Two Very Late Night Dances. Asaf Peres

Transcript

1 To Very Late Night Dances y Asa Peres A comosition sumitted in artial ulillment o the requirements or the degree o Doctor o Musical Arts (Music: Comosition) in the University o Michigan 2010 Doctoral Committee: Proessor Michael K Daugherty, Co-Chair Associate Proessor Erik Santos, Co-Chair Proessor onathan D Troe Assistant Proessor Karen ournier Assistant Proessor Kristin P Kuster

2 DEDICATION To my arents, Mordechai and Lily Peres, and my silings, Ziv Peres and Galia Cohen-Peres The unconditional love, suort, and encouragement I received rom my amily made this all ossile Their incredile isdom, along ith their desire to hel me achieve my goals in any ay they can, made them the erect guides in my ourney I as ale to lean on them every ste o the ay, and or that I ill orever e grateul ii

3 Acknoledgements I ould like to acknoledge the olloing eole, ho have een signiicant igures in my musical and academic career: Erik Santos, ho could alays ind the right thing to say to hel me realize here I ant to go ith my dissertation Michael Daugherty, ho challenged my concetions on the rocess o music comosition and inluenced me ith his unique aroach William Bolcom, hose ords o isdom regarding music and lie ill alays ollo and insire me ichard Lavenda, ho alays asked the questions that heled me come u ith the ansers I as looking or, and ho taught me one o the most imortant concets in comosition the use o time uen Seroussi the teacher I have orked ith or the longest eriod o time, and has taught me incredily valuale lessons aout creativity and indeendent thinking as a comoser Avner Dorman the erson resonsile or getting me started as a comoser and or roviding me ith the undamental tools I needed to exress my creativity Arthur Gottschalk, ho elieved in me and rovided me ith much-needed suort along the ay Karen ournier, ho has sent countless hours o her on time heling and encouraging me in my academic endeavors Moshe Wohl my high school teacher ho taught me undamentals in music theory, ut more imortantly, taught me ho to e a musician and a colleague, and ho to maintain an atmoshere o suort and resect ith my eers and my students Liran Donin a very close childhood riend ho has also een a maor musical inluence in my lie Hila Tamir another very close riend, ho I can alays count on or a meaningul conversation aout music and lie, and or emotional suort hen the need arises lorie Namir one o the most imortant eole in my lie She has een like amily to me over the ast eight years, and has ushed and suorted me in every ay to realize my otential I am extremely grateul to all the eole mentioned on this list Each and every one o them has een, and still is, an imortant art o my lie I eel excetionally lucky to have met all o these eole ho have had such an incredile imact on my career, and ill undoutedly continue to insire me as I move orard iii

4 Tale o Contents Dedication ii Acknoledgements iii Perormance notes v Astract vi Movement 1 I the Beat s Alright She Will Dance All Night 1 2 Do the Akard Stumle 1 iv

5 Perormance Notes: Instrumentation: To Very Late Night Dances is comosed o to movements In the irst movement I the Beat s Alright She Will Dance All Night the to ercussionists are accomanied y a cello quartet This ensemle is oined y a lute quartet and a doule-ass in the second movement Do the Akard Stumle Percussion setu: The ercussion instruments used in this iece are odaiko, temle-locks, virahone, and glockensiel The glockensiel is assigned to ercussionist 1, and the virahone is assigned to ercussionist 2 Both ercussionists share the odaiko, and may choose to either share one set o temle-locks or use to searate sets Virahone sound: When laying the virahone, ercussionist 2 should use medium hard mallets, and try to achieve the least amount o emhasis on the attack Chords should e sustained to their ull duration, and as much as ossile, reaks in the sound eteen chords should e avoided Whenever ossile, it is reerred to kee the edal don and immediately damen the notes rom the revious chord using the mallets Celli areviations: ST Scratch tone - Gradually increase o ressure, leading u to a scratch tone Temo and dynamics: All changes in temo and dynamics, unless otherise indicated, should e arut, ithout rearation The eeling that should result rom these sudden changes should e that o shiting gears v

6 Astract To Very Late Night Dances y Asa Peres Co-Chairs: Michael K Daugherty and Erik Santos To Very Late Night Dances is a to-movement, doule-concerto or to ercussionists and chamer ensemle The title o the irst movement, I the Beat s Alright She Will Dance All Night, is a quote y comedian Chris ock rom his sho Never Scared In the seciic segment rom hich this quote is dran, ock talks aout the act that desite the misogynistic character o some songs, many eole are olivious to the lyrics as long as they can dance to the eat My dissertation uses the steady eat as a means o roviding staility in an environment o raidly changing textures, temos, dynamics, and attitudes I the Beat s Alright She Will Dance All Night is characterized y extreme mood sings Sot virahone assages are interruted y harsh cello clusters and loud odaiko hits A duet layed in moderate temo suddenly turns into a hectic race Wild and active climaxes collase into sot, static, cello chords In the second movement, Do the Akard Stumle, a lute quartet oins the cello quartet in accomanying the ercussion duo, to add color and a contrasting character, and a contraass is added to reinorce the cello sounds in the lo register Elements that seem to aear out o nohere in this movement - such as a syncoated staccato chord layed y the lutes, a melodic cello line, and a relaxed interlude develo a lie o their on, and ecome imortant uilding locks in its construction Both movements introduce several seemingly unrelated stories and main characters As the movements unold, these stories and main characters are discovered to e, in retrosect, very related The duration o the iece is aout 20 minutes vi

7 Percussion 1 Movement 1 - I the Beat's Alright She Will Dance All Night q» ºº odaiko [Sutitle] 2 [Comoser] Ï 5 Percussion 2 Cello 1 odaiko 2 2 Ï 5 5 Cello Cello 2 5 Cello Ï q» Ï Ó Vlc Asa Peres 2010

8 1 q» ºº n n Vlc 2 27 n 2 q» TB Vlc 27 ~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~ ST Ï ST Ï ~~~~~~~~~ ST Ï ST Ï vi P Ó izz izz n Ó n izz n n 2

9 n n ord n n n n Vlc n n n 7 7 n n n n (kee oing sixteenths hile glissing) n Ó n n n n n Ó Vlc n Ó n

10 n n n n n n n Ó Vlc n n n n 2 2 n n Ó n n n 2 n 2 n n n 2 2 Vlc 2 2 n

11 51 51 n arco arco Vlc arco n n n odaiko n 6 Vlc n 5

12 60 7 q» n n n 60 Vlc 66 q» ª n n n 66 Vlc 6

13 71 q» 7 71 n n n n n n n Vlc n n n r 7 5 Vlc n n n n n n 7

14 79 9 Vlc 79 n n n n n n n n like a roken record Vlc

15 92 odaiko q» ºº > > > > > > > 2 7 > > > > > > > 2 7 > > > > > > > Vlc 2 7 > > > > > > > 100 q» q» ºº q» q» 100 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Vlc > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > 9

16 106 q» ºº Ï 106 > > > > > > > > TB Ï > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Vlc > > > > > > > > > > > > > > > > > > > > > > q» 109 < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < Vlc < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < n < < < < < < < < < < < < < < 10

17 112 q» ºº Ï Ï > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Vlc 115 < < < < < < < < < < < < < < q» > > > > > > > > 5 > > > > > > > > > > 115 < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < Vlc < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < 11

18 11 q» ºº Ï 11 N n Ï > > > > > > > > > > > > > > > > > > Vlc < < < < < < < < < < < < < < 121 q» n n > > > > > > Vlc 121 n n n < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < 12

19 12 12 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vlc < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ < < < < < < < < < < < < < < < < Ó Ó Ó 2 1 Vlc > ST Ï Ó 127 >ST Ï > ST Ï ST Ï > Ó > > > > Ó > > > > > > > > > > > > ord non vi ; meditative ord non vi ; meditative ord non vi ; meditative ord non vi ; meditative 1

20 15 1 q» Ó 15 vi P P P Vlc P Vlc 1

21 150 q» 150 Vlc 15 q» ª 15 Vlc 15

22 q» n n n n n Vlc n 5 n Vlc n n n n n n n r 16

23 166 Vlc 166 n n n n n n n n Vlc 170 n n n n n n 17

24 175 Ï 17 Vlc 175 n n n n Vlc 179 n n n n n 1

25 Vlc glock Vlc non vi ; meditative non vi ; meditative non vi ; meditative non vi ; meditative Ø Ø Ø Ø 19

26 odaiko q» ºº 2 q» Vlc q» ºº ~~~~~~~~ Ï ~~~~~~~~ ST Ï ~~~~~~~~ ~~~~~~~ ST ST Ï ST Ï q» ª TB ST Ï ST Ï ST Ï ST Ï 2 > ord > > > > > > > > ord > > > > > > > ord > > > > > > > > ord > > > > > > > > > > > > 2 non vi ; meditative > > > > 2 non vi ; meditative > > > > 2 non vi ; meditative Vlc > > > > 2 non vi ; meditative 20

27 Vlc q» Ï Ï lï l exressive exressive Ó Ó Ó Vlc Ï l l exressive 2 21

28 22 2 q» ºº 7 q» > > > > > > > > > > > > > > > > > > > > > exressive Ó exressive exressive exressive exressive exressive Vlc 2 7 > > > > > > > Ó exressive exressive 20 Ó 2 20 Vlc 22

29 27 q» 27 Vlc Vlc 2

30 Vlc vi P q» q» 260 Vlc 2

31 Vlc q» Vlc 25

32 277 2 n 277 Vlc 25 n 25 () () () Vlc () 26

33 ṗ ṗ Vlc ṗ ṗ P ḟ ṗ Vlc ṗ 27

34 0 TB 1 0 ḟ ṗ ḟ ṗ Vlc ḟ ṗ ḟ ṗ ḟ ṗ Vlc ḟ ṗ 2

35 1 7 q» ºº q» > > > > > > > 7 > > > > > > > 7 > > > > > > > Vlc 7 > > > > > > > 19 glock 19 Vlc 29

36 Vlc non vi ; meditative non vi ; meditative non vi ; meditative non vi ; meditative Vlc 7 7 0

37 Movement 2 - Do the Akard Stumle lute 1 qȻ 2 lute 2 2 lute 2 lute 2 Percussion 1 odaiko TB 2 Percussion 2 Cello 1 Cello 2 Cello Cello izz izz izz izz vi n n Contraass izz 2 1

38 l l l 2 2 l n Vlc 2 2 C

39 l 1 l Ḟ l l 17 n 17 n n n Vlc n C 17 n

40 l l 2 5 l 5 n l n Vlc 5 C 22 5

41 l l 2 2 l 2 l Vlc 2 C

42 l l 2 l l 0 0 Vlc C 0 6

43 l 1 l 2 l l Vlc C 7

44 l 1 l 2 l l odaiko Vlc C

45 l 1 2 l 2 l l 2 TB 2 Vlc C 2 9

46 l 1 7 n l 2 l l 7 7 Vlc C 7 0

47 l 1 52 n l 2 l l n n odaiko n n Vlc n C 52 n 1

48 l l 2 l l n n n arco arco n Vlc n C 56 n 2

49 l l 2 5 l 5 l n 5 5 vi 5 Vlc arco arco 5 5 C 60 5

50 l 1 6 Ḟ l 2 Ḟ l l 6 6 Vlc C 6

51 l 1 l 2 l l n 6 odaiko r Vlc C 6 izz izz izz 5

52 l 1 l 2 l l 2 n Vlc 2 C

53 l 1 l 2 l 76 l Vlc C 76 7

54 l 1 l 2 l l 0 0 n Ó Vlc 0 P P arco arco C 0

55 l 1 l 2 l l n Vlc C 9

56 l 1 l 2 l l n 5 odaiko r Vlc C 5 izz izz izz 50

57 l 1 l 2 l l n Vlc C 51

58 l 1 l l l Vlc C 91 52

59 l 1 l 2 l 95 ṗ ḟ l ṗ ḟ Vlc C 95 5

60 l 1 l 2 l l n ḟ n n vi Vlc C 99 5

61 l 1 l 2 l 10 l Vlc C 10 55

62 l l 2 1 l 1 l n 1 Vlc n 1 C 109 n 1 56

63 l Ḟ 5 l 2 Ḟ 5 l 5 l Vlc 5 C

64 l l l 5 1 l izz izz B Vlc 5 1 C

65 l r r r r l 2 r r r r r r r r l l B P Vlc P C 12 P 59

66 l r r l 2 r r r r r r l l 127 odaiko 127 B Vlc C

67 l 1 11 r r r r l 2 r r r r r r l l B Vlc C 11 61

68 l r r l 2 l r r r r r r r l 1 r r 1 ạrco arco r r r r B Vlc C 1 62

69 l 1 17 r r r r r r 5 l 2 r r r r r r 5 l 5 l r r r 5 B 5 Vlc 5 C

70 l r r r r 1 l 2 5 r r r r 1 l 5 1 l r r 1 B 5 1 Vlc 5 1 C

71 l 1 l 2 l l ṗ ṗ ṗ ḟ Vlc 1 B arco arco izz izz izz izz C 1 65

72 l 1 19 l 2 l l 19 TB odaiko 19 vi Vlc C 19 66

73 l l 2 l l n 15 TB vi 15 Vlc C 15 67

74 l l 2 l l n n odaiko n n Vlc n C 159 n 6

75 l l 2 l l 16 Vlc 16 n n n n arco arco n n n arco arco C 16 n n 69

76 l l 2 2 l 2 l Vlc 2 C

77 l l 2 l l izz izz Vlc C 17 izz 71

78 l l 2 l l Vlc C

79 l 1 15 l 2 l 19 l r r r r r r 15 r r r 15 Vlc C 15 7

80 l 1 l 2 l 191 l r r r r r r r r r r r r arco arco Vlc C 191 7

81 l 1 l ṗ 5 5 l ṗ 5 l ṗ vi Vlc 5 C

82 l Ó l 2 5 Ó l 5 Ó l 5 Ó Ó Vlc 5 C

83 l l 2 l l Vlc C

84 l 1 l Ḟ 2 2 ṗ Ḟ l Ḟ 2 ṗ Ḟ l Ḟ 2 ṗ Ḟ izz izz Vlc 2 C 210 izz 7 2

85 l 1 l ṗ l ṗ l ṗ Vlc C

86 l 1 l Ḟ l Ḟ l Ḟ Vlc C 220 0

87 l l 2 l l Vlc C 226 1

88 l l 2 l l r r r r r r r r r 2 r r r 2 Vlc C 2 2

89 l 1 l 2 l 2 l r r r r r r r r r 2 r r r 2 arco arco Vlc C 2

90 l 1 l 2 l 22 ḟ l r ḟ r r r r r r r r r r r Vlc C 22

91 l l 2 l l r r r r r r r r r r r r 26 P 26 odaiko Vlc C 26 5

92 l l 2 l l r r r r r r r r r r r r Vlc C 250 6

93 l 1 l 2 l l n ḟ 25 1 odaiko Vlc C 25 arco izz izz izz n

94 l 1 l 2 l 262 n l vi Vlc C 262

95 l 1 l 2 l 26 2 l izz izz n Vlc n C 26 n 9

96 l l 2 l l n 272 TB 272 n odaiko n n Vlc n C 272 n 90

97 l l 2 l l n n n arco arco n n Vlc n n C 276 n 91

98 l 1 20 l 2 l l n Vlc arco arco C 20 92

99 l 1 26 l 2 l l izz izz Vlc C 26 izz 9

100 l l 2 l l 292 glock 292 Vlc izz izz C 292 9

101 l l 2 l l Vlc C