Fertility Rites

PrometheanEditions

by Christos Hatzis | Marimba and Digital Audio

PROMETHEAN EDITIONS

CHRISTOS HATZIS

Fertility Rites

Marimba & Digital Audio


Christos Hatzis

Fertility Rites

Marimba with Digital Audio

PROMETHEAN EDITIONS

WELLINGTON


Fertility Rites (PE101), for Marimba with Digital Audio by

Christos Hatzis (1997).

© Promethean Editions 1997

First edition © 2007 Promethean Editions Limited (201809)

Series Editor: Ross Hendy

Editor: Alison Grant

ISBN: 978-1-877218-91-0 (print)

ISBN: 978-1-77660-101-1 (ebook)

ISMN: 979-0-67452-104-8

Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

http://www.promethean-editions.com

No part of this publication may be reproduced in any form or by

any means without permission in writing from the Publisher.

Fertility Rites was commissioned by Beverley Johnston, with

financial support from the Grants To Composers Program of the

Toronto Arts Council.

PE101 – ii


Christos Hatzis (1953)

Christos Hatzis is well known in Canada and internationally for his works. Covering a

vast range of styles and genres, his works have been recorded, performed and broadcast

throughout the world.

Hatzis was born in Volos, Greece, and his early music study took place at the Hellenic

Conservatory of Greece in his home town. He continued his studies in the United States,

where he earned degrees from Eastman School of Music, Rochester, New York and SUNY at

Buffalo, New York. In 1982 he moved to Toronto, Canada, having decided that the country’s

multiculturalism was more suited to his own ethos. He became a Canadian citizen in 1985,

and joined the faculty of the University of Toronto in 1995.

Hatzis’ work has received a considerable amount of attention in recent years. With a large

number of presentations of his music in the Americas, Europe, the Middle-East and East

Asia every year, commissions by an international list of soloists and ensembles and several

recording projects by major labels, “Christos Hatzis is currently enjoying a growing international

reputation as one of the most important composers writing today” (CBC Records). The composer

is the recipient of several national and international distinctions, and a number of his works

are released on CD.

It is not unusual for a Hatzis work to become a signature piece for a soloist or an ensemble.

His Old Photographs and Dance of the Dictators have been performed by the Gryphon Trio

hundreds of times all over the world. There have also been an increasing number of all-Hatzis

programs during the past few years.

Hatzis’ music is inspired by proto-Christian spirituality, his own Byzantine music heritage,

world cultures and various non-classical music genres such as jazz, pop and world music. He

has created several works inspired by the music of the Inuit, Canada’s arctic inhabitants, and

his Inuit-inspired works, particularly the radio documentary Footprints in New Snow, have

PE101 – iii


promoted Inuit culture around the globe. His strongest inspiration is his own religious faith,

and his religious works have been hailed by critics and audiences alike as contemporary

masterpieces.

In addition to composing and teaching, Hatzis has written extensively about composition

and contemporary music. His writings have been published on Interface, Organized Sound

and Harmony, are increasingly translated into other languages and are frequently listed as

required reading for music courses in tertiary educational institutions.

Most of Hatzis’ writings and other information about the composer can be found at

http://www.hatzis.com.

PE101 – iv


Fertility Rites (1997)

Fertility Rites, for five-octave marimba with digital audio, is part of a series of works written

in the 1990s. The connecting thread that runs through all of these works is Inuit throat

singing. My fascination with the Inuit and their culture started in 1992 during the course

of creating a radio documentary/composition for CBC Radio called The Idea of Canada. That

was the first time I heard this strange and haunting music. A few years later I got myself

involved in a similar project, this time focussing entirely on Inuit culture, and throat singing

in particular. This latter project took CBC producer Keith Horner and me to Baffin Island in

arctic Canada where we spent two weeks recording throat singers and interviewing elders

of the Inuit communities in Iqaluit and Cape Dorset. The recorded material was eventually

used in four compositions (including this one) the other three being Footprints in New Snow,

a thirty-eight minute radio documentary/composition, Nunavut for string quartet and

tape—later retitled String Quartet No.1: The Awakening—and Hunter’s Dream, an one-minute

miniature commissioned by rock keyboardist Morgan Fisher for a CD of miniatures he was

producing at the time in Japan.

The title of the work derives from the throat songs themselves. In one of our interviews in

Iqaluit Horner and I learned that throat songs were originally a fertility ritual, a shamanistic

mating call which the women performed while the men were out hunting. The katajjaq

(vocal games) in this piece are used to evoke this primordial practice. Their sexual

suggestiveness is further enhanced by electronic processing (lowering the pitch by an octave

or more transforms the original sound into a semblance of heavy breathing), or through

juxtaposing the katajjaq against other types of amorous music stylistically more familiar to

the listener, such as the ‘French-sounding’ second movement or the tango-like music of the

third. In addition to the katajjaq samples, the tape part consists of pre-recorded marimba

sounds (normal, ‘bent’ and bowed) which both in terms of timbre and musical treatment

represent a virtual extension of the instrument’s abilities. In a programmatic sense they

represent the performer’s ‘thoughts’ or ‘instincts’ in contrast to the instrument on stage which

represents the performer’s ‘voice’. Sometimes what is being ‘felt’ and what is being ‘said’ are

PE101 – v


diametrically opposed, like in the first movement where the gentle, non-possessive music

for the marimba and the dark, longing calls on the tape contradict each other. But in the end

both inner and outer worlds merge into uninhibited abandon and celebration of sexuality

and life.

Christos Hatzis

Performance notes

Fertility Rites includes a part for digital audio, cues for which are shown on the smaller stave

in the score. Digital marimba pitch bends, to either higher or lower neighbouring pitches, are

represented in the score by a half-circle symbol above the note on the digital audio stave.

Digital Download

• The digital audio files may be downloaded using the Download Coupon attached to the

rear of this publication from our website at no extra cost.

• To download the files follow the instructions in the Digital File Download coupon in the

sleeve.

• The coupon will provide a code for one download only.

• If the coupon is missing or the coupon code has already been redeemed, please contact the

Publisher at support@promethean-editions.com or submit a technical support case on

our website (www.promethean-editions.com).

• The audio file are supplied in the WAV audio format for maximum compatibility with all

devices.

• Each movement is a separate track.

• A studio recording is included for reference.

PE101 – vi


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Fertility Rites © Promethean Editions Ltd

This Edition © 2007 Promethean Editions Ltd PE101 – 1

ISMN: 979-0-67452-104-8


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˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

6 6

˛æ

˛ ˛ ˛

˛æ

6 6

˛ ˛ ˛ ˛ ˛

˛ ˛ ˛

˛

˛

æ

˛

˛ ˛ ˛

˛

æ

˛ ˛ ˛ ˛

˛

6 6

˛ ˛ ˛

28

&

b˛æ Î ˛æ ˇæ

æ

# ˛æ ˛æ ˛æ # æ


# ˛ # ˛

æ

æ æ

&

˛ ˛





˛ ˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛



6 6 6 6

˛ ˛

˛ ˛

# ˛


˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

6 6 6 6

30 nÎ

&

&

æ

mf



˛

6


˛ ˛ ˛


6

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

6

˛ ˛ ˛ ˛

6

Î

æ


˛ ˛

6


˛ ˛ ˛


6

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

6

ppp

˛ ˛ ˛ ˛

6

ppp

32

34

&

&

&

&

Œ ‰

˛

pp

˛

3

˛

˛

p

3

˛ b˛

ˇæ


p


æ ˛ b˛

˛ ˛æ Ó

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛

36 Î

& æ˛ ˛ ˛ b˛

&

()

6


˛ ˛



˛

˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

6 6

6


˛

˛ ˛ b˛


˛

6

˛

Œ ‰ ˛

p

˛

p

˛

˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

6

3

Î

æ

˛

˛ ˛ ˛

˛

˛

˛ b˛

3


6


ˇæ


˛ ˛

ˇ.

æ

Ó

˛


˛

6


˛æ ˛ ˛ ˛

p

˛

˛ ˛ ˛ ˛

6

pppp

˛ ˛ b˛

Ó

Œ

˛æ

˛ ˛ ˛

˛

6

˛

˛

U

ˇ U

æ Ó

pppp

U


˛

PE101 – 8


III

? 4 4

Π= 124

4


ï

b mf ˛


pp

Throat sounds

mf

&

j

˛

mf

j

˛

ï ï ï

˛

j

˛


˛ ˛


˛ ˛ ˛.

R˛ ˛ ‰

ï ï ï ï

˛ ˛

3

&


˛ ˛ ‰ 3

˛ ˛ ˛ ˛ ˛ 3

˛ ˛ ˛ ˛ ‰ 3

˛

ï ï

Throat sounds repeat until m10

6 6


˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ . ‰

‰ b˛

˛ ˛ ‰ ˛

3

?

b mf ˛


pp

&

j

˛

mf

6

&

j

˛


j

˛ ˛.

˛ ˛


˛ ˛ b˛.

˛ ˛ ‰

R

˛ ˛ ˛ ˛ ˛ ˛


3

˛ ˛ ˛

8

&


˛ 3

˛ ˛ ˛ ˛ ‰ 3 6 6

r

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛

b˛.

æ ‰ Œ

?‰ j b˛

‰ & ˛.



˛ b˛

˛

˛ ˛ ˛

ï ï ï ï ï ï

11

& ˛ ˛ 4 3 4 5

˛ ˛ ˛ b ˛ b˛.

˛ ˛ ˛ ˛ ˛ ˛ ˛ b˛

b ˛ b˛

˛ ˛ ˛ ˛ 3

˛ ˛ ˛ ˛

ï ï ï

Repeat

PE101 – 9


& 4 5 3

j 3


4

˛ ˛ b˛


˛ ˛ 3

j

˛ ˛ ˛


˛ ?

&


pp

13

‰ ‰


˛. ˛ b˛

˛ ˛ ˛

mf

˛

15

˛ ˛

˛ ˛ ˛ b ˛ b˛.

˛ ˛ ˛ ˛ ˛

˛ b˛


˛ b˛

˛ ˛ ˛ ˛ 3

˛ ˛ ˛ ˛

& 4 3 4 5 4 5

17

j


3

˛ ˛ b˛


3

˛ ˛ ˛ ˛ ˛ ˛˛ ˛ ˛ ˛ ˛

3

?



pp

&

˛

mf

6 5

˛ b˛

˛ b˛

˛ ˛ ˛ ˛ ˛

?

& 4 5 4 5 4 4 4 4

ï ï ï ï ï ï ï

ï



ï ï

ï



ï ï

19

?

Ó


ï


J

pp



˛

ï ï

&

rK

˛ ˛ ˛

J

mf

5


Throat sounds repeat until m27

˛


5


˛ ˛ b˛

˛ ˛ æ

5

˛

J

4 3

& 4 3 4 2 3

˛ b ˛ b˛

˛ ˛ b˛

˛æ

4 ˛ ˛b˛

3


˛ ˛ ˛

6

mf

21

˛

5


˛ b˛

˛


˛ ˛

PE101 – 10


24

5

& ˛ b˛


˛ ˛ 4 3 4

˛ ˛ b˛

˛ ‰

˛ ˛ ˛ b˛


6

˛ rK

˛ ˛

J

5


˛ b˛

˛ ˛ ˛ b˛

5

27

&

˛

# ˛. æ ‰ # ˛ ˛

?

&

˛ # ˛ ˛ ˛


# ˛ # ˛

˛ ˛ n˛

n ˛ ‰ r

# ˛ ˛ # ˛ ˛ ˛

ï ï ï ï ï ï

ï ï ï ï ï ï

3

& #˛ ˛ ˛

# ˛#

˛ ˛ ˛ ˛ 16 2

˛ ˛ ‰ ˛#

˛ ˛ # ˛ # ˛ # ˛# ˛



˛.

˛æ

ˇæ æ æ b˛

æ ˛æ

3

æ

J˛æ

mf

3

29

3

ï ï ï ï ï ï

6

ï ï ï ï ï ï ï ï

Repeat

16 2

33

& 16 2


r

˛

mf


˛ ˛ ‰

3 3

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ‰ 3

˛

6 6


˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ ˛.

˛

4 16 2 ï 4 J

ï ï ï ï ï ï ï ï

ï ï ï ï ï ï ï ï

36


˛ ˛


3 3 3

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ‰

r

˛

6 6


˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛

j

˛æ ˛ ˛ ˛ ˛ b˛

5

& 8 7 8 7 4 4 4 4

ï ï ï ï ï ï ï ï

j

ï

j ï

j ï J ï j ï

j ï

J ï

PE101 – 11


38 ˛ ˛ r

.

& 4 4 4 4

5

˛

&

˛ b˛

5

˛ ˛ b˛

5

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛b˛

˛

6

˛ rK

˛ ˛

J


˛ b˛

5 5

˛ ˛ ˛ b˛

ï

ï ï

ï

ï

ï ï

ï

40

&

˛æ

b

˛

5


˛ b˛

˛ ˛ ˛ b˛

5

˛ ˛ ˛ b˛

˛ ˛ b˛

˛ ˛ ˛ ˛ ˛ ˛

5

ï

ï

Throat sounds repeat until m48

5

42 ˛ r ˛

˛ ˛

&


˛ .

b

&

˛ b˛

5

˛ ˛ b˛

5

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ b˛

6

˛

J˛ rK

˛ ˛


˛ b˛

5 5

˛ ˛ ˛ b˛

44


&



˛ ˛ ˛ ˛ n˛


6 6



˛

5

˛ ˛ r ˛.


˛ b˛

˛ b˛

5

˛ ˛ b˛

5

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛b˛

˛

6

46

&

˛ rK

J

˛ ˛

5


˛ b˛

˛ ˛ ˛ b˛

5


Œ



˛ ˛ ˛ ˛ n˛


6 6



˛

&

#˛ #˛

#˛ #˛ ˛ ˛ ˛ ˛

Throat singers

# ˛ï # ˛ï ˛ï ˛ï

Throat sounds

PE101 – 12


49

&




‰ # ˛˛.

˛

rK ‰˛

˛ ˛ ˛

3 3

# ˛

# ˛ ˛ # ˛

‰˛ ˛ ˛ ˛ ˛

˛ ˛ # ˛‰

3

r

˛



6 6

˛ ˛˛ # ˛

# ˛

˛ ˛ ˛ ˛æ . ‰

?

&

# ˛ï # ˛ï ˛ï ˛ï

Repeat

52

?

# ˛ #

& ˛


# #˛

# ˛ ˛

˛ # ˛ ˛


# ?

˛ # ˛

&

# ˛ # ˛

# ˛ ˛ ˛

˛ ˛ ˛ ˛ ˛ ˛˛

&

##˛

# #

#

ï ˛ï ˛ï ˛ï

##˛

# #

n

ï ˛ï ˛ï ˛ï

54

&

# ˛ ˛ # ˛

# ˛ ?

# ˛

&


3

3

3

#˛ # ˛ ˛

˛ ˛ ˛ # ˛ ‰ r

˛ ˛



6 6

˛

˛ ˛

# # ˛

# ˛

˛ ?

˛ # ˛

# ˛

˛æ ˛æ #˛

&

##˛

# #

#

ï ˛ï ˛ï ˛ï

##˛

# #

n

ï ˛ï ˛ï ˛ï

?

56

?

?


&

# ˛ ˛ # ˛

æ


3

&

# ˛

# ˛ ˛ ˛

J

Ó ‰

˛

˛ ˛ 3


#

3

æ æJ˛

J˛æ


# ˛ ˛

#

ˇ n

æ

j

˛æ ˛æ

6 3

?

# ˛ ˛ ˛ ˛ ˛

˛

˛ ˛.

Œ ˛

J

&

# ˛ # ˛ # ˛ # ˛

58

&

˛

˛

3

# ˛ n˛

˛ ‰

3 3

? &

# ˛ # ˛ # ˛

˛

˛

3

# ˛ n˛

æ

˛æ ‰ ?

j #˛

?

# ˛ ˛ ˛

˛ ˛

˛ ˛

˛ ˛.

Œ

˛

J

# ˛ ˛ ˛

˛ ˛

˛ ˛

˛ ˛.

Œ ˛

J

PE101 – 13


60

?


?

&

# ˛ # ˛ n˛

æ

‰ # ˛ # ˛ n˛

& æ

3

# ˛ ˛ # ˛ ˛ ˛

˛ ˛ .

‰ # J˛

˛˛

J

3

3

# æJ˛

6

# ˛ # ˛æ ˛æ ‰ æ J # ˛ # ˛ ˛

˛ # ˛ n˛

æ

# ˛ ˛ ˛

˛ ˛

˛ ˛

˛ ˛.

Œ ˛

J

6

˛æ

62

&

# ˛æ

3

# ˛ # ˛ # ˛ ˛ # ˛ n˛

? &

3

# ˛ # ˛.

æ J

6

# ˛ # ˛ ˛ ˛ ˛ b ˛ ˛æ .

?

# ˛ ˛ ˛ ˛ ˛ ˛

˛

˛ ˛.

Œ

˛

J

# ˛ ˛ ˛ ˛ ˛ ˛

˛

˛ ˛.

Œ ˛

J

&

64

&




˛ ˛ #

#

˛˛

æ

#˛ n˛

#˛ n˛

˛ ˛ ˛˛æ

6 6 3

˛

˛

æJ

˛

˛

æJ



æ

6

˛

˛

æJ

˛

˛

æ ˛ ˛ ˛ n˛

6

˛ ˛ ˛ ˛ ˛ n˛

6

&

# ˛ ˛

˛ ˛


˛ ˛

˛

˛ ˛

# ˛ ˛ .

‰ J˛

˛˛

J

# ˛ ˛


˛ ˛

˛ ˛.

J

˛

˛

˛

Œ

˛

˛

˛

66

&



æ

3

˛

˛

æ

‰ ˛ ˛ n˛


˛ ˛ ˛ ˛ ˛ ˛

6 6

ˇ

ˇ

æ

Ó

‰ ˛ ˛ ˛ ˛ b

b

˛˛

æ

‰ ˛ ˛ n˛


b

b

˛˛

æ

6 6 3

˛

˛

æJ

&

# ˛ ˛


˛ ˛

˛ ˛.

J

˛

˛

˛

Œ

˛

˛

˛

# ˛ ˛


˛ ˛

˛ ˛.

J

˛

˛

˛

Œ

˛

˛

˛

# ˛ ˛ b


˛˛

˛ ˛˛

˛˛

˛ ˛

˛ ˛ .

‰ # J˛

˛˛

J

69

&

˛

˛

æJ

# ˛


æ

3

˛

˛

æ



æ

# ˛



6

# ˛ ˛ ˛ ˛ # ˛


6


#

#

˛˛

æ

# ˛


æ



æ

# ˛



# n

n

˛˛

æ

# ˛ ˛ ˛ ˛ ˛

6 6

˛ # ˛ ˛ ˛

&

# ˛ ˛ b


˛˛

˛ ˛

˛ ˛.

J

˛˛

Œ

# ˛ ˛˛

˛

˛

# ˛ ˛ b


˛˛

˛ ˛

˛ ˛.

J

˛˛

Œ

# ˛ ˛˛

˛

˛

PE101 – 14


71

˛ ˛ #˛

# ˛

&

6



#

#

˛˛

æ

˛

˛

æ

Œ


Π= 126

6

˛ ˛ # ˛ ˛ ˛ n˛

˛ b˛

˛ ˛ ˛ ˛

6

&

# ˛ ˛ b


˛˛

˛ ˛

˛ ˛.

J

˛˛

Œ

# ˛ ˛˛

˛

˛

j

˛

˛

˛.

˛.

Ó

Processed sounds

Throat singers

ï ï ï ï ï ï ï ï ï ï ï ï

74

&

˛

˛ ˛ ˛

˛ ˛ ˛ ˛ b˛

6

˛ ˛ ˛

˛ n˛


˛

˛

˛

˛

˛ ˛ ˛ b˛

6

˛ ˛ ˛


˛

ï ï ï ï ï ï ï ï ï ï ï ï ï

ï ï ï ï ï ï ï ï ï ï ï ï ï

76

&

# ˇ Ó æ

ï ï ï ï ï ï ï ï ï ï ï ï

6

#˛ ˛ b˛

˛ ˛ 6

˛ ˛ b˛

# ˛ ˛ ˛ ˛

mf

˛


˛

˛

˛ ˛ ˛ ˛ b˛

7

# ˛ ˛ ˛ ˛

b ˛ b˛

79

&

˛


˛

˛

˛ ˛ ˛ ˛ b˛

7

# ˛ ˛ ˛ ˛

n ˛ b˛

ˇæ

Ó

mf

6

˛ ˛ # ˛ ˛ ˛ 6


˛ b˛

˛ ˛ ˛ ˛

ï ï ï ï ï ï ï ï ï ï ï ï

82

&

˛

˛

˛

˛

˛ ˛ ˛ ˛ b˛

6

˛ ˛ ˛ ˛ # ˛

˛

˛

˛

˛



˛

˛

˛

˛ ˛ b˛

˛

˛ ˛ ˛


æ

Ó

PE101 – 15


85

&

˛

mf

ï.

Ó

3

# ˛˛

n b

˛

Œ

ï

ˇæ

ˇ

æ

Ó

Œ

ï ï ï

˛

3

˛˛

# ˛ n

˛

ˇæ

ˇˇæ

Œ Ó

ï.

ï ï ï ï ï ï ï ï ï ï ï ï ï

b

b˛˛

˛ ˛ ˛ #

˛˛

˛ ˛

6

Œ

ï.

ï ï ï ï ï ï ï.

ï ï ï ï ï ï

?

88

ˇæ

?

ˇ

æ

ï ï ï ï ï ï ï ï ï ï ï ï

Ó

j

ï ‰

Œ

&

#

˛

mf

˛

Throat clusters

˛

# n #

˛

˛˛

˛˛

6

˛

˛ # n æ

˛ n

æ

6

b

n

˛˛

æ

÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷

90

˛ # ˛ ˛# ˛ n˛

&

# ˛ ˛ # ˛ n˛

# ˛ # ˛ ˛ ˛ b˛

6

˛ # ˛ ˛# ˛ n˛

# ˛ ˛ # ˛ n˛

# ˛ # ˛ ˛ ˛ b˛

6

Π= 120

ˇ.

æ

mf

˛

J ‰

&

Marimba

# ÎÓ æ Œ


Throat singers

93 ˛˛

&

&

Π= 126

b

mf


˛

˛

˛

Throat clusters

˛

˛

˛

˛

12

˛

˛

æ

˛

˛

æ

˛

˛ b

æ

÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷

˛ ˛ ˛ ˛ ˛ Œ

# ˛

˛

æ

b n ˛


æ

3

# ˛

˛

æ


˛ ˛ ˛ b˛

6

÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷

Repeat

˛

˛

˛ b

æ


˛

æ

˛

˛ b

æ

# ˛ bn˛

˛ b˛

æ æ

6

˛

˛

æ

# ˛ ˛# ˛n˛

&

# ˛ ˛ # ˛n˛

# ˛n˛


mf

96 ˛

æ

-

˛ # ˛ ˛ # ˛

&

mf

˛

Œ

˛ # ˛ ˛ ˛ 6

# ˛ # ˛ n˛

Marimba

6

˛

# ÎÓ æ Œ

# ˛ ˛


˛

#˛ ˛

#˛ ˛ ˛ ˛ # ˛

˛ # ˛ ˛

# Î æ˛ ˛ ˛ ˛ ˛ Œ

# ˛ # ˛ # ˛

6

PE101 – 16



& #˛ ˛

#˛ ˛ ˛ ˛ # ˛

˛ # ˛ n˛

# ˛ # ˛ # ˛ ˛

6

& #

# Î

æ

99

Î æ Î

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛#

˛

3

101

˛ ˛ # ˛ ˛ ˛ # ˛ # ˛ n˛

& Œ ˛ # ˛ ˛

&

# Î æ #˛.

6

˛ ˛

J .

6

˛

J

˛ #˛ ˛

#˛ ˛

# Î æ #˛.

˛ ˛ # ˛

˛ ˛

J .

˛ # ˛ # ˛˛ # ˛ # ˛

6

˛

J





˛˛ ˛ # ˛

# ˇ æ # # æ

ˇ

#˛.

˛ ˛

J .

# ˛ # ˛n˛

n˛n˛#

˛

6

˛

J

104

.

&

# ˇ # æ J˛


˛

mf

˛ # ˛ ˛ n˛

˛ 6


˛ b˛

˛ ˛b˛

˛ ˛ ˛ ˛

6

# ˛ ˛

6

# ˇ

æ ˛ # ˛ # ˛ # ˛ n ˇ æ ˛ # ˛ n˛

# ˛

&

æ

## β

˛ ˛ ˛ ˛

3

Ó

˛

# ˛ n˛

3

# ˇ

æ

# ˛ # ˛ # ˛

3

#

#

æ

˛.

˛

# ˛ ˛

ï ï ï ï ï ï ï ï

# # ˛ n˛

# ˛ n˛

# ˛

107

&

&

12

# ˛ ˛ ˛ ˛˛ ˛ ˛ ˛ ˛ # ˛ ˛ ˛ ˛ ˛

# ˛ # ˛ ˛

12

˛ ˛ ˛ # ˛ ˛ ˛ ˛

ï ï ï ï ï ï ï ï ï ï ï ï

˛ ˛ ˛ # ˛

# ˛ ˛˛ ˛ ˛ ˛ ˛ ˛ # ˛

˛˛ ˛ ˛˛ ˛ # ˛ ˛ ˛ ˛˛ ˛ ˛ ˛˛

12 12

# ï˛

ï ï ï ï ï ï ï ï ï ï ï

# ˛ ˛ ˛ # ˛ ˛

3

3

6

109 ˛ ˛ ˛ ˛ ˛ ˛ # ˛ # ˛

&

˛ ˛ ˛ ˛

6


6

˛ ˛ ˛ ˛ ˛ 6

˛ # ˛ # ˛

˛ ˛ ˛ ˛

&

j

˛b

‰ Œ Ó

Ó

˛ ˛ ˛

j

˛b

‰ Œ

Œ ‰

˛

ï

˛ ˛

ï

3

3

PE101 – 17



& #˛

˛ #˛

112

&

˛ ˛ ˛ # ˛

˛ ˛ # ˛ ˛ ˛ # ˛

ï ï ï ï ï ï ï ï ï ï ï ï

˛ ˛


6





˛

˛ # ˛#

˛


6

˛ ˛ ˛ ˛ ˛

# ˇ æ ï ï ï ï ï ï ï ï ï # ˛˛

æ

#ˇ.

#

Œ

# ˇ

æ j

˛ ‰

. ˛æ

# ˇ.

æ


æ

115

&

&



3

˛ ˛ # ˛ ˛ ˛ ˛ # ˛ # ˛ n˛

# ˛ ˛

# ˇæ

ˇ.

˛˛



æ æ

æ

˛ # ˇ˛


# ˛

æ

6

# ˛

117

&

f

&

Marimba

˛


æ

High-pitched tremolo sounds

˛ ˛

# ˛ # ˛ n˛

12

# ˇ

ˇ


# ˛ ˛

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ff

# ˛ ˛ n˛


˛ ˛# ˛ ˛ ˛ b˛

˛ ˛ ˛ # ˛

# ˇ

# ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

6

119

&

# ˛ ˛ n˛


3


˛ ˛ # ˛ ˛ n˛


˛ ˛ b˛

˛

˛ # ˛ # ˛ ˛

3

# ˛

æ ‰

˛

3

˛

# ˛ # ˛ n˛


# ˛ ˛

&

# ˇ

# ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

# ˇ

# ˇ

÷ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

121

&




&


Repeating 5-note marimba pattern in quarter-tones

pp

# ˛ # ˛ n˛

n ˛

5

5

5

5

5

.

b˛æ

˛æ

PE101 – 18


# ˛

124

& æ

˛

æ


æ


æ

˛ ˛ ˛ ˛ n˛

6


# ˛ ˛ # ˛ # ˛ n˛


# ˛ ˛ ˛ ˛ # ˛ # ˛ n˛


˛ ˛ n˛

6 6


# ˛ ˛

&

# ˇ

ˇ

÷ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

# ˇ

ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˛

126 ˛ ˛ # ˛ b˛


&

˛ ˛ b˛


˛ ˛ n˛

# ˛ b˛


Ó

Ó

&

6

˛ ˛ ˛ # ˛ b˛


˛ ˛ b˛


˛


˛

˛ n˛

# ˛ b˛

˛ ˛ n˛


˛

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ó

6

˛ # œ

&

Ó

128


&

˛

˛

# ˛ ˛ n˛

6

b ˛

6

˛

# œ

.

˛æ

˛æ

# ˛

129


&

˛ n˛

˛



12


˛

˛ ˛

˛ Ó


&

Œ ‰

˛

˛

˛

˛

Ó

˛

˛ ˛ œ

6

12

ppp

12

# ˛

131

&

&


˛

˛

˛

˛

˛

˛





12 12

# ˇ

ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˛

˛

˛

˛

˛

˛





˛

˛

PE101 – 19


# ˛

132


&

&

˛

˛


æ ‰

6 3

3

˛ b˛

˛ ˛ # ˛ ˛ n˛

˛ b˛

˛ b˛

˛

# ˛ nˇ

ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

6



˛

˛


b˛ ˛ ˛

n˛ b˛ ˛ ˛ Ó

12

Œ ‰

˛

˛ ˛

˛

6

12

134

&



˛

3

˛

æ ‰

˛

3

˛ ˛ n˛


6

˛ ˛ b˛

&

Ó

˛

ppp

˛

˛

œ

12

# ˇ

ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

# ˛

136

&

˛ ˛ n˛


˛ ˛ b˛


˛ ˛ ˛ # ˛ ˛

6



3

˛ ˛ n˛


˛ ˛ b˛


˛ ˛ b˛


˛

&

# ˇ

# ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˛

138 ˛# ˛

˛ ˛

& ‰

3

˛ ˛ ˛ n˛

3


˛ ˛ # ˛

˛ ˛ Œ.

5

Ó


&

ˇ


÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˛

˛ # ˛ ˛ n ˛

5

5

5

5

141

&




˛

˛ ˛

˛

˛ n˛

˛


n˛ b˛

˛

˛

˛ ˛ b˛

˛ ˛ b˛

12 12



˛

˛

&

5

.

˛æ

˛æ

# ˇ

ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

PE101 – 20


# ˛

143


&

&

˛

˛


æ ‰

6 3

3

˛ b˛

˛ ˛ # ˛ ˛ n˛

˛ b˛

˛ b˛

˛

# ˛ nˇ

ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

6

˛

mf

ï

˛ n˛


Throat singers

mf

˛ ˛

˛ ˛

ï ï ï

r

˛ ˛ ˛ ˛ ˛ ˛ ˛ ‰ ˛ ˛.

‰ ˛

ï ï ï ï

146 ˛ # ˛ ˛

&


˛

˛ ˛ ˛

˛ ˛ ˛ ˛

˛ ‰

˛

˛ ˛ ˛ ˛ # ˛

˛ ˛ ˛ ˛ ˛ ˇˇæ

3 3 3

12

ï ï ï ï

ï ï ï ï &

# ˛

148


&

f

&

˛

˛ ˛

˛

12

˛ n˛


˛ n˛


˛ ˛ # ˛ n˛


˛ b˛

6

˛ b˛

# ˇ

ˇ

÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

˛

˛

mf

˛ b˛

3

˛ ˛ ˛ ˛ ˛ b˛

˛ ˛ ˛ b˛

Marimba

˛


˛ ˛ ˛ ˛ ˛ ˛

3

High-pitched tremolo sounds

150

&


˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ b˛

˛

˛ ˛ b˛


˛ ˛ ˛ b˛

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛

3 3

&

˛


˛ ˛ ˛ ˛ ˛ ˛

˛



˛ ˛ ˛ ˛ ˛ ˛

˛


˛

152

&

Π= 120

˛ ˛ b˛

˛ ˛æ ˛ ˛ ˛ b˛


3

3

3

˛



˛

3 3

˛


˛ ˛ ˛ n˛




˛

&

Throat singers


˛ ˛ ˛ ˛


˛ ˛ ˛ ˛

PE101 – 21


154

&

˛ ˛ b˛

3



˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛

3


˛ ˛ ˛ b˛

˛ ˛ ˛ n˛

˛ ˛ ˛ ˛ ˛ b˛

6 6

˛ n˛

˛ b˛

6

˛ n˛

˛

&


˛ ˛ ˛ ˛


˛ ˛ ˛ ˛

()

156 ˛ ˛ b˛

˛ b˛


&

6




6


˛ b˛



˛ ˛

# ˛ ˛b˛n˛

˛˛ b˛b˛

6 6

˛b˛

˛ b˛


˛ ˛ n˛


˛ ˛ ˛ ˛ b˛

3


&

3 3

bˇ˛

˛ ˛ ˛ ˛ ˛ b ˛

˛ ˛ # ˛ ˛ ˛

3 3

3 3 3 3

n˛Î

˛ ˛ b˛

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛

158

&


Π= 114

?

Π= 120

˛ b˛

˛ ˛ ˛ ˛ b˛

˛ ˛ ˛ ˛ ˛.

f

ï ï ï ï ï Ó

ï ï ï ï ï

&

Marimba

˛ ˛ ˛ ˛ ˛ ˛

˛.

˛ ˛ ˛ ˛ ˛.

˛

˛

161

?

‰ ˛

˛

˛ b

æ

‰ ˛

˛

˛

˛

˛

˛

˛

˛ b˛

˛

˛ n˛

˛ ˛ ˛ ˛ b˛

˛

˛

mf

3 3 3

3 3

&

Throat singers


˛ ˛ ˛ ˛


˛ ˛ ˛ ˛

163


?

˛ n˛

˛ ˛ ˛ ˛ ˛ ˛ b˛

˛

˛ ˛ ˛ ˛ ˛

&

6

6 6

# ˛ ˛ ˛ ˛ ˛ b˛

˛ ˛ ˛ ˛ n˛

˛ ˛ ˛ b˛

˛ n˛

˛b˛

˛ n˛

˛

&


˛ ˛ ˛ ˛


˛ ˛ ˛ ˛

PE101 – 22


165

&

˛ b˛

6 6 6 6


˛ ˛

b ˛ ˛ # ˛

˛ n˛

˛ b˛

˛


˛ ˛ b ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛

˛ ˛ ˛ ˛ b˛


˛ ˛ ˛ ˛ b˛

˛ ˛

3


˛

&

nb Î ÷ ÷ ÷ ÷ ÷ ÷ b ÷ ÷ ÷ ÷ ÷ ÷

3 3 3 3

Throat clusters

Synthesizers

Î ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷

3 3 3 3

167

&

Ó

˛

mf

˛ ˛ ˛ ˛ ˛

˛ ˛.


˛ ˛ ˛ ˛ b˛

˛ ˛


˛ ˛


˛ b˛

˛

b˛æ Œ ˛ ˛ ˛

8 5 8 5

&

b

Î÷ ÷ ÷ Œ ÷ ÷ ÷ Œ

Î÷ ÷ ÷ Œ ï ï ï ï ï

b

Î÷ ÷ ÷ Œ ÷ ÷ ÷ Œ

Throat singers

170

&

&

5

8

˛ ˛ b˛

b

ˇ ÷ ÷


5:3

˛ ˛ ˛

˛

j

˛

4 8 3 4 8 5 ˇ

˛ 4 ˛.

˛

8 3 ˛.

4 ÷ Œ

J

˛ï

J


æ


æ

3 3


æ

.

j

b

˛.

ï ï ï ï ˛÷ ÷

˛æ

˛æ


æ

ˇˇ ÷ ‰ ‰ ÷ ÷

J

˛æ.

.

˛.

÷ ‰ ‰

J

173

&

4

Ó

Œ

˛ ˛ ˛æ




6


˛ b˛

˛ ˛ ˛ ˛ ˛ ˛ b˛


&

4

b

Î÷ ÷ ÷ Œ ï ï ï ï ï

b

b

Î

÷ ÷ ÷ Œ ÷ ÷ ÷ Œ

175

&

&

˛ b˛

˛

6 6

˛ ˛

˛ ˛ ˛


˛ b˛

˛ ˛ ˛ ˛ ˛ ˛ ˛

˛ ˛ ˛ ˛

Î

÷ ÷ ÷ Œ ï ï ï ï ï

6


f

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ

.

6 3 3

˛

@

b

b

Î

÷ ÷ ÷ Œ ÷ ÷ ÷ Œ

J˛æ


PE101 – 23


177

&

‰ ˛ ˛ b˛

˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ

˛

æ

˛æ

‰ ˛˛ b˛


˛

˛ ˛ ˛

3

6 6

3

6

&

Î

÷ ÷ ÷ Œ ï ï ï ï ï

Î ÷ ÷ ÷ Œ ÷ ÷ ÷ Œ

179

&


˛˛ ˛˛ ˛ ˛æ

˛

æ


æ

˛

æ

˛

æ

˛

æ


æ

˛

æ

˛ b

æ

ˇæ


&

3 3

Î ÷ ÷ ÷ Œ ï ï ï ï ï

Î ÷ ÷ ÷ Œ ÷ ÷ ÷ Œ

b

Î÷ ÷ ÷ Œ ï ï ï ï ï

Marimba (pitch bends)


˛ ˛ ˛

183

&

&


b ˛ ˛.

˛ ˛

J

t~~~~~~~~~~~~~~~

ˇ ˛ ( b ˛ )˛ ˛ ˛ ˛ ˛ ˛

6

pp

mp

˛ ˛ ˛ ˛

˛


7

7

˛ ˛ ˛ b˛

˛ ˛ ˛


˛ n˛



˛ b˛


˛

˛ ˛ b˛˛ ˛

Ó

7

186

&

&

t ~~~~~~~~~~~~~~~~


pp

7

b ˛

Ó

b

mf

( b ˛ ) ˛

Œ

b˛˛˛ ˛ ˛ ˛ ˛ b˛

6


˛


6

˛ ˛

˛ ˛ ˛

˛ ˛

˛

Ó


˛

?

Ó ˇæ

ppp

ˇ ˇ

189

&

?

ˇæ

ˇ

&

6

˛æ ˛æ ˛ ˛ ˛ ˛


˛

7

4 3 6

˛ 4 4 2 ˛ b˛

˛ ˛ ˛ 7


˛

˛ ˛ ˛ b˛

˛ b˛

˛ ˛ ˛ b˛

ˇ

˛ b˛

ˇ

mf

æ

pp

7

7


4 3 4 ˛

b˛˛

˛ n b ˛

4 2



˛

b ˛ b ˛

PE101 – 24


192

&

4

2


æ

Œ

ˇæ

ppp

ˇæ

˛æ

j

˛æ

&

6

˛ ˛ ˛ ˛

6

˛ ˛ b˛

˛ ˛ ˛ ˛æ

mf

j

˛æ ‰ Œ

&

4 3 4 4 2 Œ 4 3 4 b˛

æ

ppp

æ æ æ

æ æ ˛æ

Π?

Ó

ˇ

˛ b˛

ˇ

˛ ˛ ˛ ˛ ˛

6

6

196

&

?

ˇ


6 6

Ó

ˇ

b Î

Î

pp


Î æ

ppp

Î

Ó

Œ

˛

˛æ

6

˛æ ˛ ˛ ˛ ˛ ˛ ˛ b˛

˛ ˛

mf

˛ ˛ b ˛

6

˛ Œ

˛

200

&


6 6

˛ ˛ ˛ ˛ ˛ ˛ b˛

˛ ˛ ˛ ˇæ

p

˛æ.

j

˛æ

˛æ

b˛æ

b˛æ ˛æ ˛

ˇæ

?


˛ ˇ


ˇ


ˇ

203

&

?

˛æ.


j

˛æ


æ

ˇ


æ

molto ritardando

j

U

b˛æ ˛æ . ˛æ Œ ?

pp Î

b Î

U


PE101 – 25


Download Contents

The download files contains the following:

[1] Digital Audio – Movement I [4:07]

[2] Digital Audio – Movement II [2:37]

[3] Digital Audio – Movement III [6:47]

[4] Studio Recording – Movement I [4:01]

[5] Studio Recording – Movement II [2:33]

[6] Studio Recording – Movement III [6:43]

Christos hatzis

Fertility Rites

Marimba with Digital Audio

Download file size: 224 MB

DIGITAL FILE DOWNLOAD

www.promethean-editions.com

PE101DC

PE101DC

The Download File contains the following:

[1] Digital Audio – Movement I [4:07]

[2] Digital Audio – Movement II [2:37]

[3] Digital Audio – Movement III [6:47]

[4] Studio Recording – Movement I [4:01]

[5] Studio Recording – Movement II [2:33]

[6] Studio Recording – Movement III [6:43]

Total Duration [26:48]

Download file size

228 MB

© 2007 Promethean Editions Limited

PE101 – 26


PROMETHEAN EDITIONS

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