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(V»rv SULASOL

^3 2 6 Commissioned by the Tapiola Chamber Choir

Pseudo-Yolk
Duradon/Kesto: 2’15”

Lively (and slightly insane) * J = 1 5 6 Jaakko Mantyjarvi (1 9 9 4 )

/J\ — hai nuu naa hai — hai nuu naa

nan no-ma ne-uu nuu hai je-m u no-m a nan-naa hai nan no-ma ne-uu nuu hai je-m u no-m a nan-naa

hai nan no-ma ne-uu nuu hai je-m u no-m a nan-naa hai nan no-ma ne-uu nuu hai je-m u no-m a nan-naa

nun-nuu

m p dolce marcaio

jg i f ~ ~ ~ ~ r
jan - naa jan - naa

jan - naa nan nou ne-uu nuu noma nima nan - naa jan - naa nan nou ne-uu nuu noma nima nou nan - naa

hai nan no-ma ne-uu nuu hai je-m u no-ma n an -naa hai nan no-ma ne-uu nuu hai je-m u no-ma n an -n aa

nun-nuu nuu nan - naa

Eloisasti (ja vahan tarahtaneesti) Photocopying this material can seriously damage your wealth.
** niin nasaalisti etta koskee

© 1995 S U L A S O L , Helsinki
8 3 j SULASOL

15 m f extremely penetrating — like a dementedja w harp *

J J J~] J I J- J / 1 J rj J|:j ^
nou no-kono-ko nou no-ko nou nou no-m a ni-ga nou no-konou no-konou nou n o-kono-ko nou no -ko nou

/ _________

$ J J J ' J J J J J 1J ■>
nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa jan - naa
|J J J
nou nan naa
J J FFW
n o -g a - n i-g a nou

/
j .i ......liT-.j—
nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa jan - naa nou nan - naa n o -g a - n i-g a nou

* aa rim m aisen lap itu n k ev asti —


kuin m ielenvikain en m u n n ih a rp p u
— 2 —
^SULASOL

31

T h is space left intentionally blank


Tila jdtelty tarkoiluksella tyhjaksi

I
gilSU L A SO L

38

42

46 r> pmmmmmmammmammm

p if %[ - P im...:....iLff_.f t Ii-LUJ
nou nan - naa n o -g a -n i-g a nou jei nan nou m am -m aa jan - naa nou nan - naa n o -g a -n i-g a nou

j -J-Lj J j j Jj SJ M " J j j j |j j j
nou nan - naa n o -g a -n i-g a nou jei nan nou m am -m aa jan - naa nou nan - naa n o -g a -n i-g a nou

J / m f J - J - lij Jdr, j n u - ^ t u .......


nou noa nai niu nou noa nai niu nou noa nai niu nou noa nai niu nou noa nai niu

— 4 —
g S j SULASOL

— 5 —

,
B 3 j SULASOL

/w>
Jf jJJ

nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa jan - naa
Jf Jfft r V

nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa nh! jan naa
j f ______________ JJJ o'"

nou nan - naa


S... f- H -
no - ga - ni - ga nou jei nan nou mam - maa jan naa

ff. W— \h jjf*
f ' T f - j ...t - T - f f im
nou nan - naa no - ga - ni - ga nou jei nan nou mam - maa nh! jan - naa

— 6 —
B^SULASOL

This Pseudo-Yoik has nothing to do with the genuine traditional Lappish or Saame yoik, and
should thus be considered to have the same degree of authenticity as local colour in bel canto
opera. If a connection must be sought, I would prefer to describe this piece as an impression of
a stereotype — the stereotype that most Finns associate with Lapland and its people.
The text exists merely to give form to the music and is meaningless, although the laws
of probability dictate that there must exist an obscure South American Indian language in
which it makes perfectly good sense.
The text should be pronounced as Finnish, but contrary to Finnish singing practice all
syllables with diphthongs (or ending in n) proceed directly to the second vowel (or n) in all
cases, making the first part of the syllable a grace-note on the beat, as it were (e.g. ha-ii = J* J).
The weird combination nh! represents a glottal grunt of indeterminate pitch but
immense energy. Since this is merely a phonetic exclamation point (pace Victor Borge), it can be
replaced with a hand clap, foot stamp, shaman drum or any other suitable noise at the
conductor's discretion.
The overall sound should be somewhat coarse and nasal and otherwise generously
endowed with the quaint characteristics we identify with ethnic music, almost to the point of
parody. I should point out (to avoid flak from Lappish fanatics) that it is the stereotype that is
being parodied rather than the original.

Jaakko Mantyjarvi 1994

Tcilla 'naennaisjoiulla' ei ole mitaan tekemista aidon saamelaisjoiun kanssa; se on suunnilleen yhtci
autenttista kuin paikallisvari bel canto -oopperassa. Yhteys loytyy pikemminkin siita, etta tama teos on
sanokaamme vaikka vaikutelma stereotyypista — siita stereotyypista, jonka useimmat suomalaiset
yhdistavat Lappiin ja saamelaisiin.
Tekstin ainoa tarkoitus on antaa muotoa musiikille, ja niin ollen sen sisalto on merkitykseton,
joskin todennakoisyyden lakien mukaan on varmasti olemassa jokin harvinainen etelaamerikkalainen
intiaanikieli, jolla tama teksti oikeasti tarkoittaa jotain.
Tekstia aannetaan kuten suomea, mutta toisin kuin suomea laulettaessa on diftongeissa
viimeinen vokaali pitkii. Samoin n-loppuisissa tavuissa edetaan n.lle heti. Tavun alkuosa on siis aina
mahdollisimman nopea, ikcian kuin iskulle sijoitettu etulyonti (esim. ha-ii = $ J).
Omituinen yhdistelma nh! edustaa saveltasoltaan epamaaraista mutta hyvin energista
kurkkuaanta. Koska kyseessa on vain foneettinen huutomerkki (Victor Borgen tapaan), voi aanteen
korvata kiisien taputuksella, jalan tomistyksella, noitarummulla tai muulla sopivalla halyllci johtajan
mielen mukaan.
Yleissoinnin tulisi olla melko raaka ja nasaali ja muutenkin aina parodian rajoille asti vaarallaan
sellaisia veikeita piirteita, jotka me olemme tottuneet yhdistamaan etniseen musiikkiin. Todettakoon
iao*

kuitenkin (jotta en saisi niskaani saamelaiskiihkoilijoita), etta parodian kohteena tcissa on nimenomaan
phkkii anv

stereotyyppi.

Jaakko Mantyjarvi 1994

ISMN M-55005-071-6