...

CHACONNE FOR JAMES TENNEY

by user

on
Category: Documents
9

views

Report

Comments

Transcript

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)





Fly UP