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MichaelKarmon

Won't Come When the Sheep
A Sleepless Nocturnefor Guitar

I.

p.m. 11.47

III. 2:21 a.m. m. 3:59 a.m. IV. 4.33 a.m. V. 5.46 a.m.

Dttration: ca. l5 minutes

ProgramNotes "When the SheepWon't Come: A Sleepless Nocturne for Guitar" was written for JosephHagedorn,and premiered by him in November,1999. My original idea was to write a serene and moody nocturnein severalmovements. But when I startedresearching and listening to new guitar pieces,I came acrossToru Takemitsu's"All in Twilight," which becamea very importantpiece to me. On the one hand,I find it beautiful and moving, and ultimately inspiring. But on the other hand, I felt I didn't have anything to add to what Takemitsudid and that I neededto find a new idea for my piece. So I decidedto view night as a potentially restless time, rather than a serenetime, and portray statesof mind a personmight go through during a sleepless night. The namesof the movementsevoke (at leastin my mind) the moods I aim to depict, and the piece becomesprogressively more convoluted.By the end, the music is a surreal and weary shadowof the opening.

Karmon - "'When the Sheep" - Page i

) a phrase."'When the Sheep" .Page ii .No sound should hang over the barline.Not so wide that the pitch is affecteddrastically. a. (Forexample. Snappizz. (used in movement Denotes II.the string at the indicatednote. Marksphrasitg. but not pressing.as indicated.there should not be a consistentpulse in the sectionas a whole.) J The stringbend is sounded. tonelow.Symbols "Flexible Tempo" Indicatesthat eachfigure shouldbe played at a tempo that seemsintuitively correct.or vise versa. Vertical vibrato.. Vertical vibrato followed by a downward gliss. /'-----'. (1/4 or 1/2 stepindicated. B1 wouldbe a quarter tonelowerthaneh. Quarter Karmon . In general. a warm sound. The resultingsoundshouldbe a click with just a hint of pitch.. not slurs. ponti ---------* tasto Graduallychangethe timbre by moving from ponticello to sul tasto. Dampen all resonatingstrings. Mute the string with the left hand by touching. The bend itself doesnot sound. String is bent in preparationfor the next note.

^ . 60 ar t. €) Michael Karmon.Broadly I .ca.-l O e_e_Jri b rypp ry p rar ra€ \Y | \Y ------ g rymf xWheneverpossible.Writtenfor losephHngedorn When the SheepWon't Come A SleeplessNocturne for Guitar p.70 -.sleepy) ./6\ -r .Page3 . 64 I art.--. = ca. . U/ VII .-- poco accel poco ri t.--. 60 broaden sl i ghtl y ------t = U' U' T ' T U vlz | -l -- -/ l-/ u I r| -/ -J u -7 u. ._ Faster.lL' 6 Sleepyagain ). . lesslethargic J = 5 C3 ..I pocont..play at the 7th fret as a natural harmonic. 7998 "When the Sheep". 11:11 Michael Karmon Always with a fluid pulse.''. -------.harm.T. If not possible. 70) 2 3 ^O p o c o p o ntr . ++ When this 'B' is stemmedseparately it should be played on the open string. ? I F- p ** A te m p o t 9 VII :-4 \l o p o co -p o n ti. (y . har m .m.. i.u---Lt-=-- A little faster. ( r '=. I. unlessindicatedotherwise. ) tI J (-tr' poco ri t..delicate& mercurial ) = ca.-- ---t A tempo @l----: C.play this note as an artificial harmonicat the 19th fret.l ("'4 -1 0 -------D 'U ' -Et------' I r\--ll =' -\--l U T / \..' T. VII 'O p ----_______ mo l t o ---_--- Still fluid (J = ca.

Wide awake.t I L--l -\ rll -a- ri.^ - mff Broadening.f f nat. poco accel ooco nt r A tempo poco dccel -/ ^ ."'W'henthe Sheep" ..----t 6)\g poco pontl .. = ca. >> ? JA *r -- A - A *r ---- A With pent-up energy (. q r' V) rl \=. frantic J=ca. 68) s e m p r e l e .68 or d .ga to p o c o p o n t i c ello o n ste m s.. . much more gentle (J = ca. har m .r zl 5'-\ PJ.'.. assertiveJ = ca./ t{t I_ n _ Faster. 76 \-/ @ p o c op o n t i . vl bl -a 1 -- nat.u p n o te s Karmon .. 6poco rit r.Page 4 .poco accel p o co n t A tempo .l rl I . . 7th fret f pocopontl . har m .64) poco ponti .

T I fft-f J J ' ' -Jc ' -l tt -t CalmJ=ca.ca. 60 ct ro .Page 5 .64 r l_ \-_7 broaden q4 rn (. TT."'When the Sheep" ./a ofJ c.._. = l-l -l e -p l -l f'G Karmon .I .Full. A fr.p Y.*i aa. dramatic ) = ca..t p t l= T = -7.-. 60 zr+ -DO o (J=J ) \t @ /n o Rit.+ l r- . -/T T T .delicate ) . _ | ("-a I Serene..

) ( dynam i c s s houl d al w ay s gentl y s w el l . Comfortably fast. poco pou.Page 6 .@ =Pb III. poco ponti cel l o ord. ord. flowin g ) = ca. B r i n g o u t t o p v o ice l= ord. ord. b tf.) mTat f. p o co p o n tr . "When the Sheep" .2:21a. -l ponti .m. poco ponti . v . ord. 86 VI ( l .

+ p o n ti.- l^l l^ ^ ^ (pp \ 25 ^ ^ ^ ^ ^ ^ ^ l- V erv qradual cres. becoming intense sempre cres. (vIIr) (rrr) * Mute strings completely with 3 or 4 fingers and gliss down. "When the Sheep". 21 hr - ^ | -l ^ ^ ^ ^ ^ . ord. Driving.D l.r - ^ ^ ^ ^ pp 23 hr ^ ^ ^ ^ ^ l't. to end of movement tF \tttl tl l tttttttt ( I ^ - a h^ ^ ^ ^ ) ^ - s e m p r e c r esc.Page7 .

I DT $ uu " " ' l t1 U1 111 ---------r U4 t. l2th fret u'. - o fd pontr tasto ponti ord. v.m.page 8 .vi?i (1.'-" -" . )? 12 .'-'-" -. nat. ?1?1? ponti. lyrical ila'?Eq. 3:59a. ..) "When the Sheep" . harm.' " "' -" . )L in-ie-io. S o m e ha rmo n i cs sh o L rl cl co me thr oueh.'---r $u 1' ti ii4' .l'*)? .m. tL-A .oT in- p -- pp Flexible tempo. (@ = E b) Broadly. lyrical @ g liss' ) pp p - ppf U s e o n l y o n e fi n _ e e r to mu te the str ing.- bLb -c lI pp tr Flexible tempo. ii' @ tr tr^r +l . dramatic _6\ t Yl D p 0? .

O p - pull back push forward \t--// 1- n With feeling. but not exaggerated p ushfo rward -----t pull bac k push forw ard pull back p pullbac k . b ---___ Gently A Poetic.. -+ ponti tasto ponti * ord.gently CrC -c lI I p o n tl t^ ord.Page 9 .v.. D?b.r gently poc o a poc o "When the Sheep" . with a fluid pulse V 7o p A I bZDs ry (1.) n.

poco a poco) poco a poco poco a poco A a a Calm. p o co pp a cce l ri t-I I I I I at. lyrical .tat ---t e?O_e e 1t2 Flexible tempo.pa'ee10 . verv slow sul tasto A Rit.e ae ae JI* .Y /n ri v "When the Sheep" . DOJ - art. b p pp \. harm.llllllllllllllllll ) A_ te e e e _ e e.( A i s a l w a y s co n sta n t) Gradually becoming more intense (optional accel.

ponti . .N @ il€tr%:'zfri€Ec>sc) pw cres.94 6bi c ry @ is constant) Start slow and gradually accel.:> ord.4:33 a. tt4 Ja7lj tr ponti. behi nd the nut w i th r i ght hand 11>@ #JJy.tl .> ord. poco a poco #7 tr #-> #-. ponti .l r - )DJQt 1-/ uv + -+t - Driving and whimsical J = ca.m. ponti a Oif- tr / "When the Sheep". @=D Exaggerated & always with humor J = ca.) 0 ord. (.Page I 1 .IV.

1) tr #i ? FI' / "'wh en the Sheep".Flexibletempo. When the frets end press the strings hard enou-9h'so that a serise of rising pitch results. rn bJ=bl r.1 14 ) * @ Pt 6 | cresc.^. ad lib. playful A \-v v \.. ov er the s ound hol e and al l the w av to the br i dee.-t /-a . d im . playful A Gl i s s upr .. #Gl -> -> mf secco A frp rs lt T- mf secco Tenrpo I ( r = ca.Page 12 .v ar d. poco a poco Optional accel. 9.-> marcato I-- n - - rnf p In tempo J = co. lll (J=ca. p o co a p o co Flexible tempo.r# .

n p l9th fr. ry Serene. 60) A -4 ry Flexible tempo b> --# A tempo mfP Do not l i ft the l eft hand fi nger s as y oLrs hi ft pos i ti ons . J\/\ l/+/ a r- -_______ Gently. P oco ri t. freely art. Fluid ). Freely. slower A mJp .ca. 48 6Pr"'21-Z)^ @ n. 68 poco accel .60 10^ moltoespre ss.. \ '2^r'\ ..t"ho. Lower the pitch by tr-rrning the tuning peg as smoothly throughthe lasttwo notes as possible "When the Sheep" . A tempo ord.gl i s s effJ c t s hodl d r es ul t.9\ J. A bl ur r ed.stark J = ca. 19th fi . rn rn \l/ \2/ Slow. harm. ps eudo.m .' pontt.U\/\ SomberJ=ca. 5:46a. slower ll 14 A tempo il1 'l TT- Flexible tempo 18 A tempo (J = c3. 2\:/\ .Page 13 . .V.

Pa_ee 11 . becomingintense strum (vrrr) (III) * Mute stri ngs compl etel y w i th 3 or z1fi ng ers and dow n.Movement II Alternate Ending -) .J ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ (pp ) Driving. _el i s s "When the Sheep".