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CHACONNE FOR JAMES TENNEY
CHACONNE FOR JAMES TENNEY Robert Hasegawa 2007 PERFORMANCE NOTES Like many of Tenney’s compositions, the Chaconne for James Tenney is about continuity and gradual change. A drone on the D above middle C is heard throughout the piece—above the drone, we hear a second pitch, gradually rising from a minor second above the drone to a major seventh. The interval between the drone and the rising pitch successively approximates just intonation intervals drawn from the overtone series—the rest of the ensemble reinforces and expands upon the harmonic implications of this interval. The result is a series of overtone-series chords over a cycling progression of roots. These roots are indicated on the lowest (unplayed) staff of the score, which also describes the interval between the drone and rising pitch, the root (notated in cents above the pitch class C), and the harmonic ratio that the interval implies. The dynamic form of the piece is a slow swell from ppp to f then back to ppp. Microtonal pitches are notated as follows: closed-headed arrows indicate an adjustment of 16 cents (a sixth of a semitone) up or down open-headed arrows indicate an adjustment of 33 cents (a third of a semitone) up or down quartertone flat: altered accidentals indicate quartertones quartertone sharp: The instrument with the rising line (cello, viola, then violin) has a more detailed microtonal notation—here, the arrows and altered accidentals are supplemented by a number indicating the deviation in cents of the desired pitch from the nearest equal-temperament semitone. The drone is controlled by the percussionist—a drone on an acoustic instrument is ideal, but use of electronics is also possible. Long tones for wind instruments should be played in one breath where possible—when this is impractical, a brief break in the tone and a discreet reentrance is acceptable. String instruments should change bow as necessary. Both wind and string instruments should play with a full, rich tone without vibrato. Notated durations for piano and percussion pitches may exceed the resonance of the instrument—in all cases, though, the cound should be allowed to decay naturally. Chaconne for James Tenney was written for the White Rabbit Ensemble, led by Eric Hewitt. Chaconne for James Tenney Flute q = 60 Clarinet in Bb Baritone Saxophone 2 3 Violin ppp 7 ppp ppp 81 A+933 (21:22) -16 -11 -6 84 89 ppp Bb 1016 (20:21) B 1100 (19:20) 94 C0 (18:19) -1 99 C# 100 (17:18) ppp +5 105 D 200 (16:17) +12 112 Eb 316 (15:16) pp pp pp crescendo poco a poco +28 +19 pp pp pp sempre ped. 8 ppp 6 ppp crescendo poco a poco -19 Violoncello Roots 5 sempre l.v. ppp Viola Drone (continuous through piece) 4 ppp Piano ppp Vibraphone Robert Hasegawa (2007) Score in C 119 E+ 433 (14:15) 128 F+ 566 (13:14) +39 139 G 700 (12:13) 2 A 9 Fl. Cl. Sax. 10 pp 11 Pno. 14 15 16 pp -35 165 173 182 151 Ad 850 (11:12) Bb 1016 (10:11) B 1100 (19:21) p -18 C0 (9:10) -49 pp -27 18 crescendo poco a poco p p 17 Vla. Vc. 13 Vln. Vib. 12 -7 193 C# 100 (17:19) +4 p 204 D 200 (8:9) p +17 217 Eb 316 (15:17) 3 B 19 Fl. 21 22 p 23 Vib. Cl. Sax. 20 24 p 26 27 Pno. Vln. +31 231 A+ 933 (21:24) mp mp mp mp crescendo poco a poco 28 Vla. mp Vc. 25 p +48 248 +54 254 B 1100 (19:22) p F+ 566 (13:15) -33 -19 267 G 700 (6:7) 281 C# 100 (17:20) -11 289 Ad 850 (11:13) mp mp -2 mp 298 D 200 (16:19) +16 316 Bb 1016 (5:6) 4 29 Fl. Vib. 30 31 32 Cl. Sax. C 33 34 35 36 37 Pno. Vln. Vla. Vc. +36 336 E+ 433 (14:17) mp +47 347 C0 (9:11) -41 359 F+ 566 (13:16) -34 366 C# 100 (17:21) -30 370 A+ 933 (21:26) -14 (unison with cello) -14 386 D 200 (4:5) 38 Fl. Cl. Sax. Vib. Pno. Vla. Vc. 40 41 mf +4 404 B 1100 (19:24) 43 44 45 mf mf 42 46 5 mf Vln. 39 D +35 mf 409 Eb 316 (15:19) crescendo poco a poco mf mf +9 +18 418 Ad 850 (11:14) 435 E+ 433 (7:9) mf -54 -46 446 C# 100 (17:22) mf 454 Bb 1016 (10:13) 6 47 Fl. Vib. Pno. -36 Vla. Vc. 49 50 51 52 53 54 55 f Vln. Cl. Sax. 48 E 56 464 F+ 566 (13:17) -29 -2 471 D 200 (16:21) 498 C 200 (9:12) +29 529 E+ 433 (14:19) +37 537 Ad 850 (11:15) f +43 f 543 B 1100 (19:26) 57 Fl. Cl. Sax. Vib. f 58 59 f 60 61 f Vln. Vla. Vc. 63 64 +51 551 D 200 (8:11) 65 66 ff decrescendo poco a poco crescendo poco a poco Pno. 62 f F -37 f 563 F+ 566 (13:18) f -17 -3 +3 +17 583 Bb 1016 (5:7) 597 C# 100 (17:24) 603 G 700 (12:17) 617 E+ 433 (7:10) 7 67 8 Fl. Cl. Sax. 69 70 Vib. 68 G 71 72 mf mf Vln. +37 Vla. Vc. 637 C0 (9:13) -51 649 Ad 850 (11:16) 75 76 mf decrescendo poco a poco mf Pno. 74 mf 73 -43 657 F+ 566 (13:19) mf -37 -29 mf 663 Eb 316 (15:22) 671 B 1100 (19:28) mf +2 mf 702 G 700 (6:9) Fl. 77 78 79 80 81 Vib. Cl. Sax. H 82 84 83 85 86 87 mp mp mp decrescendo poco a poco Pno. Vln. +29 Vla. Vc. A+933 (21:32) +36 +46 +54 729 736 C# 100 (17:26) F+ 566 (13:20) 746 754 Ad 850 (11:17) -35 765 C0 (9:14) -18 782 E+ 433 (7:11) -9 791 B 1100 (19:30) mp -4 mp 796 G 700 (12:19) 9 10 88 Fl. Cl. Sax. Vib. 89 90 91 92 93 mp 94 I 97 95 96 Pno. Vln. Vla. Vc. +14 (unison with viola) mp +14 814 Bb 1016 (5:8) +30 mp 814 F+ 566 (13:21) +34 +41 834 A+ 933 (21:34) 841 D 200 (8:13) -47 -36 864 853 Ad 850 (11:18) C# 100 (17:28) -16 884 G 700 (3:5) 98 Fl. Cl. Sax. Vib. 100 101 p Pno. Vln. Vla. p +2 102 902 B 1100 (19:32) 104 p 911 F+ 566 (13:22) p decrescendo poco a poco +11 107 106 105 +19 103 p p Vc. 99 919 Bb 1016 (10:17) +33 p 933 E+ 433 (7:12) +46 946 Ad 850 (11:19) p +52 952 Eb 316 (15:26) -31 p 969 G 700 (12:21) 11 12 108 Fl. Cl. Sax. Vib. 109 Pno. -17 983 C# 100 (17:30) -4 996 C0 (9:16) 115 pp decrescendo poco a poco pp +7 pp +18 1018 pp pp 114 pp pp 113 pp 112 Vla. Vc. 111 Vln. 110 B 1100 (19:34) pp Bb 1016 (5:9) 116 117 +27 1027 +35 1035 A+ 933 (21:38) Ad 850 (11:20) +49 1049 G 700 (6:11) 118 Fl. Pno. Vln. Vla. Vc. 119 120 121 pp 122 123 124 ppp Vib. Cl. Sax. J ppp ppp ppp -39 1061 F+ 566 (13:24) -28 pp 1072 E+ 433 (7:13) -19 1081 Eb 316 (15:28) 125 13 126 ppp decrescendo poco a poco ppp -12 1088 D 200 (8:15) ppp -5 1095 +1 1101 C# 100 C 0 (17:32) (9:17) +6 +11 +16 +19 ppp ppp 1106 B 1100 (19:36) 127 1111 Bb 1016 (10:19) 1116 A+ 933 (21:40) 1119 Ad 850 (11:21)