher of piano and trombone.
www.adamscottneal.com
[email protected]
NYMPHOLEPSY
Mischievous q=80
  

fp

rit.
                    




 

 
 
3
4"
3
mf
3
f
5
mp
5
f
mp
f
f
mf
3
ADAM SCOTT NEAL 3
mp
3"


 3      


     

a tempo
3
f
p
mp
   
       
            
5
5





























    
     
     


  
a tempo
rit.
5
5
mf
5 4
p
3
5
mf
f
f
p
5
5
f
p
5
 

















  






                                            

5
5
5
mp
cresc.

pp

  
p
5
mf
 
5
5
5
p
5
f
ff


mp
mf

3

p


 3  3     
  



         
















 
  
  
     
    




    


 



3
3
3
3
poco meno mosso

5
5
5
mp
3
più mosso
pp

 
mf
a tempo
mp
mf
poco meno mosso
f
mp
mf
p
5
p
mf
più mosso
a tempo
più mosso
rit.
  
 






       



















       
 
 
  

   


     

3
mf
3
mp
© 2004, Adam Scott Neal
f
ff
3
3
mp
4
 
  
      









       
    
  
 

   
       

a tempo
mf
5
mp
3
f
3
mp
f
5
  
    
     
 

 
          
               
 
 













 




 
rit.
accel.
poco rit.
accel.
a tempo
3
3
mp
rit.

   
f
ff
mf
p
6
mf
f
5
mp
f
mf
3
mf
6
6
f mf
f mf
7

 
   
       
        

 
a tempo
rit.
5
3
6
mp
  
   
3



    
   
    


 
3
a tempo
3
6
p
mp
f
5
3
3
mf
f mf
      
5
              

                         
















 
   

  
rit.
5
a tempo
3
5 4
f mp
5
5
f
p
mf
5
5
pp
f
p
mf
        5      























     

       


  
5
pp
cresc.
5
5
5
p
5
mp
5
5
mf 5
f
5
mp
   

rit.
ff
p

5
   





               


















             
  

   
   

Seductive q=72
pp
mp
pp
mf
mp
mf
più mosso
        
*
3
mp
3
pp
mp
mf
mp
3
                                      


 


 
p
ff
3
f
3
3
mf
3
mp
3

p


f
mp
3
3
3
      
3
mf
mp
p
mf

3"
  



     


poco meno mosso

pp
pp
mf
mp
mf 3
mp
     


 
mp
mf
mp
mf
mp


  
  



  





      





       

  













   
 






più mosso
3
mp
mf

3"

p

3
f
mf
3
   
mp
mp
   


 
 
3
3
p
3
a tempo
    
3
f
mf

 

 
p
rit.
p
* emulate echo or delay line (see performance notes, #5.)
p
a tempo
mp
mf
        

mf
3
   


                  
 
mf
 
mp

f
 
p

mf
mp
     
mp
 
mf
6
         
3
3


 
                           



più mosso
p
mf
mp
     
    
f
3
3
mf
3
mp
p
3
mf


ff
3
f
3
mf
3
3
3
3
mp
ppp
      

p
mp
 

          
 


     





   
 3


3


 



 
 
      

f
  
p
   
 
mp

    
 
  
   






            





    
 

più mosso
3
f
3
rit.
a tempo
ff
mf
f
 
   





                  

 
3
3
5
ff
p

      
  
mp

3
p
mp
mf
a tempo


 













     
       













  
 


   

 

3
3
3
3
5
mp
3
mf
Mischievous q=80
poco meno mosso
   

3
f
6
mf
      

 
         
3
p
      
6
5
mp
3
mf
6
3
3
     








     
 
 

6
mp
6
7
  
f
molto rit.
mp
ff
f
a tempo
3
 

 

     
      
     


5
3
5
mp

   
f

mp
f
mf

3
p
 3      


     
  
 




3
3
mf
f
mp
   
                  
 
3
5
5
5
f
5
      
5
5
            
    
mf
mf
mf
3"
      
  
mf
p
f
mf
5
mf
3

7
5
pp



                 
5
pp
5
5
5
p
cresc.

6

         






     
                           
  
5
6
6
5
mp
mf
6
6
6


 











                   
    
  
   
7
f
7
7
7
ff
7

7
 


fff


Fly UP