Ghost Apparatus - Full Score

∑
‰
B. Cl. ¢ &
.
bœ
œ ˙ œ # œ. œ œ œ.
œ bœ
œ
f
# œ œ
œ ‰ œ ‰ ‰ œ ff
Œ œ ‰ œ
1
°
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
‰ œ
A. Sax. & Ó
>
œ Œ ‰ œ ‰ œ
2
# ˙ œ Œ bœ
# ˙
œ œ
PROGRAM
f
NOTE
div.
a2
Œ ‰ Many people ‰ use narrative Œ to ‰ structure
œ
T. Sax.
bœ&
œb bœ ‰ the way they
œ
‰ listen Œto music. If a title ‰ or a program ‰ note does not
immediately evoke a story, some will invent one bœto frame their listening experience.
#œ
# œ nœ
bœ
# œ œ œ Video œœ
œgames—some bœ
more œ
than others—also allow you to create your own story # œ œ
f within the framework of a given world. Ghost Apparatus—
œ ff
‰ œ a hidden network ‰ ‰ œ or force—is
Œ œ the soundtrack
‰ œ for a video ‰ > œ game that exists only
B. Sax. ¢ & nœ
bœ
œ œ # œ œ # œ œ bœ
œ Œ ‰ œ in my head.
‰ œThe narrative for
this game is up to you. From the beginning, every note, every decision has a consequence—a cause and
œ # œ œ
effect—that sets in motion a chain of events that cannot be undone. Every note, every gesture is part of a
bœ
f mp
larger puzzle—these single points 2,3 of sound come together 2,3 to form ff something bigger. It’s not apparent from
‰
°
œ ‰ the beginning, Œ but there’s ‰ also ‰ a force
Tpt. œ 1 & bœ bœ
‰ working against
˙ b œ
b˙
œ
‰ the music, against ‰ ‰ the game. It ‰ comes in the form of a
melody that emerges slowly—just quick, dramatic Œ
bœ
# ˙
œ œ
>
œœ swells at first—gradually bœ becoming œ longer and œ punctuated by
low, loud pillars of sound from the low voices until, finally, the music melts into chaos and this force overtakes
f
mp
the music entirely.
ff
Tpt.
2 ‰ Œ ‰ ‰
& ˙ b ‰ Œ
˙˙
Œ ‰ ‰
3œ
bœ œ œ bœ
# ˙œ
œ
œ NOTES FOR
ff
> œ THE CONDUCTOR bœ œ
mp
1.> . . f
#
¢ & ˙ ˙˙ Œ # œ ˙ œ
b œ ≈ œ ‰
œ ≈ œ ‰
œ ‰
∑
• Trumpets require straight mutes
• Hn. All eighth 2 notes should be held at full value, unless otherwise indicated with articulation
• For parts with optional divisi (oboe, bassoon, tuba) bottom part should ff be played if only one player is
available. f
p
bœ
œ # œ nœ
# œ œ œ bœ
bœ
• The bass trombone part was written ‰ for a true bass ‰ trombone, b œ ‰ but it ‰ is also œplayable Œ on a tenor trombone
Tbn. or by younger bœ œ
2
players by using the upper octave
>
œ options throughout.
• From a pedagogical perspective, there is one f syncopated mprhythm ff that may present challenges for younger
?
B. Tbn.
bœ
b˙
œ # œ œ œ œ bœ
bœ
players. This
œ
œ
‰ rhythm Œ is used ‰ in many
‰
places in the
bœ
œ
bœ
>
œ ‰
piece with
Œ
the hope that
‰
teaching this
œ ‰
rhythm once will
pay dividends throughout the work. The rhythm manifests in two variations, one played short and the other
bœ
long and connected:
‰ œ ‰ œ 1Œ ° ? b œbœ
‰ ‰
? bœ
a2 b ˙ œ # œ œ œ œ bœ
∑ > œ. ≈ œ ‰ œ. ≈ œ ‰ œ . ‰
∑
A) B)
Euph.
f
? a2 ->
Tba. ¢ bœ
b˙
œ
bœ
œ ‰ Ó ‰ Œ Ó
bœ
Œ ‰ Œ Ó
bœ
œ
. .
pp f pp f
ff
1,2
∑
∑
->
? bœ
b˙
œ
bœ
w
‰ Œ Ó
∑
Œ ‰
Œ ‰
œ
• The pacing and overall nature of the improvisation should be very clearly considered and rehearsed. The
melting gestures at m. 75 should begin slowly, growing and gradually giving way to a cacophony of strange
sounds. No one should stick out of the texture for more than a short outburst or two (other than the
D.B.
p relaxed
timpanist, as instructed), but players should not hold back either, especially as they begin to approach m. 89.
1,2
The improvisation should build in intensity all the way to the ff downbeat of m. 90.
131
∑
p
f
In A, the staccato 8 th notes should match duration of the 16 ths . In other words, all notes are of equal (short)
duration. In B, all notes should be held for their full value, connected yet articulate and accurate.
Timp. multiphonics,
? # squeaks, œ key bœ
clicks, and # æ˙ any other appropriate sounds.
Œ ‰ œ
Œ Ó
b œ ‰ Œ ‰ ‰
bœ > œ b
f fp ff >
œ
>
œ ‰ Œ b œ ‰ œ ‰
In addition to pitched improvisation material, percussionists are also encouraged to explore various
œ.
. f
extended techniques and sounds . . . . . .
° œ.
bœ with their instruments:
œ.
œ
œ.
bœ super-ball mallets
.
œ(on anything
.
.
Vib. & ‰
‰
œ œ
œ interesting: bass œ
œ
bœ
drum, timpani, cymbals), bows (on cymbals,
Œ ‰ œ b œ ‰ Œ Ó w vibraphone, marimba, etc.), scrapes across the resonators
of the marimba and vibraphone (carefully and with the right mallet, of ‰ course), etc. Œ
No one should attempt
Mar. & > to play particularly
p
“jazzy”
relaxed
licks or
b> chord changes,
œ > and
œ > the use of
œ > material/ideas
œ bbœ> œ œ>
seen in other parts of the piece is encouraged. The rising scales should slowly emerge and become part of
Œ ‰ ‰ bbœœ
Œ ≈‰
œ ‰ œ
‰ ≈œ ‰ œ
the cacophonous texture, creating ‰ Œ
‰ ‰
œ
bœ an inevitable œ rising sound. In is not imperative that the scales be played
with bexacting œ rhythmic precision
bœ
(though
œ bœplayers should attempt bœto play them
> > > > > > > > > > > > >
Perc. 1 / œ œ œ œ œ >
œ in time)—they are a
composite, extended gesture that should not
œ œ œ œ fbecome œ œ œ “clear.”
œ œ œ œ œ œ œ
mpœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
Œ ‰ bœ
bœ
Œ ‰
bœ
‰
œ b
>
œ Œ bœ
œ
f
w
In addition to pitched improvisation material, wind players are encouraged to explore various extended
p relaxed
techniques and sounds with their instruments: mouthpieces (removed from the instruments),
ff
ff
mp
mp
bœ
bœ
bœ
bœ
œ
œ
# œ œ
# œ œ
# œ œ