Colin Broom wrote:
> Okay, I'm doing some notation work on a chamber orchestra work of another
> composer at the moment and I was hoping for some opinions on the following:
>
> The opening of one of the pieces is completely rhythmically free in that
> there is no pulse, no time signature and no barlines (which has involved an
> awful lot of barline hiding, staff styles, etc.) - a kind of static "IN THE
> BEGINNING..." type chordal section with the occasional slow moving melodic
> motion in one instrument. Each individual instrument entry is cued by the
> conductor.
>
> My question is: on the individual parts, is it more helpful for each player
> to only have the cues in place that apply to him/her, or to have all of the
> cues even if they apply to other instruments, so that they know what else is
> going on around and thus can more easily locate their place in the geography
> of the opening? I'm gravitating towards the latter, but was wondering what
> everyone else thought.
>
I think a text block, as has already been suggested, listing the order
of the instruments.
If it is rhythmically free, does that mean that each player is free to
make up a rhythm (so potentially a person could play all their indicated
pitches in a single very rapid swoop) or are they supposed to be played
slowly or predictably and recognizably?
If it is the former, I would suggest leaving out the actual cues and
letting each performer know only that they have to get ready to play as
soon as the previous instrument has been cued.
If it is the latter, so there is a slow succession of pitches leading up
to the next cue, then putting only the cue immediately preceding each
part would be most helpful. It might be helpful to have all the cues in
succession, but I doubt it.
--
David H. Bailey
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