q = 60
toy piano
stately and direct
4
&4 #w
F
bw
ww
w
b ww
bw
bw
w
b ww
n ww
nw
Composition with the Sound of Its Own Dcoupage
6-second pause
composer: Michael Baldwin
dedicated to: Eric Gottlieb
Video cue: Watch video for point when dashed bar-line
is completely severed by scissors and then play
timeless: as fast as playable without producing
any mechanical sounds on the instrument
and then slower still.
senza tempo
!
w-
& #w
!
bw
ww
" p
w
b ww
! P
1
a tempo Video
bw
bw
w
F
b ww
p
n ww
>!
Video
slow body down, relax
w w.
b w w.
10
&4
ww ww ..
# w w.
F
F
w w.
b ww ww ..
b w w.
b w w.
w w.
b ww ww ..
3
(Audio)
w.
6
& 4 # w.
"
placid
Video
b w.
ww ..
w.
b ww ..
b w.
b w.
w.
b ww ..
n
14 .
#
n .
1 "
4
senza tempo
senza tempo
senza tempo
source: Baldwin, Michael. 2015. Composition with the Sound of Its Own Dcoupage.
Solo toy piano. Miami: Inlets Foundation for Experimental Practices.
.
"
7
4
Audio
43
2
4
1/2 c.l. tratto ord.
batt. crino Arco
Arco
III
3:2
125
Sounding
Bl
Stopped
s.p.
IV
127
Sounding
Stopped
..
O .. .
fl fl
%
m
?m
$
B
5:4
3:2
& BO
Stopped
IV
?O
bO
O. . . . .
fl flO fl B O.
IV
3:2
s.p.
3:2
s.t.
III IV III
11
s.t.
IV
III
IV
III
s.p.
IV III
3:2
III
IV
O. .... O
44
! BO
O.
43 O m O .
B
O
O
fl B O fl n O
fl O fl O fl fl fl O fl
fl
fl
fl
f
f
#
s.p.
s.t.
IV
III
ord.
s.p.
17:16
3:2
O II Pizz
BO 2
B 3
? 44
?
O
O
!
O
b
O
b
O
!
O
&
4
4
B
O
J
.
.
.
.
fl
fl
O
X > .
fl
>
3:2
fl
f
f
p
f
m
III
III
B .
131
? 43 ..
.
oo
o
B o
&
m
?
134
Stopped
II III
7:8
s.t.
(s.p.)
IV
5:4
s.p.
Sounding
III IV IV
s.t.
II IV II
III IV
5:4
IV
IV III IV II
5:4
s.t.
bO
O
O O O B O 42 O B O O
fl O fl fl fl fl O fl fl
fl
fl
f fl
#
$
#
$
IV III II III IV II I IV I II III I IV I III I II III IV III II I
Sounding
s.p.
B
O
O
O
> fl fl fl O fl O fl
fl fl
f
B
O. O
bO >
fl
129
Stopped
11:8
Arco ord.
s.p.
Jet
Sounding
s.p.
s.t.
1/2 c.l. tratto
III
s.t.
I II III I
II III IV II
3:2
$ 13:8
s.t.
batt. crino
3:2
B O O b O B O flO .
fl fl fl fl
B B n
O m flO flO n flO O O flO m flO n flO O . .
fl
fl
fl fl
n B B mm
. .
II
III
III
IV
II
III
5:4
I
II
s.p.
m
B
p
f p
m B
s.p.
IV
O
OO
O
IV III
3:2
III
(h )
(q )
Tj
p f
s.p.
24 b l b l m O O . l
Arco
>O
IV
III
l l BO mO ml l
fl fl fl fl fl fl
m n B
source: Bellamy, Mary. 2011. Abrasion. Solo cello. Self-Published.
43
Dashed slur indicates grouping.
n .
. n . .
n > n . "
#
5
b
& 4 # n P
.
n . n
!
?5
4
Poco Ped.
# F
n .
# n >
# .
rK
45:40
# .
# . # n .
P
n P
p
~~~~~~~~~~~~~~~~~~~~~~~~~
#
n n pb . n n p F
f
Ped.
4 n
& 4 b
? 44
Kr ! K !
r
b .
n .
"
p
Senza Ped.
5
& 16
? 5 # n
16 #
P
Kr
3:2
n # n
R
f
.
n # . b
f
P
n .
# . n .
>
. n "
44
n #
! ! . 2"
# # Una Corda Ped.
Poco Ped.
# . p
-
# F
F
r
3:2
>
Kr
5:4
n
KK
r
9:8
n .
rK
5:2
Kr
b
# >
n .
2"
"
n
p
>
4
4
5
16
b .
#
# R
#
5
16
Ped.
# - #
#
n > # n
rK
11:6
Ped.
n >
r
7:8
r
5:4
# .
Ped.
b -
!.
n #
R
F
Kr
b
n
fl
source: Baldwin, Michael. 2010. Seven Miniatures for Solo Pianist. Solo piano. Self-Published.
8
e = 60
Air Quality
8:9
21
B. Cl.
5 e = 56
6
16
16
C.i.
&
n >
rK
n b > n n b
>
sfffz
13:10
Air Quality
Mute
21
B b Picc
Trp.
C Tpt.
&
1 3 2 3
6:5
Tbn.
~~~~~~~~~~~~~~~~
- .
? .
5:4
rK
5
16
9:8
e = 56
5
16
rK
n > . b n
n.
5:4
rK
6
16
b >
rK
11:8
b > n b>
Kr
9:8
rK
B.
B B
7:6
r
b
5
16
rK
>
b > n n n .
Kr
p
3:2
n n n n n F
Kr
3:2 K
r
8:9
6
r 16
Kr
5:4
3:2
8:7
b b -
9:8
rK
n - ~~~ n
m. vib.b
7:8
&
j
b
6
16
Kr
e = 50
R
6:5
rK
5
m n 16
n n >
6
16
e = 50
e = 50
rit.
[Link].
rit.
5:6
5:4
rK
.
5:4
7:4
Voice
9:8
21
rK
Kr
e = 60
Air Quality
9:8
e = 56
e = 60
rK
rit.
rK
source: Baldwin, Michael. 2011. what lurks beneath. Clarinets, trumpets, and trombones. Self-Published.
5
16
3:2
5:4
J
rKK
6
16
"
Rall
q = 48
(
q
)
12 {
32{12345
1 3
234
106{ 2A
~~~~~~~~~~~
(h )
(h.)
>
~~~~~~~~~~~~~~~~~
(h )
I
.
B
n b n b n
B I
m~~~~~~~~~~~~~~
(q )
165
.
.
3
4
&
4
4
5:4
5:4
5:4
L
Fp
F
ppsub
1 3
{ 23B5{12B5
q = 56
106
(q ) 116 111
{1234345n{12345
23 5n
~~~~
(h )
b B I n I n I n I n I n I n . I
b m W.T.
B
.
m (h )
169
(q )m
6
44
3
&
4
43
4
.
5:4
5:4
6:4
F $
F $
p
$ p
$
49 1 34
2345
3
&4
174
"
177
&
"
'fft'
{23434 {12334
m
6:4
~~~~~~~~~~~
W.T.
b o
.
43
"
'fft'
"
X
'fft'
W.T.
5:4
(h )
(q )
4
4
"
"
W.T.
6:4
------
'fft'
f $
"
~~~~~~~~~~~~~~~~~~~~~~~~~~~
o o
4
4
p
source: Bellamy, Mary. 2011. Semblance. Solo amplified bass flute. Self-Published.
(h )
- - - - - - - - -
!
W.T.
9:6
||: trouble letting go :||
||: touble letting go :|| is one of three parts/scores from ||: touble letting go :|| -- ] holding on [ -- Echo: whistle, whisper, gasp, silence
performance notes
this piece is performed by a solo performer playing a piece of wood
the score indicates the movements of each individual finger across time
the movements indicated are in reference to the degree of contact with, and pressure applied to, the piece of wood
the upper bound of each finger-stave indicates a pronounced release of, and distance from, the respective finger and the piece of wood
the dashed line of each finger-stave marks the neseccary amount of pressure to be appled to the board for that finger to comfortably touch, or come into contact with, the piece of wood
the lower bound of each finger-stave indicates a pronounced degree of additional pressure applied to the piece of wood by the respective finger
this additional pressure should cause the piece of wood to slightly bend
the piece of wood used by the performer should sourced by the performer and be different for each performance
it should be malliable in quality, and, when bent, must produce a creaking/crackling sound, which may only be audible to the performer.
the louder the sound produced, the better; no additional visual of aural amplification may be used
each hand has a defined finger-gesture profile which is represented by the fluctuating lines
the rate at which these gestures are enacted is relative to the 'unit' of time prescribed
the left hand is read from left to right, and the right hand from right to left
upon reaching the end of each hands gesture-profile, an extraordinarily quick twist of both wrist is enacted, producing a marked snapping and or bending of the piece of wood
immediately following this snapping gesture, the performer should retrace their hand's gesture-profile in reverse until they reach the beginning again
the direction of each wrist's movement is indicated by a counter-closewise or clockwise arrow above and bellow the repeat bars
upon reaching the begining, repeat the same gesture-profile for both hands, except now adjust the amount of time alloted to each 'unit'
each gesture-profile (performered forwards and backwards) will be enacted five times, each time at a speed slower than prevously enacted
both hands (all ten fingers) of the score are read at the same time
an image has been provided to indicate where each finger should be placed on the collected piece of wood
after five enactments of the gesture-profiles, this piece is finished
the performer should remain motionless untill all the other two performers have finished their respective pieces
the violinist will signal the end of the ensemble's performance
time
unit
5X
GK KG
iteration
X1:
X2:
X3:
X4:
X5:
unit duration
unit = 1"
unit = 3"
unit = 5"
unit = 8"
unit = 12"
GK
tinu
X5
source: Baldwin, Michael. 2016. ||: trouble letting go:||.
Solo object performer. Self-Published.
emit
written for KEY Ensemble
marginalization
C Score
Duration: 5min30sec
for trombone, percussion and piano
Trombone
Percussion
3
8
3:2
h h
3
8
= 52
WOOD
sand paper
**
v.s.
!.
h h
#
!
Kr
5:4
v.f.
***
r
ng g g g.
2
5
8
>
n !
3:2
palm
rK
".****
n
Y !
= 52
5
8
GLASS
5:4
Piano
! !
rK
5:4
h
o
J -
2
8
4
8
. h
*****
to
h.
Kr
5:4
Kr
h h
!.
rK
Kr
3:2
3:2
loco
mg g
n
n gg gg
$
1
g
gg
b .
!
3
rK
5:4
b .
! !.
Kr
4
8
P
q
5:4
h
f
h
#
h
P
Insert bubble mute - no stem
!.
rK
5:4
2
8
Y
f
dampen with finger
P
m m m ! n !
q
rK
3:2
4
8
(sharp)
soft yarn
3:2
n
5:4
(in piano)
rK
WOOD
sand paper
v.s.
5:4
loco
7
8
3:2
GLK
2
8
!.
Michael Baldwin (2011)
r
Kr
f !
5:4
Frantically grope glass with palm of hand. Do not
produce any easily recognizable rhythmic impulse.
3
8
5
8
timbre (trigger) trill
~~~~~~
j
depress trigger slightly
r
3:2
rK
. n .
F f
rK
7:6
cluster - palm
7
8
ff
f
ff
>
3:2
n . m .
n b .
. n
m n . b . n b
!.
rKK
7:6
scrape
!.
P******
b
$
#
n g.
n g .
mg .
5:4
3:2
* trombone: Inhale through mouthpiece, change position of
*** piano: A pedal marking with an arrow attached to the activation or
tongue at will and create a high, breathy whistle-tone.
deactivation of the specified pedal indicates a sharp donward
An arrow pointing in the opposite direction indictes
or upward motion This will result in an audible strick against the
an egressive airflow through the mouthpiece. The general
piano's sound board. This will cause the depressed note(s) to
range of an egressive gesture will be indicated via
speak, and in combination with other pedals, create variable
placement of notehead on stave.
clusters of pitches.
** percussion: v.s. = very slow, v.f. = very fast. These indications
relate to the speed at which the sand paper is to
PEDALS: 1 = sustain, 2 = sostenuto, 3 = una corda.
be dragged against the wooden plank. Any type
of sand paper will suffice.
**** piano: Any note or collection of notes within brackets are to be
played inside the piano. Stems that have an upward arrow
indicate a sliding across the string with the ball of any finger
over the full duration specified. Do not retake, creating a
new articulation, instead only one smooth motion is to be used.
If a particular portions of the hand (or finger) is to be used, it will
be specified. Dampening of specific strings will also be called for.
nb gg gg gg gg
gg gg gg mggg g g g g
g g g
1
***** trombone: Press lips firmly against mouthpiece
and use a small aperture to blow through
creating a high whistle-like sound.
****** piano: Scrape string with nail. Keep string dampened
with the right hand. All to be within one motion.
Do not rearticulate by retaking the note.
source: Baldwin, Michael. 2011. marginalization. Trombone, percussion, and piano. Self-Published.
(cluster)
#
KKr
"
n
3
8
CYM
sewing needle
3:2
3:2
loco
7 (sharp)
8 P
ggg ...
3
8
............................................................
A.i. = 52
Copyright 2011 Michael Baldwin
All Rights Reserved
00:00
00:20
00:40
B2-BRUSH
B1-CLOSE
FREEZE
00:48
01:00
01:25
B4-OPEN
B3-SQUEEZE
FREEZE
FREEZE
B5-REMOVE [F]
Gasp
TO EARS
01:30
01:50
02:10
&
F
RUB
DROP&RETURN
02:30
02:13
02:55
3X
B1-CLOSE
B2-BRUSH
FREEZE
B3-SQUEEZE
FREEZE
B4-OPEN
FREEZE
B5-REMOVE [S]
TO EARS
RUB
DROP&RETURN
03:00
03:20
03:40
04:48
04:00
04:25
5X
B1-CLOSE
B2-BRUSH
FREEZE
FREEZE
X4
04:30
Whistle
&
B4-OPEN
B3-SQUEEZE
FREEZE
(silent)Gasp
K
&
F
04:50
B5-REMOVE [T]
05:10
05:50
TO EARS
RUB
DROP&RETURN
06:30
08:00
3X
B1-CLOSE
B2-BRUSH
FREEZE
B3-SQUEEZE
FREEZE
FREEZE
&
B5-REMOVE [A]
TO EARS
(silent)Whistle
X2
B4-OPEN
Whisper:
f / v / k / th / s / z
RUB
source: Baldwin, Michael. 2016. Four Echoes.
Solo object performer. Self-Published.
DROP&RETURN
Various Terrains ( degrees of similarity)
PANEL 1
for solo voice
Duration: 2min (6min)
TEMPO:
x = 64
x = 62
x = 60
5
32
11
32
Whistle
o.
rK
3:5
rK
6:5
Air Stream
Mouth Shape
s()
Kr
v
rK
4:5
4:5
Strand One
Growl
. e
(f)
Mouth Shape*
**
Pitch
Mouth Shape
&
(B )
}(o)
.
rK
7:6
z(s)
z .
x .
. e
8:5
Kr
m n b
rK
11:6
Kr
b
a
z .
. e
(i)
5:6
Kr
** All sung pitch is to be sung ingressivly unless explicitly marked egressive. ()
(i)
rK
.
z
KrK
o o
. . .
o.
1 . ( )
rK
5:4
3:2
Kr
5
32
rK
12:7
k()
x()
b
a
rk()
rK
3:2
>
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
()
z(
8:7
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n
}(i)
.
.
.
5:4
rK
10:7
rKK
13:8
n (b )
. .
3:2
(n )
. .o .
rKK
9:8
n.
>
f
..
Kr
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1
1
j
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
p
P
>,
f
6:7
rK
4:3
v .
rK
5:4
(U )
9:10
Kr
7:6
o.
7:5
rKK
5:6
b r
p
v()
rK
7:4
z()
5:4
.
r
3:2
rK
rK
7:4
p P F
.
.
o.
7
32
6:5
Kr
b
a
Kr
**
z(s)
..
x = 66
rK
6:5
rK
rK
3:2
>,
.
1
~~~~~~~~~~~~~~~~~~~~~~
rK
rK
9:7
3:2
B m n b . ( )
}()
>
()
rK
5:4
n
i
rK
4:7
rK
8:5
source: Baldwin, Michael. 2011. Various Terrains ( degrees of similarity). Solo voice. Self-Published.
. . . .
. .
. . .
.
p
KrK
12:10
..............................
Clicks !
z
v
.
z
Strand Three
rK
5:4
rK
~~~~~~~~~~
rK
3:2
5
32
o.
o. o. o.
5:4
b f(k)
.
* Air stream is to be a constant fff at all times
Vocal Fry
rK
3:2
o o ~~~~~~~ o o o
~~~~~~~~~~~~~~
Flutter
Growl
rK
5:4
rK
7:5
Strand Two
o.
j x = 60
rK
7:6
o ~~~~~~~~ o
o.
3:2
r .
o.
o.
rK
8:7
7:6
~~~~~~~~~~~~~~~~~~~~~
Tongue Placement
o.
4
8
Michael Baldwin (2011)
Copyright 2011 Michael Baldwin
All Rights Reserved