Pietro Dossena

Then Sound, and Motion, and Touch

a nocturne
for prepared piano and iPad
2
3
4
 5

Then Sound, and Motion, and Touch

Pietro Dossena

NOTE: All the aspects of indeterminacy, present in the nota on of me and dura ons, are to be understood as an invita on to take care of the
specific life of each gesture / sound. The performer should concentrate on the fluidity of the performance, more than on coun ng the seconds.

approx. 30"

put a so cloth on the low strings, in

the indicated approximate range, and
hit it with the palm (or wear a piano
cleaning glove and hit the strings)

? *
‹
cross-fade between the acous c and the appreciate the gradual accelera on and fusion of sound grains
very loud, but with a so mbral quality electronic sound (as smooth as possible) Dur: 3000 5
(avoid harsh, metallic mbre) o f
ff (f)
Ped. (always down un l specified)

* BORDERLANDS se ngs for this sample:

Voices: 16
Dur: 3000
Overlap: 0.75
Pitch: 1
Vibrato: 0
Vol: adjusted to the dynamics indicated
Width: 1
X,Y: -0.16, 0.16

approx. 20"

? like a breath of the space

‹ 2
Pitch: 1
0 Pitch: 0 0

f pp
Ped.
6

slow fast slow

think of accelera ng heartbeats all dura ons always slightly irregular,
hammer the string with a finger, to prevent any sensa on of a mechanical beat
dead strokes (dampen the vibra on)
dead dead
x8 (play 8 mes) stroke stroke
wait longer

? ‰ all dura ons always slightly irregular, ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰

‹ to prevent any sensa on of a mechanical beat
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ 1 ¿¿ ¿¿
pp p mf f p mf p mf similar p mf Pitch: 0 0 p mf similar
crescendo poco a poco
(Ped.) ___ Ped. Ped.

accelerando poco a poco...

the a ack of the ordinary note should be "censored"

instantaneously by the so , resonant cluster on the strings,
so that only a vague resonance of the pitch remains
dead
ordinary playing stroke
(keyboard) (strings)

. . .
j j j
& œ œ œ
move the so cloth to pp pp p
play all the following the beamed notes are connected,
clusters on the strings both conceptually and gesturally
always similar

? .
j
. . œ
j j
œ œ p
pp pp

{
?
‹
¿ ¿
(Ped.)
‰
¿ ¿
‰

___
pp
ø ø
percussive noise
of the dampers
against the strings
pp
ø ø
 7

(faster and faster...) fast

. . . . .
j j j j j
& œ œ œ œ œ
mp mf f f ff

. . .
? . . . œj . œj œj
j j j j
. œ œ œ œ
j
œ p p mf p mf mf
pp

{
?
‹
pp
ø ø

slow un l the end of the piece

unpitched sound, with alterna ve fingerings and notes
a wood-like quality in this range are always possibile,
but the number of notes is fixed

‹ ¿j think of the unpredictable noises produced ¿ ¿ ¿ ¿ b¿
by some unfathomable, relentless mechanism
&
ff ff ff

half-dampened (press the key while

dampening the strings with a finger);
the pitch should be percep ble
EBow
(normal mode) f
& , g ,
¯ ¯
wait for the strings to

{
?
‹

(Ped.)
pp
‰
p
dead
stroke
vibrate, then proceed

p
‰
dead
stroke

mf mf
‰
dead
stroke

f
leave the so
cloth (or glove)
on the low strings

Pitch: 0
(pp)
8


‹ ¿ ¿ b¿ b¿

&
ff
note fingered on
the Eb string (11th
harmonic, approx. A)

& , O ,
¯ ¯ ¯
approx. 8"
think of a stone that falls into a pit and bounces against the internal walls
* double tap on the li
le circle of
very irregular improvisa on on the dampened notes; transi on from very frequent notes to sparse notes, the corresponding parameter

{
?
‹ 2

f
ø
move fast to reach

0
o
the low notes

¿¿
mf
gradually increasing the recurrence of Eb and ending on Eb; insert pauses and grace notes ad lib. to make
the rhythm free and unpredictable; the notes below are just an example of such improvisa on

j
¿ ¿b œ ¿ ¿

gradually release pedal

n ¿ ¿ #¿ ¿ ¿ j
¿ #¿b œ ¿ ¿ n ¿ j
¿ n¿ bœ j
¿ n¿ bœ bœ
ppp

…
bœ
f

Ped.
move Dur to 750*
move Pitch to 1*
and proceed without wai ng
Dur: 750
Pitch: 1

& ,

approx. 10"
similar, but look for a slightly different mbre, on a higher note
?

look for a mysterious, mutable sound p

approx. 5"

{
?
‹

(Ped.)
p
rub a superball mallet on the string(s) of a low
note of your choice; pull it towards yourself

p
let ring j
¿bœ
irregular improvisa on on the dampened notes (including Eb), quite sparse,

pp
ending on Eb; the notes below are just an example of such improvisa on

j
¿ n¿ ¿ ¿ j
¿ #¿ ¿ j
¿ ¿b œ j
n¿ ¿ ¿ ¿#¿
j
#¿ bœ
 9


‹ ¿ ¿b¿

&
ff

& ,
* BORDERLANDS se ngs for this sample:
approx. 8" Voices: 8
change note again Dur: 750 *
Overlap: 0.75
? Pitch: 1
Vibrato: 0 o
p mf
Vol: see dynamics
Width: 1
X,Y: -0.16, 0.16 approx. 8"

{
?
‹

‹
&
(Ped.)
pp
similar

j j j
bœ ¿ deac vate sample
(move the circle away
from the sample)
irregular improvisa on on the dampened notes (including Eb);
transi on from sparse notes to a con nuous flow of notes, as
fast as possible; try to avoid the constant repe on of pa erns

pp
j

¿ ¿

ff

vary the pressure on the strings

(more and more fran cally) remove
choose a note closer to the A of the EBow the EBow

& , O
p f

?
¿
o

Pf {
?
‹

(Ped.)
j j
f

___
bœ
f

ø
remove the so
cloth (or glove)
from the low strings
10
not synchronized with the beat
   
‹ ¿ ¿b¿ ¿ ¿ ¿ ¿b¿ n¿ ¿ b ¿ b ¿ n¿ n¿ ¿ b ¿ b ¿

&
ff ff ff (ff)

& O
think of an ancient clock striking the hours

constant beat,
very precise end of the beat
2" 2"
note fingered on the find a similar complex tone,
B string (complex, fingering the C string close irregular improvisa on on the dampened notes

{ ? #O
‹ œ
bell-like tone)

pp

(Ped.)
to the posi on on the B string

p
œ
O #O
œ
mp
bœ
mf
œ
f
O
similar

bœ
ff
similar, on Bb

___ ø
reac vate sample
(move the circle
onto the sample)

p
put the so
cloth (or glove)
on the low strings
(including Eb), made of four groups of fast notes
separated by longer pauses; the notes below
are just an example of such improvisa on

¿#¿
pp
b œ ¿ n¿

look for an unstable, disturbing sound with a metallic quality

gently rub the short side of a plas c ruler
along the strings of the indicated A; pull it take all the me needed to get the ruler to vibrate together with the strings;
towards yourself; see the preliminary notes in case no sound comes out from the A strings, try with other neighbouring
for addi onal informa on on this technique strings; if s ll nothing comes out, do not worry and proceed to the next event
? 6
p

dead
finger, dead strokes, two groups of fast notes stroke
always slightly irregular separated by longer pauses (strings)

{ ?
‹ b œj n¿ n ¿

(Ped.)
¿ #¿
¿ ¿
pp p
‰
wait longer

¿ ¿
similar
‰
¿ ¿
‰
pp
(keyboard)

.j
b œ

p
 11

‹ ¿ ¿ ¿ ¿b¿

&
ff ff

similar; take all the me needed

? 6
p

{
?
‹

(Ped.)
p
‰
dead
stroke

mf
finger, dead strokes

¿ ¿
p mf
‰
wait longer

¿ ¿
similar
‰
three groups of fast notes
separated by longer pauses

pp
j

  
‹ ¿ ¿ ¿ ¿b¿ ¿ ¿b¿b¿ n¿ n¿ ¿ b ¿ b ¿

&
ff ff (ff)

? Dur: 3000 6
move Dur to 3000
and proceed without wai ng
pp
o p

{
?
‹ .j
b œ

mf

(Ped.)
dead
stroke

mf
‰
dead
stroke

f f
‰
dead
stroke

ff

___
¿

ø
deac vate sample
(move the circle away
from the sample)
12

try to achieve a crescendo - diminuendo; as before, take all the me needed;

in case no sound comes out, do not worry and proceed to the next event
? 6
mf pp pp without crescendo

Dur: 3000

(Ped.)

* BORDERLANDS se ngs for this sample:

Voices: 8
Dur: 3000
Overlap: 0.75
Pitch: 1
Vibrato: 0
Vol: see dynamics
Width: 1
X,Y: -0.16, 0.16

‹ ¿ ¿

&
ff

prepare the tension for the events coming in the next page; this part should not be too sta c
o mf

{ ?

(Ped.)
Dur: 100 (approx.)
*
 13
not synchronized with the pendulum
 
‹ ¿ ¿b¿ ¿ ¿b¿ b¿

&
ff ff
VIDEO
think of a razor-sharp pendulum, descending slowly but relentlessly from the ceiling, with wider and wider sweeps, but always isochronous
constant pulse (about 1.5")
very precise

lay the ruler flat on the strings, parallel to the keyboard, and slide it le and right across the
strings, without applying too much pressure, in order to produce an uneven squeaking sound

(always similar, but with a wider and wider sweep)

1 2 8 19
& move le move right

{
?

(Ped.)
pp crescendo poco a poco...

* BORDERLANDS se ngs for this sample:

Voices: 8
Dur: 50 approx.
Overlap: 0.75
... p crescendo...

irregular improvisa on on the muted notes, gradually more and more dense and fran c, ll the climax; transi on from sparse groups of grace notes to a
con nuous flow of notes, as fast as possible; try to avoid the constant repe on of pa erns; the indicated rhythms are just an example of such improvisa on
Pitch: 1
Vibrato: 0     
        
‹ Vol: see dynamics
Width: 1
& * X,Y: -0.16, 0.16
ff
o f

21 25 26 28 32 36
&

... mf crescendo... ... f crescendo... as f as possible

{
?

(Ped.)
14 con nuous flow of notes, as fast as possible; pa erns or trills are welcome; take
all the me needed to deac vate the three samples and to reach the low strings
>.
  very short

‹ pause

&
always ff pp fff
¿ deac vate sample
(throw the circle
out of the screen)
stop the sweep abruptly

40
&
¿ deac vate sample
(throw the circle
out of the screen)
?

¿ deac vate sample

{ ?
‹
(Ped.)
(throw the circle
out of the screen)

ff
move Dur to 5
move Pitch to 0
move Vol. to -60
Dur: 5
Pitch: 0

think of a clock cking

constant beat,
1" very precise
pp
remove the so
cloth (or glove)
from the low strings

‹ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰
&
ppp
so pizzicato
(pluck the string 1C ad lib. un l the end
with a finger p)

& œ
pp
constant beat,
very precise end of the beat
2"

{ ?
O
‹ œ
p

(Ped.)
#O
œ
p
bœ
O

(p)
#O
nœ
O
œ
 15

(7) (1) (6) (1) (7)

‹ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰
&
(ppp)

-
right hand
ordinary playing
on the keyboard
-œ
- # -œ #œ
-œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ œ ≈ ≈ ≈ ≈ ≈ ≈ Œ
& #œ
ppp
5 5 5 5 -

{
?
‹

(Ped.) ___
deac vate sample
¿ (move the circle away
from the sample)

li pedal

end of
1" the beat
(play 11 mes)
‹ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿. ‰ ¿.
&
(ppp)