..of waters making moan solo for accordion (2013) Rebecca Saunders For Teo Anzellotti, with my many thanks for the sessions exploring this palette of sounds.334 sub vib oh very long indo cy long vib very regBaplanatory Notes For button accordion with Ml MI and MII. Mil requires extra lower octave ike Ml, and ext upper octave to one octave below MI. Wrttenat sounding pitch Where there are pitch combinations from registes/stops, the lowe octave notated. eS = Af cee ence pnt nena ate a irom tts, oe tones eae f*ck crn gros oto tit “Lby1_ Single tones naturally emerge one by one with crescendo and disappear one by one with decresendo, 44 Quartertones fat or sharp ~ half depress button to lower the tone by ca M-tone, ‘Vibrato: vib non vibrato, unless otherwise shown: p vib ~ poco vibrate; m vib~ molto vibrato, bach numbered section isa fragmented and elongated melodic line. part 3, bars 1-202: Eapresso, breaths, n and out of silence, very flexible tempo, taut sense of line always in motion, build teasion Bach musical phrase is numbered, and trace fragmented and an elongated melodic ine. part 2, bars 208-255: Furiowel The rhythmic section chromatic dusters are partly shown graphically and are approximate the articulation of staccato ff attack casters is witha qual mini-crescendo on each cluster. Bars 256-277 Keep extreme tension always! Duration ofeach bar determined by the range ofeach cluster ca 2% to 5 seconds for each bar. Te bats mnatked "are double or triple average lengths. Long continuous crescendi, ech time from nothing part 3 bats 278 ~ 339: Dreanke, slow, delicate, flowing, very spacious flexible tempo, but always in motion breaths continuous ond ongoing 1 very end, Trace the extended melodic line drawn through the gestures. he silences are in motion nof waters making moan (2013) elo for accordion Commissioned by Bayerlscher Rundfunk for first performance by Teodoro Anzllott at Music Viva on 26th April 2013 «of waters making moan is an exploration of a specif physical gesture and fragment of sound. It's purest form, this elemental soni gesture traces the opening and closing of the bellows, drawing cout a thread of sound from beneath the surface of slee fragments, breaths, continuous, neverending, surfacing and dlsappearing Feeling the weight of sound san integral partof the composing proces, The essential materaityof sound Is for me of primary importance ~ being awate ofthe grit and noise of an instrument, tracing the essence fof feagments of colour within aconfined and reduced palette of timbres, and exploring the physical gesture which creates a fragment of sound, {tis also a melody, albeit elongated and veiled 1 came across recording of James Joyce reading onc of his early poems; beautiful and simple, almost “sung, relishing each onomatopoee Infection Tis poen partly accompanied the composing process ands ‘wrtten here eo iluminate certain ideas which accompanied the sols development: All dy Thea the noise of waters ‘Making moan, Sada he seabird when, going orth aione, Hl hears the winds ery tothe waters Monotone ‘The grey winds the cold winds re Bowing Where [go hear the nose of many waters Far below Ally, ellnight, hear hem flowing Toandro ames Jot, 1907, he 35th 36 pera a iene pian ened Cher Mas RS, Berlin, March 2013.u Ofaster fing vib10 ° Part3 pice tempo dreamite ca 152 - + ax trem On byt aby GB aviby vp Tih 3 non sub vib oC) iter hater fatale iow te * Melody! Aways inmotion Slow, elite and expansive pao an flowing . |256 molto espressivo * 6 8 distort of) =| =| per. “LI =LO| = pp< Lif emore e NE | ase distort S — | ~—. >} M+ toute iength a Me) | —p—| Kp | Kr | Kr | | p= fifemp RH+EH , + Length determines by range: 24-5 sec, long crescenl But keep extreme tension aways + Very gradual and slow gissando. Hear uctuating interference tones then move on ‘* Each time fll bellows, very fst length of each bar may vary! Quasi in3. a togth © es| Alea ize aw aie islet —1 oe a a gf ww of Bore ——s . —= —— ie 5 te <1 - ? eters 4 s sy TH oD Fw =» —— orn sia o te OY 9 : 7 Ye i=i] The tp EE Psi ell BM af a= eee aePart 2 fast, J = 72-74 FE 7 i 4 sim Pt a (= b3 we ———— Sy) er ——4Grow stomp : bare Gullit vemtusest ° mo, very fastt —=r—| —g¢—| —r—| RHVLH slow! A tempo Dutton vib op D = =| ppp comprett it — | p< 4 e —f Poo aemoving on! pep pep | ta] | pep corre —| on 156 vib Bow Bast ub — v0 “$—= pr a oI ast = om A bee F ua pee @ ye . a bd =} =f} —<|/= pe =| =| Peer sempre —r vib fast BS max it and regular fast m0 @ Se sappy] pp] f— sempre S| premme button te | _ | Fat (still faster tempo) vib nom vi ma cpr byt vib © a a pve Ronchuterd OS rr te Ppp sempre iF fm by [E,D) ‘a =m) tot —| pp wm 5 S| 2] [oe ic Pepsi P|32 7 Sie ampe aes ie iw oe eS, SS ie — TTR — Ga RTPA my Re orp ct eS 2 : E te (shy S Co =— — #4 Tas he sr aot @. “w- se. Boye dos —O Te aS = — = == nr sok pomanane pleat See SSS _ eg. eee (Qa ade EE 2 J. a Af \: pla? eo abe gt. eS. ee = Ey = = — | = ye ee ee Fsce = es. csenpe — —— oe tone Bola oy ———w eo) <3) _ iss a as> 3 y ? ise SS = a Sew ain ,- fens ea a eee ae : S| ems a= _ = el Pose ae = SS eS ee 2 5 te Soe == 5 i or pacscscaQPiase = ee == ese eo lle —— & 32 ots a BEng ot tg at 4 ae iF = = = C2 es oe =~ Wo. = ail We be Ue ja Nes & t == = ——— = Rs dah) Le -__ = a “whe ay ee f = = —‘6 e * a licle sh Lai rl apt